In her recent essay in the New Yorker, novelist Zadie Smith recounts her listening history with the music of Joni Mitchell–specifically, Mitchell’s 1971 album Blue. Here is the title song from the record:
Smith describes encountering Mitchell’s idiosyncratic and alternate tuning jazzy-folk music for the first time while in college and hating it. But years later she hears the same music on the radio while taking a road trip with her husband. This time, surprisingly, she loves Mitchell’s album and it makes complete sense to her. Smith wonders about this shift in her listening history: “How is it possible to hate something so completely and then suddenly love it so unreasonably? How does such a change occur? (…) It’s not even the content of the music that interests me here. It’s the transformation of the listening.”
Smith doesn’t have a clear answer to the questions of how and why her listening changed over time and “the inconsistency of identity, of personality.” But the shift in her musical taste inspires her to muse on how she might have become a different person had she listened to and been a fan of certain records and musics when she was younger: “What kind of person would I be if I knew this album at all…?” And she articulates what makes it difficult for us, as we get older, to get into musics that are new to us and differ substantially from the sounds with which we grew up: “Shaped by the songs of my childhood, I find it hard to accept the musical ‘new’, or even the ‘new-to-me.'” Then Smith points out a contradiction many of us may share and which may help explain why new music can be hard to metabolize: “For though we recognize discontinuity in our own lives, when it comes to art we are deeply committed to the idea of continuity.”
I have written on this blog previously about some of my listening experiments. Reading Smith, it strikes me that we might learn the most about our musical tastes by deliberately listening to music we don’t like or don’t think we like and making note of that experience. I have been trying this lately as a way of mapping my tastes and to some extent I’ve learned some things. (“This is way too aggressive for me.” Or: “The rhythm isn’t interesting.”) But the listening experimentation can go further than simply making us aware of the songs that shaped our childhood (when we musically came of age) or figuring out what we do and don’t like. My experience so far has me wondering whether or not our tastes are fungible to the point that they can actually be reset. If there were a “super” listener that’s exactly what he or she would be able to do: appreciate everything anew with each listen, finding deep meaning in every idiom, unconstrained by personal listening history. The super listener would hear with ears and sensibilities truly wide open.