Why is it so sleepy at a classical music concert and how to deal with it?

Why is it so sleepy at a classical music concert and how to deal with it?

4 Hours Classical Music for Sleeping

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answers (5)

Answer 1
January, 2021

The question is very difficult, vital. First, we need to understand the reasons for drowsiness: if they are objective, physiological, then, I'm afraid, nothing will help: neither awareness of the works performed, nor a sexy young soloist with hair, nor the bitterness associated with the money spent on a ticket, nor awkwardness in front of neighbors. It so happens that you want to sleep unbearably: the end of the working week, evening, twilight, gentle sounds of a quartet - and you are in the arms of morpheus. Here we need to discard intellectual arrogance and admit that this happens to everyone: both newcomers and major music critics.

If the reason is that you are bored, then you can fight this:

  • try to come to the concert hall as prepared as possible: listen to the music several times in advance, read at least Wikipedia (but not in Russian), imagine the structure of the composition

  • don't go to random concerts; in addition to the fact that in this case point 1 is impracticable, with some probability they will play poorly there, and your sleepiness will also be associated with this.

  • While listening (and especially watching an opera performance), imagine that you will need to write a witty post or review telling how it was. Sit back and collect the texture.

  • think about why you are interested in other concerts and look for something that works on the same principle. There is no “classical” music and “classical music concerts”: this is a huge stylistic sea ranging from Renaissance polyphony (suitable for lovers of intellectual ambient) to the latest opera (glam? Noise? Glam noise?).

Answer 2
January, 2021

I will add that the desire to sleep can arise simply due to the fact that the musicians play badly (bad ≠ technically illiterate, bad = not interesting).

Answer 3
January, 2021

Here we must start with what it is - classical music. This is a generalization. I'm not sure that all classical music makes everyone want to sleep. And if so, the listener is not to blame for anything.

In general, of course, this is connected with the culture of listening, in particular, and with the internal culture in general. There are different aspects. For example, communicative. Classical music is not so difficult to understand. But if there is no listening experience (studying at a music school, at least the lessons of a good music teacher in a secondary school), there are no basic keys to the code, then it is not entirely clear what it is and how it works.

Western European music from the very its beginning - church liturgy, from monody - is built on the principle of imitation of speech. Specifically classical symphonies, for example, are built on the principles of classical rhetoric. First, you need to listen to the main part - thesis A, then every thing around it that is necessary for the speech to be alive, then - a side part or antithesis. This is just the beginning, but already ten minutes have passed.

The thinking of a modern person is arranged differently. Besides the fact that today we again think more mythologically than critically, today everything is super fast and oversaturated. And when we are faced with such a cumbersome, long, and, moreover, rather linear statement, we are lost. In general, you want to sleep, because you do not recognize information or cannot isolate it. It seems that something is happening, but what - you do not understand. Naturally, the brain defends itself and goes into sleep mode.

There is only one advice: gradually accustom your brain to new things for it. Better to start with what is closer to us in time of creation. Listen to neoclassicists like Max Richter. He's not boring, his music is quite rich. Although his last 8-hour album is just specifically to sleep with. Well, try to move retrospectively - from the modern, euphonic, similar to the classics, to the twentieth century. From Glass, Reich to Scriabin, Stravinsky and Debussy, Ravel, and so on to, say, Mozart. And there it is not far from Perotin.

Sometimes, answering such questions, some composers appeal to the lack of listening experience, they say, you haven't heard, go study. It is clear that this is generally true. No explanations such as “it's all about the nonlinearity of time” or “it's all about the loss of beauty” will not replace a living individual experience of meeting with music. In fact, this often destroys interest in music in general. You know, like those parents who indifferently dismiss an inquisitive child. Nowadays, few people understand how to take responsibility for someone. But that's another question.

Answer 4
January, 2021

Don't go to concerts. Seriously. If you are bored, stuffy and sleepy, then why spoil the evening for yourself and others? Why mock your own body and then bleat dejectedly in response to the enthusiastic remarks of a friend, who brought you to the concert, because he loves and understands music? For a long time, going to theaters and philharmonic societies is just a hobby, and not the only sign of a decent and intelligent person.

If you have decided by all means that you need to listen to classical music, then first choose , what exactly. I would recommend starting with neoclassicism and all sorts of treatments. Falling asleep at a rock opera "Mozart" or a Stirling concert is quite difficult, but if you still managed, it is better to see a doctor.

If you want exactly the same classics that you have heard exactly three times in music lessons in third grade, then you need to explicitly prepare. Choose the composer (preferably several) that you like the most and read about him. To whom he dedicated the sonatas, in what genre he worked, what critics wrote about him, what plot they found. Then the music for you will not be one lump, but a whole story, all forty minutes you will search in it for the very "ecstatic lightness" from the comments of critics, the story of unhappy love and compare the orchestra's playing with what you heard in the recordings. Fall in love with this music with all your soul - and it will not make you fall asleep.

And there is no need to go for a tick.

Answer 5
January, 2021

Let's start from the practical side: how to deal with it. There are two great tricks to stay awake at a concert. As soon as you start to feel sleepy, drop the program on the floor and bend over to get it. Or pretend that you have the lace on your boot untied, bend over and untie and tie it for a while. The blood will rush to the head, and the drowsiness will pass. Repeat as needed - just not abruptly. The second method requires preparation. Put in a bag (preferably shallow) the most vigorous mint lozenges or candies, most importantly, not gum - this is not philharmonic. Make sure that the pastilles are in a non-rustling wrapper (it's good if it is some kind of quietly opening box). Otherwise, wake up your neighbor. Peppermint sweet invigorates perfectly. By the way, this is a method that a friend of my old Wagner fan from Bayreuth, who knows a lot about 5-hour operas, told me about it.

Now the other side of the question, I would say, is aesthetic. In general, the attention of a modern person is arranged in such a way that we can flip through the Facebook feed on the phone with one hand, add an e-mail on the computer with the other and simultaneously follow the development of events in the series on TV. And in the concert hall, we are suddenly asked to put off all the gadgets and concentrate for 45 minutes (one section) on one thing, and this is not only without a picture, but also often without words. And our body turns off, especially if beautiful and gentle sounds are pouring from the stage.

Many of us are in captivity of the Soviet legacy, coming from late romanticism, where a naive and even somewhat consumerist attitude to music was professed: this art is not requires special preparation, because it speaks directly to our emotions, our heart. That is, you don't need to turn on your head. But this was far from everywhere and not always - both in baroque and Renaissance times, and in the 20th century, music was very intellectually demanding. That is, the head should work, but many have already forgotten these skills.

Here I would like to talk about investing in listening to music. Yes, it may seem to us that buying a ticket is a sufficient investment. Unfortunately, this is not always the case. If you want to organize your attention appropriately, it makes sense to prepare. To begin with, choosing concerts where the performers themselves will tell you something. For example, Gennady Rozhdestvensky is known for his brilliant entertainments before concerts. Concerts-lectures of the chief conductor of the State Orchestra named after Svetlanov Vladimir Yurovsky have already become a Moscow philharmonic hit. Music critic Artem Vargaftik, in addition to his philharmonic performances, at the Stanislavsky and Nemirovich-Danchenko Theater last season preceded the performances with brilliant introductory lectures, and in general the Western operatic practice of pre-talk is increasingly penetrating the Russian musical environment and not only in the capitals. There are a variety of music and opera clubs, information on which can be found inchildren.

Then the music will stop automatically turning into a lullaby, and perhaps it is the understanding of internal logic, plot twists, the ability to follow the composer's thought that will give you much more intense experiences. And you certainly won't need to drop your programs and swallow mints.

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