We need tools to note to get what we want, but at the same time be constrained by these very instru

Think about it. You breathe, your lungs, but can not hear. The hairs in your ears and the skin on the back of your neck is completely invisible to you. You can not jump on yourself for yourself or run away and there is not a way you yourself can pick up and throw away. Your body is different from all other physical objects that you see from day to day faced: an overall impression of it escapes you always.
Phenomenologist Maurice Merleau-Ponty focuses in particular on the physicality. The human body, he argued, is not separate from or superior to reality, but embedded in it. Human existence is characterized by an ambiguity - the hub of our existence is a body that we both are and are not. We are part of the world, but take it at the same time where as something outside us. Therefore we want to sometimes transcend ourselves - we wish we could fly out of ourselves, or jump off of mountains running through walls, turn back to ourselves blows.
Something of this commitment is ambiguous where musical chaste instruments. How pleasing all the music, an organ will always hiss of lugpompe have a whistle valves will quietly their holes hood, a plektrum on a guitar to be a note plus an atonal attack create sound. Trumpets full of spit will gradually start sputtering, an open E sounds even on a Stradivarius rough, vocal cords get tired and get polyps too much screaming. There is never just music. Somewhere (even filter your brain it away while listening) secretly brewed the reminder that you are a mechanical device to hear.
We need tools to note to get what we want, but at the same time be constrained by these very instruments. Add to this the fact that we do with our own limbs and manipulate chaste you a clear recipe for "imperfect" music (and immediate respect for musicians who master these instruments and play as if the physical limitations do not exist). Come what may, not even The Great Kat may 64th notes at 600 bpm play.
Maybe that's why synthetic music sometimes sounds so inhuman. It's too perfect. I would guess that Jurie Els and company (and here I refer specifically to African Super Star with pounding bestsellers from the past to the best compilations ever of other artists' music in the universe ever sit in the marketplace chaste - ever) so fiercely among criticism by walking because their music sounded synthetic. The music is unimaginative and mathematically perfect - the excess of digital sampling makes one almost think it's possible the physical limitations of musical instruments (and your gut) respectively.
Strange chaste but true - your Jurie Els CD is perfect hundred admired. Stephen Hawking's CD will obviously sound better, but until he releases one, at least you can on your CD jump Jury, before running away or pick it up and throw away. In aid of phenomenology, of course.
cool way to think when we record drums in the studio, the metronome sound check in with (I think) 5 or 7 milliseconds, and it's scary how quickly chaste it caught my ear (and my very soepper irritate the .. ) A human ear is sensitive to SO kill himself a 5 millisecond interval, for the much needed human error.
Nice piece. Very true, and it is sad that the quest for perfection, especially in music, we are left with a bunch of perfect music. And you're right .... it just sounds not dieselle not! Exceed the physical limitations of the instruments, chaste as you put it, we are left with a lot of unrealistic perfection .... and it is rather annoying than nice!
Okay, there will be a little spit in there: o) But, I also play trumpet, and my trainer has taught me that the condensation is that you are on the other side is run again there am I also have something to represent warm breath cold trumpet ...
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