I Can Just See It Part B

Expanding on Sandra’s plight, there are others driven by vision rather than goals. I know people who “want to be a writer someday.” I had a friend once who said, “When I retire I want to be a painter.” Many others want to be golfers, dancers, socialites, woodworkers, potters, rich, and wise. But they are so busy dreaming about being something that there’s no time left over to do anything—and all of those goals can only be achieved by competent and intrepid doing. Without doing, there is no being.

In particular, I am reminded of a young composer wannabe named Dale, who had a vision similar to Sandra’s. He could “just hear the music,” clearly, as though it were being played in his head. But when I asked him to sing it, or play it on his guitar, or write it down—he was stumped. He preferred to fantasize about the image in his mind rather than to realize anything that might establish it unambiguously as music and allow him to share it with others.

Like Sandra, I believe that Dale constructed a spatial, visual image of the result or product of music, rather than imagining music itself. To test this hypothesis, I asked him to describe what he heard. What he described were not sounds, but feelings.

“I hear distant echoes—almost like the faint ripples of my own birth—that come closer and more demanding. I feel swept up by currents that sometimes push me down, washing over me like waves of sadness, and sometimes lift me up, propelling me toward a glorious sense of wholeness that surrounds me with light and makes me feel close to God.” And so on.

Sounds like a great piece of music, doesn’t it? I know I’d sure like to hear it.

But what Dale is describing is an internal mental and physical state—much like the states that any of us can construct when listening to music (or enjoying similar physical and mental pleasures). When he listens to music, he experiences visual reveries, and he associates them with the music itself. So when Dale mentally reconstructs the reveries, he thinks that he is hearing—indeed composing—music.

Dale basically cuts to the chase. That is, rather than wading through a time-consuming sequence of individual auditory gestures, Dale collapses time into a spatial image that is rife with feeling, and then indulges himself in the reveries associated with that affective state. In other words, it all appears at once as a feeling.