πŸ“ Songs, Feelings and Space

As more songs played, I kept thinking about that. How songs made people feel different ways, like they were in different seasons. Like they were running, or sitting calmly, or at the beach; or the feeling they had when their dog had gone to the vet and not come back; or when they were at their grandma's farm and it was night and so dark they could see everything and nothing. And the more they spoke, the more I knew I was desperate to play my keyboard. To make something like these things. To build a feeling. Fiona Hardy β€˜How to Write the Soundtrack to Your Life’
In Fiona Hardy’s novel How to Write the Soundtrack to Your Life, the protagonist, Murphy, reflects on the association between songs and feelings.

As more songs played, I kept thinking about that. How songs made people feel different ways, like they were in different seasons. Like they were running, or sitting calmly, or at the beach; or the feeling they had when their dog had gone to the vet and not come back; or when they were at their grandma’s farm and it was night and so dark they could see everything and nothing. And the more they spoke, the more I knew I was desperate to play my keyboard. To make something like these things. To build a feeling.

This had me thinking about the role of music in setting space. For example, the soundtrack to Sons of Anarchy draws on many familar tracks, but interprets them to fit a particular feel. Or David Lynch’s subversive choices, such as the use of Roy Orbison’s In Dreams in Blue Velvet.

To me, Lynch and Orbison both occupy a space in their respective art forms as singular voices. Each seem to traverse or explore more dream-like or subconscious terrain and each bring back a vision that is unique, that is, perhaps, candy colored.

Another way of looking at the creation of space, is the search for a space long lost. This is what Daniel Leviton unpacks in regards to the association between music and the memory of a particular time in life,

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