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"Psychological factors also come into play when the music is set in front of a
crowd. Looking at a painting in a gallery is fundamentally different from listening
to a new work in a concert hall. Picture yourself in a room with, say, Kandinsky’s
Impression III (Concert), painted in 1911. Kandinsky and Schoenberg knew
each other, and shared common aims; Impression III was inspired by one of
Schoenberg’s concerts. If visual abstraction and musical dissonance were
precisely equivalent, Impression III and the third of the Five Pieces for
Orchestra would present the same degree of difficulty. But the Kandinsky is a
different experience for the uninitiated. If at first you have trouble understanding
it, you can walk on and return to it later, or step back to give it another glance,
or lean in for a close look (is that a piano in the foreground?). At a performance,
listeners experience a new work collectively, at the same rate and
approximately from the same distance. They cannot stop to consider the
implications of a half-lovely chord or concealed waltz rhythm. They are a crowd,
and crowds tend to align themselves as one mind."
(Alex Ross, The Rest is Noise, Harper Perennial, 2009, p. 61. )
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