Norwood Russell Hanson and the Art of Hearing: Seeing Music as Inner Vision

Norwood Russell Hanson and the Art of Hearing: Seeing Music as Inner Vision

One of Norwood Russell Hanson’s central ideas is that observation is theory-laden—what we perceive depends on what we know. This insight extends beyond science and philosophy into the realm of music, where perception often requires training and understanding.

Consider a fugue. To the untrained ear, it might sound like a complex but indistinct flow of notes. However, for someone with a trained ear, it is an intricate interplay of counterpoint, modulation, and thematic development. The same is true for recognizing syncope or modulation; these are not just elements of sound but concepts that must be "seen" with the mind.

Music as a Visual Experience

Interestingly, I choose the word "see" rather than "hear" when describing this experience, because I believe it mirrors the same inner vision we use in mathematics or other abstract disciplines. Just as a mathematician "sees" relationships between numbers or geometric shapes, a musician or a trained listener "sees" the structure within music. This is not literal sight, of course, but an inner cognitive perception.

In this sense, many listeners are "blind" to the richness of classical or art music. Without the theoretical framework or training to interpret what they hear, they miss the beauty and complexity that lies beneath the surface. It is much like Hanson's example of the scientist and the layperson looking at the same experimental setup but perceiving entirely different things.

The Training of the Ear

To "see" music in this way requires education and immersion, much like learning to read a scientific diagram or interpret a piece of art. By developing this inner vision, we can unlock deeper layers of meaning and appreciation for music. A fugue ceases to be just a pleasant melody and becomes a conversation between voices, a story told in tones.

This perspective invites us to rethink how we introduce music to others. Perhaps, instead of focusing solely on the emotional response, we should also teach the tools and frameworks that allow for a richer understanding of music's structure and form. Just as Hanson argued for a richer understanding of scientific observation, we might argue for a deeper engagement with the architecture of music.

Concluding Thoughts

Music, like science and mathematics, is a form of inner vision. To truly appreciate its depth requires not just passive listening but active interpretation and understanding. Hanson's insights remind us that what we "see" depends on what we are prepared to see, and this is as true for art and music as it is for science.

In a world where much of music is consumed passively, perhaps it is time to train our ears—and our inner eyes—to truly "see" the richness of what we are hearing.

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