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And it is also on the basis of this subjective, oracular and rustling properties, that the noise-orientation of transformative music may be explained. New Music is (in first instance) but noise, and along the changes of cultural listening patterns one may observe, how the originally senseless noise slowly changes into sensitive signals and is finally accepted as music (in analogy to a cultural process in which dissonant intervals insert themselves into an enlarged notion of harmony). New matters are the old ones death, but human listening patterns are well defined and deeply imprinted (like the Grey Gooses' Ping-Pong ball) after the breaking-up of the social eggshell (puberty) accompanied by hormonal developments and metabolic changes. (Which guarantees a constant audience to aging pop singers.)