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twogoodears wrote:

It, unfortunately, happens to me when I'm REALLY enjoying music... without shame, slow, heavy tears which I leave rolling on my face 'til they're cold.

It has nothing to do with unfortunately or fortunately. It is what it is. However, there is a common aspect in this that I might attribute to mechanics of listening experiences. Leaving aside the internal and deep-cognizant reasoning for crying (that is very complex subject and I would like do not go there) there is a common tendency for the moments when the tears are rolling.

If we refer to my 6 level stratification of listening perception

1) Static perception
2) Dynamic perception
3) Emotional perception
4) Esthetic perception
5) Ethical perception
6) Re-Creative perception
7) Not Named Level

.. . then it crying is a stage when level 3 and 4 are well-developed but there is a certain arrest above 4th level. It might be composing, performing, equipment of listening blockade. They all have own ways to block a move to Ethical perception. With a certain training it is possible to navigate own awareness across this barrier and kind of develop the “soft clipping” that engages the 3 and 4 levels but if the music permits it then would take listening awareness further. I experimented with it a few years back – it works very manageable.

If you would like to make your feet wet in this field then try to play with external sedatives and while monitoring listening perception. For instance get a composite (in different “moods”) reference where your perception stops in regards to music that has a lot of context at 5th level (Most of Beethoven for me). Then drink some CH2OH (the amount of alcohol would depend from your own body and habits). Pay attention, now with the very same music that has a lot of Ethical content your perception mostly get developed at levels 3 and 4. So, why do you think the specific interpretation of the work of the specific aspects of playback might not do the same?

I know it is a bit away from the subject of “Great Cello Concertos” but to me cellos, contrabasses and bassoon  and … oboes bring “it” more than anything else…

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