All of us like listening to music and each one of us has an individualistic preferences. I began my first professional career as a musician, having introduced the synthesizer to pop music and film with my late music partner, Paul Beaver In the late 1960s, we composed the first music album on the theme of ecology using natural soundscapes as a component of orchestration.
Synagogues and the Eastern Christian churches, unhampered by such opposition, developed extensive musical repertories based on melodic modes: the Eastern churches used the eight modes of Byzantine music, while synagogue music followed the maqām system of Muslim art music.
Davies might respond with his observation that we do not even hear in the music a reidentifiable individual that moves: ‘The theme contains movement but does not itself move; the notes of the theme do not move, although movement is heard between them’ (1994, 234).
Leaving behind our consideration of how and why we respond emotionally to pure music, we turn to the question of why we seek out music that arouses ‘negative’ emotions in us, such as sadness, assuming henceforth that we are in fact aroused to such emotions.
From the songs of humpback whales and the screams of Rwanda’s mountain gorillas to the groan of shifting Arctic glaciers or the rumble of an approaching storm, Wild Sanctuary albums, installations, and recognized authority in the field of natural sounds is authentic, adventurous, and inspiring.