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Anthony, without making it too wordy (no strength to write for a long now):

 there are some natural rules of sound creation, sound distribution, sound propagation, sound consumption and so on. They are not my of anybody’s else rules but the rules “as is”? The sound reproducing machines might imitate, mimic or at least comply with those rules. If they do not do then we the listeners activate our driftnet interpreters to associate the heard. Yes, out brain is not Win95 and it can run multitasking but the process of FORCED association has a lot of negative effects to our perception and blocks some important things.

The “content loaded music”, and this it very ironic, employs the similar natural rules (the rules that deeply entrenched into cultural humane background and vise-versa). Believe you or not but by manipulation and turning (if a person know how) some aspects of “audio exchange” (the exchange - is the intricate mechanisms of conversion of Performing Reality into electromechanical algorithms and then back to Sound) a person can moderate the level compliance of the playback system with the seriousness of played material. If you do into farther research on the subject then you might discover that more, content-wise, complicated music require more aggressive level of playback compliance with “a language of the original process” (something that I call the “Beach Effect”).

 One more aspects: unfortunately, most of people in audio do not make audio server the original process but rather make audio to server the interest of the “exchange mechanism”. Sort of a possess for the sake of a process… In this case the process itself become self-serving concept and as a cooling star begin to fill out the entire operational space. The Content Serious Music, in that astronomic example acts as a super condensed material with own comparable gravitation force that prevents the “Cooling Audio” to expand unpunishably…

Rgs,
The Cat

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