I recently came across a fellow musician's Facebook thread that reminded me of what most (of us) musicians understand about ourselves; that we listen to (or experience) music differently than "regular" people. I had never questioned (and I doubt many musicians do) the assertion that a musician listens to music more analytically, engaging in such a way that the idea of "background" music becomes a challenge, at best. Because we are now listening with more of an intellectual awareness. Back in the day (when I was teaching regularly), I would tell new students to prepare for the way they listen to music to change as they grow artistically. At the time, I knew nothing else. Now, after decades of unpeeling the layers of discovery surrounding the rapport between performer and listener, and the connection between the stage and the audience, I find myself in a different place, both as a listener and a performer.

Music is an experience. Right? Or is it something that we experience, which is really something else?   Perhaps it could be said that some (perhaps many) musicians listen to music to understand, as much as (or more than) to experience. Particularly jazz musicians. Perhaps it could be said that when music becomes a (more) academically, or intellectually oriented pursuit; the goal, or perhaps even the meaning of music moves in that direction as well. When I was in college is when it really became clear that music is often taught (and therefore understood) as the assembling of component parts, like as the pieces of a puzzle. And of course, from one angle of view, it is. The most effective practicing is that which narrowly focuses on one specific area, idea or concept. But that is not how music is generally experienced. Until it becomes that (or you let it). Perhaps it can be said that (at least) some musicians don't turn off their brain when they put down their instrument. Or for that matter, when they pick it up. This is related to a fundamental principle that Kenny Werner teaches in his "Effortless Mastery" writings and seminars (I recommend the book). He asserts that, for many performing musicians, performance is sometimes (or often) indistinguishable from practicing. Working things out, thinking things through, setting a predetermined goal or outcome (and whatever other purpose driven agenda) becomes the focus, as opposed to being/creating/living an experience. Because, for the listener, music is that; an experience, an experience which (we) musicians provide. And share.