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Do you listen to music as you work with your coins? What do you listen to?
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9 posts in this topic

No. I prefer to concentrate on what I'm doing. If I'm listening to music, then that is what I am doing. I despise the noxious "background imitation music" forced on people at so many venues, and I also question the poor business practice of wasting money (i.e., lost profits) by paying for the useless junk.

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No. I do not. I require absolute silence and no distractions when I am doing anything with coins including inspecting, winning auctions, cataloging, or preparing submissions. I cannot afford to make a mistake as I am involved with acquiring raw coins and submitting them. Since grading fees have gone up significantly in the recent decade, and my collecting has shifted to acquiring more expensive coins, I need to be focused on everything I am doing. I can't afford even a submission paperwork error and end up having to resubmit when it is costing $40 or more just for the grading fee per coin. I need to keep my head clear and my mind focused.

Now, when it comes to just about anything else (except for prayer), I want/need my tunes. As for what kind, anything but country.

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I usually have classical, jazz or sometimes 20s,30s,40s music playing softly as I conserve or catalogue coins. When big auction wins happen, I play MONEY by Pink Floyd or even sometimes the Theme from 2001 Space Odyssey....my coin lab doubles as my music studio.

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Posted (edited)
On 6/2/2024 at 6:07 PM, Mike Meenderink said:

I usually have classical, jazz or sometimes 20s,30s,40s music playing softly as I conserve or catalogue coins. When big auction wins happen, I play MONEY by Pink Floyd or even sometimes the Theme from 2001 Space Odyssey....my coin lab doubles as my music studio.

The opening of Also Sprach Zarathustra (called "Sonnenaufgang" (Sunrise) or "Dawn" by the composer, and in the key of C Major) is a fanfare, and not the theme of the work. It is built on a 3-note motif of C-G-C. Each of the other 8 sections also have their own motif and loosely follow (within the composition's basic four-part structure), sections of Friedrich Nietzsche's philosophical novel. Motifs flow and mix throughout the composition, much as ideas mix in our thoughts. After the 1896 premier in Berlin, Strauss wrote: "I did not intend to write philosophical music or to portray in music Nietzsche’s great work. I meant to convey by means of music an idea of the development of the human race from its origin, through the various phases of its development, religious and scientific, up to Nietzsche’s idea of the Superman." That quotation is the fundamental "Why" the fanfare was used in 2001....it describes the film in a few notes and a shift from C-Major to c-minor. One might say that "Sunrise" IS THE FILM's THEME and --script compressed into a creative singularity.

[There's a parallel line in a song I wrote for my daughter:

"Standing on a margin of past and future present; Looking for a rainbow in a noisy empty space." ]

:)

 

Edited by RWB
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