Immersing oneself in the world of music created by Makan unveils a completely new reality of sound perception.

Transcending Sound: The Transformative Experience of Makan’s Music

Immersing oneself in the world of music created by Makan unveils a completely new reality of sound perception. From the very first notes, the listener begins to sense that the music becomes something more than just a sequence of sounds – it transforms into a living phenomenon capable of influencing one’s inner world and altering the very notion of the creative process.

At the heart of Makan’s works lies the idea that the process of listening and the content of the music are mutually interwoven. It is not simply passive reception, but active participation in which each listener essentially becomes the organizer of their own auditory experience. Here, music ceases to be a static creation; it is dynamic, with every new performance generating a unique sound that unveils unexpected facets of emotional and aesthetic experience. This understanding transforms the act of listening into something deeply personal, where the individual not only hears the music but enters into a dialogue with it, perceiving it as a "language of feelings" capable of conveying profound emotional messages.

A special aspect of Makan’s artistry is his breaking down of traditional boundaries inherent in score-based methods, allowing each performance to become an unprecedented event. This not only broadens the horizons of perception but also changes the very understanding of the musical environment. The listener begins to notice previously invisible interconnections between sounds, akin to a shift in the geometry of vision—everything is reconfigured, revealing new levels of meaning and emotional experience.

Under the influence of such musical works, more happens than mere aesthetic pleasure. Immersion in Makan’s music can trigger profound internal transformations, prompting sharp emotional shifts and even a radical rethinking of one’s own biography. In these sonic realms, every listening session becomes an event that leaves an indelible mark on the soul, rendering the musical experience both vibrant and transformative.

Thus, Makan’s work challenges traditional approaches to musical perception, inviting one to dialogue with the piece and explore the possibilities of deep internal experiences. It not only enriches the sense of hearing but transforms the very essence of perception, making music a potent tool for personal and emotional change.

What consequences or changes in perception might arise from listening to Makan’s works?

Listening to Makan’s pieces can radically alter one’s understanding of music, affecting not only emotional responses but also the very way sounds are interpreted and experienced.

Firstly, deliberate listening and the content of the music are shown to be interdependent, creating a unique specificity in perception. On one hand, this process fosters an institutional form of listening, whereby the listener gradually evolves from a mere audience member into a kind of “institution of the public.” This is articulated in the following statement:
"Listening and content determine each other. Where there is deliberate listening, content emerges, and where content exists in a work, deliberate listening arises. The substantiality of listening ensures the substantiality of the thing—the work... and all this together forms the unique specificity of opus music. As for the institutional nature of listening, it manifests in the fact that deliberate listening acquires its own institutions and establishments, with the subject of listening—the listener—gradually transforming into a kind of institution—the institution of the public..." (source: link txt).

Moreover, Makan’s work emphasizes the communicative function of music, turning each piece into a type of linguistic message aimed at a specific audience. In essence, the connection between the composer and the audience becomes akin to a dialogue, where the music functions as a "language of feelings." This is underlined in the following excerpt:
"It is clear that this is precisely why there is increased attention to the communicative function of music. From that time on, music began to be understood as a 'language of feelings,' and the work—opus—as a statement, necessarily intended to be heard and perceived by its addressee—the listener..." (source: link txt).

Another significant feature is the breaking away from traditional score-based principles, resulting in music that is not fixed but becomes a unique sonic reality with each performance. Every iteration causes the work to sound differently, as "each new performance of the post-score musical text generates a completely new sound reality" (source: link txt). This variability compels the listener to view music as a dynamic process, where old benchmarks give way to new sensations and interpretations.

Additionally, Makan’s work has the power to shift the overall perspective of perception. As listeners engage with these works, they begin to see not just isolated sound elements but entire chains of meaning and emotion. This can be compared to a transformation in the geometry of perception:
"You see not only above but also below what you had not seen before. The entire perspective in which you look and judge changes, and accordingly, all evaluations change..." (source: link txt).

Finally, such works can evoke deep internal experiences accompanied by sudden emotional and psychological shifts. Listening can become an event marked by an inner "fracture"—a sudden transformation of subjective perception, as illustrated by the following passage:
"And then I also saw that which I had not been aware of in childhood... But whatever this understanding might be, it should not obscure the main feeling in my own state of being—that a fracture occurred, a break in my biography, a sudden inner collapse..." (source: link txt).

Thus, listening to Makan’s works can not only transform the way music is perceived as a phenomenon but also lead to profound emotional, aesthetic, and personal transformations, making the act of listening an active and vibrant experience.

Supporting citation(s):
"Listening and content determine each other. Where there is deliberate listening, content emerges, and where content exists in a work, deliberate listening arises. The substantiality of listening ensures the substantiality of the thing—the work... which collectively forms the unique specificity of opus music..." (source: link txt)

"It is clear that this is precisely why there is increased attention to the communicative function of music. From that time on, music began to be understood as a 'language of feelings,' and the work—opus—as a statement, necessarily intended to be heard and perceived by its addressee—the listener..." (source: link txt)

"Each new performance of the post-score musical text generates a completely new sound reality..." (source: link txt)

"You see not only above but also below what you had not seen before. The entire perspective in which you look and judge changes..." (source: link txt)

"And then I also saw that which I had not been aware of in childhood... a fracture occurred, a break in my biography, a sudden inner collapse..." (source: link txt)