Well we all know (if not the actual term for it, at least subconsciously) tension and tension breaking in music. Such as a chord progression returning to its root chord or note, as if giving relief to the built up progression. Now if this does not happen, people are usually left feeling dissatisfied and wanting more, or at least wanting whatever the piece may be to come back to what it was seemingly moving towards. Now what makes us filled with the desire to hear that simple reacurring note or chord? It's most commonly referred to as the "Human aspect" of music. But in reality the whole tension and breaking thereof can be dwindled down into, "When am I going to finish?" The "human aspect" is merely the relation to sexual activity in music. You feel that tension, and you wait for it to break, the longer it is, the more you yearn for it to reach the climax and finally return to the feeling you had before. This idea probably seems far fetched and stupid to alot of people and "why cant we just wanna hear the song come full circle?" There's nothing wrong with that, we all do sometimes. But why we have that desire, and why so many people dismiss the "mechanic" side of music, most Jazz, more modern composers like Stavinsky, Bartok, Edgard Varese, Eric Dolphy and people that started the more "inhuman" level of composition, is because most of the time there isnt much of a tension breaker at all in their music. There's alot of so called tension, but most dont hear the "climax" that they feel should be present at some point during the piece. The sexually driven of today rely so much on the "pop music" because the "mechanic" aspect in nearly deminished entirely (except for the accessive use of keyboards or drum machines for everything that is going on in the song). The power of pop music to corrupt and putrify the minds of youth today are virtually limitless. Until they hear the "climax" in the form of vocalization or instrumentation, the thought is almost completely taken out of the compostion, leaving them to drool and fantasize over the hot lead singer with the tight ass and chizzled abs. The more "mechanic" side deals with the mind and/or thought, not just the sexual vigilant looking to get off in every possible way he or she can. There's "human aspects" in every form, it's just a matter of where you look for it, instead of finding the notes in a pattern you can "identify with". Now Bobby is the perfect young target for the new garage band's record label to shoot at. About 12-14 years old, and always looking for a "new song" that he can relate to to put on while he gets ready for school so he can know what type of attitude or emotion to convey later in the day when its time for gym and all the cute little girls are huddled over by the wise ass "popular" kid that tries to impress them with his "bitchin" clothes and "take no prisoners" vibe. Bobby's finding it hard to gain attention from Wendy (the girl who thinks she's just made for the kid who's making stupid jokes and putting his shoulder on all the young girls in the gym). Not having success that day, Bobby goes home and tries to find some other form of "self expression" from the new garage band that finally made it big. Bobby will never get Wendy, because he's looking at that big black box in his room to tell him what to do to get attention from the girls.
Bobby, wake up, it's time for school. There's a new composer who died a hundred years ago, he's pretty interesting and he makes you think a bit, might wanna see what its like. Ya know, just for the hell of it. Up to you though.
