SpreadingHappiness.org » Classical Music http://www.spreadinghappiness.org Tue, 18 May 2010 15:07:54 +0000 http://wordpress.org/?v=2.8.4 en hourly 1 A Guide to Enjoy Classical Music (3/3): Techniques for Advanced Listeners http://www.spreadinghappiness.org/2009/11/a-guide-to-enjoy-classical-music-33-techniques-for-advanced-listeners/ http://www.spreadinghappiness.org/2009/11/a-guide-to-enjoy-classical-music-33-techniques-for-advanced-listeners/#comments Sat, 07 Nov 2009 18:43:27 +0000 Nick http://www.spreadinghappiness.org/?p=367 This is the third post in the series “A Guide to Enjoy Classical Music”; the first two posts dealt with A.) Getting Motivated and B.) Enabling an Easy Entry to Classical Music. 

If you’re fortunate enough to have access to classical music, and willing to “invest” a bit more time and effort to explore it further, some of the following ideas may provide some inspiration:

1.   Take a Deep Dive I: Listen to the Piece Many Times Until You Know It Very, Very Well

Our familiarity with a piece seems to play a key role in how much we enjoy it. For example, if someone listens to Beethoven’s Ode to Joy, and they take the time to become well acquainted with the lyrics and melody, they are probably more capable of enjoying it.

What could be the reason for this? I’ve yet to learn a scientific explanation, but maybe it’s because we are more in sync with the piece, knowing what we can expect next and therefore we are inclined to feel more comfortable (i.e. reducing uncertainty and thereby meeting our basic need for security). Or perhaps a certain level of familiarity with the piece is required, allowing us to enjoy the anticipation for certain movements.1

Whatever the reason, for me the joy has always increased after becoming familiar with a piece.2 After listening to Schubert’s string quartet Death and the Maiden for the first time, I instantly felt a connection to this piece. I wouldn’t say I enjoyed it at that time; at least not to the extent it turned out to be enjoyable later.3 

So what’s the takeaway from this – rather well-known – observation? Maybe that we should keep this fact in mind and act accordingly; although obvious, I’ve caught myself several times abandoning a piece without having given it a fair chance, without actively listening to the work several times. I'm certain: the more familiar we are with music, the more rewarding it can be. So let’s give it a decent try – it will probably pay back nicely.

2.  Take a Deep Dive II: Learn More About the Piece

In addition to the above, we can also become familiar with music on an “intellectual level”. This includes all information which helps us to “rationally understand” the piece, i.e. :

o    Which musical era the piece belongs to

o    The circumstances surrounding its creation

o    What the composer intends to express with it  

o    Playing techniques used, why it is difficult to play, etc.

o    How interpretations of the piece can be different (slowly/faster played, more emphasis on certain notes, etc.) 

o    Particularities about special movements in the piece

o    Etc.

I never found this as important as the “emotional familiarity” achieved through re-listening as mentioned above. However, in some cases it can be useful, especially by trying to understand the intent of the composer, what he or she wanted to express with it; this may help us to connect it to the real world (so that we can make sense of it and don’t feel lost).

Jeremy Siepmann’s introduction to Beethoven’s "Pastoral Symphony” or the podcast “Starke Stuecke” (only in German but at least it’s free) are among the easily accessible resources which explain classical pieces with audio examples. I’m sure there are more. If you know of good ones please add in the comment section below!

3.  Take a Deep Dive III: Experience It Your Way… and Identify With It

The key to enjoying a piece is emotional connection. The proposed techniques 1 and 2 from above may help to do that, however there is also another level to this, which I like to call “identification”. This is going beyond feeling familiar with the piece (be it on an emotional or intellectual level); instead it is about making the “story” relevant to us.

It’s no coincidence that Benjamin Zander suggests to think of a personal relative who “is no longer there” when listening to Chopin’s Prelude No. 4 (referring to the video in the last post). By doing so, we give the piece a personal meaning, thereby allowing us to truly identify with it.

A possible suggestion could be to actively try to connect the piece to our world by looking for life associations. For example, we may ask ourselves which experience matches the music well, or we may try to find patterns which remind us of something in our worlds (i.e. when listening to the overture in Mozart’s Le Nozze di Figaro at 0:44-0:48, I picture a waterfall – maybe you see something completely different). It’s absolutely no problem if our associations are not what the composer intended with the piece; quite the opposite, they are likely to be stronger, and longer-lasting as we create them ourselves.4

4.   Try Out Something New

It’s tempting to stick with what we know (familiar = more joy) but that does not broaden our horizons; perhaps we should drill the landscape for new sources of happiness – they may become important once the existing sources have dried up (after being familiar with the pieces we may also experience diminishing returns at some point).5

An easy way to get inspiration is to see what people with similar tastes enjoy listening to. Ivotings.com, one of my websites with a whopping 43 registrants a couple of months of after going live – don’t miss the action -, provides users with an extended version of Amazon’s “Users who liked X also liked Y”, which can also be used for classical music pieces. Who knows, maybe ivotings finally proves to be useful for something.

For a bigger step, we should also think about experiencing entirely new genres. If you’re a symphony lover, why not consider giving chamber music a serious chance. Or, if you’ve only tried concerts so far, why not give opera a try? In case you already like, or love, Verdi and Puccini operas, it may be time to explore what Wagner’s The Flying Dutchman or Weber’s Freischuetz have to offer etc.

In this context, it may be worthwhile checking out CDs such as Jeremy Siepmann’s Introduction to Chamber music, or introductions to opera such as this one or this one.

5.   Take the Freedom To Do What the Piece Requires You To Do

Listening to music may appear as a passive activity at first, but it's not: it stimulates our brains, awakening emotions, inspiring us, creating pictures (sometimes even colours) and much more. It may also make us want to become physically active, which we can do by dancing, singing, tapping our foot on the floor, moving hands, or other movements (“the piece pushed me over” – again referring to Ben’s video in the last post).

Satisfying these needs for physical activity can enhance the enjoyment we get from listening to a piece significantly; that’s why I propose not to allow any pre-learnt inhibitions to prevent us from doing so (i.e. “What would other people say if they saw me moving like that?” – who cares? Everything that maximizes our joy is good as long as it does not come at the expense of others6).

For example, why not sing along with the music if you want to? Learn the lyrics (otherwise lalala is okay too), and give a stunning performance to your bathroom walls (they are docile listeners and won’t complain… trust me I know ;-) ). Or, become a maestro in your mind and conduct Beethoven’s fifth, like Superintendent Skinner does in one Simpsons episode (sorry, forgot which one it was). Whatever it is, allow yourself to enjoy the piece, and let your emotions lead the way.

Incidentally, I believe one of the major drawbacks of attending live concerts are the restrictions: don't move, hum, or speak. These “social norms” impose strict rules when it comes to im “feeling and reacting” to the music. When attending a concert recently, I was fortunately able to stop myself from becoming too expressive; otherwise I’m sure the guys in the white shirts would have come and taken me to the padded cells… again. Hehe.

6.   Learn More Classical Music in General… or Start to Play an Instrument

Knowing more about classical music in general will certainly also help people to enjoy it more, although it is not as much a direct approach like the ones above.

Good sources for learning more:

o    Classical music for dummies (read it myself, nice and informative, but not suited for the newbie to find access to classical music)

o    Explanations of the orchestra’s instruments, either explained by Robert Levine and Meredith Hamilton (I have not tested it, but it has very good reviews) or by Yehudi Menuhin (very good, but in German)

o    Idiot’s guide to classical music (similar to the one for dummies above)

Of course, taking up an instrument is another good way to learn more about – and enjoy – classical music. Taking up an instrument helps us appreciate the work that goes into professional composition, and the commitment of musicians when performing a symphony. Also, playing an instrument comes with several more advantages (i.e. it keeps our brain challenged, we socialize with people, etc.) so if your time allows it, why not give it a try?

All these ideas are merely brainstormed7. I invite you to enrich this post by adding your comments below. How did you find the access to classical music? What methods help you to increase your enjoyment? Please share your experiences and make others benefit from them!

If you’ve read all 3 articles, I congratulate you on demonstrating so much stamina which may also prove useful in some of the not so-good concerts ;-) . If you enjoyed reading these posts, please subscribe to my RSS Feed or Email newsletter! 

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1) I.e. anticipating the “big bang” of a piece like in Strauss’ Thus spoke Zarathustra, or more moderate elements, such as the triangle appearance in Smetana’s Moldau.  This may also explain why people who remember classical pieces well are capable of enjoying it more as they get more value from anticipation.

2) I have heard of people who were “stunned” by listening to a piece the first time; However, this would be no contradiction to what has been said above, only if their enjoyment when hearing it for the second or third time was less (or the same) compared to hearing it for the first time. I assume this is rather unusual (correct?).

3) In other words, the “initial investment” required to get the joy out of the activity (explained in detail in the introduction to this series), does not only apply to classical music as a whole, but to every single piece. The difference is that advanced listeners are more aware of this, and are a little more patient than the ones who are just starting out.

4) Are therefore “creative” people, who can link musical movements to the real world, more capable of enjoying classical music?

On a side note, this may be similar to literature: very often books that allow many interpretations, so that every reader can “read the book his or her way” are successful (as many readers find their individual way to identify with it); it does not actually matter what the author’s original ideas were.

5) Getting to know new pieces is not only useful when we experience “diminishing returns” with the old ones; as different pieces stir different emotions in us, we may find a new piece that provides new dimensions of joy that the ones we already know did not.

6) Incidentally, if people truly like you they are supportive in maximizing your joy, so we should not be too concerned that they don’t want us to move freely to the music.  

7) Originally, this post was intended to be more than a brainstorming of factors that may facilitate the road to classical music, but a step-by-step guide that works for everybody. However, I found this hard to develop; this seems to be because a.) it’s not well understood why we actually like (classical) music, (on a fundamental level) and 2. People like different forms of classical music, making it difficult to propose pieces that enable entry for everyone. Therefore the above list is still a hit-or-miss approach only.

However, as our understanding of music enhances in the future (e.g. what it does in our brains, what moods it requires, for which types of people, which type of music) come new ways of leading others to the joy of classical music, and enhancing it for the ones who already enjoy it… which I very much look forward too! :-)   

]]> http://www.spreadinghappiness.org/2009/11/a-guide-to-enjoy-classical-music-33-techniques-for-advanced-listeners/feed/ 0 A guide to enjoy classical music (2/3): Enabling an easy entry http://www.spreadinghappiness.org/2009/10/a-guide-to-enjoy-classical-music-23-enabling-an-easy-entry/ http://www.spreadinghappiness.org/2009/10/a-guide-to-enjoy-classical-music-23-enabling-an-easy-entry/#comments Sun, 25 Oct 2009 19:16:35 +0000 Nick http://www.spreadinghappiness.org/?p=277 This is the second post in the series “A Guide to Enjoy Classical Music”; the first post was dealing with how to get motivated to give classical music a try. The third and final post will be about techniques for the advanced listener on how to get even more from classical music.

Even if rational reasons are in favour of classical music, it only counts whether we actually take the required steps and give classical music a fair chance, i.e. if we are also emotionally motivated to do so.1 A possible way to ensure “emotional motivation” may be to keep in mind the “Reward/Cost”-relationship of our approaches to classical music, i.e. the question which approaches maximize the joy we get while limiting the “costs” of the approach. For the visual people among us:

Equation to enjoy classical music

The question is: what approaches make this equation as positive as possible for people who are starting out? Importantly, beginners need to experience quickly that the equation can, in some cases, under some circumstances, be positive for them at all, setting emotional “hooks” and getting the more-than-questionable mindset “classical music is nothing for me” out of the way.

Here are some approaches which may have a high joy/investment-ratio for beginners:

1.) “Sneaky” introduction: combine classical music with other (joyful) activities

Diving straight into pure classical music (i.e. where classical music is the only focus) may not be the best approach. Most likely people find easier access when it enters their lives in a more unobtrusive way, giving them the chance to find out for themselves that listening to classical music can be enjoyable. This is no different to many other situations: our motivation is considerably higher for something we feel we have discovered ourselves, and not some “finished product” put on our plate that we are then supposed to use or enjoy.

One (joyful) activity that may be combined with classical music is watching movies. I would not be surprised if some people got their first emotional hook to classical music through movies. This may have been movies with single classical pieces in it (e.g. Carl Orff’s “O Fortuna” in the – rather brutal – movie Excalibur), re-occuring classical themes (e.g. Robin Hood) or movies which have classical music as a core element (e.g. Amadeus). You can find a very good directory of which classical pieces are used in which movies on About.com.

Beyond watching movies, basically every other activity we enjoy doing (as long as it’s not listening to other forms of music) can be accompanied by classical music as background music. For me, for example, this played a key role; I am convinced that if my parents had not played it in our home (while I was doing other things) I would not have found access to it that easily. Importantly, my parents did not try to push it on me (“fully focus on it!“, ”enjoy it right now!” etc.), so it was still background music for me, allowing me to find my own access to it.

It would be good to know what kind of background music is suitable for different situations and moods. Classical music spans a wide field, and people need guidance on what sort of music to play when. I’ve not come across a good guide for that yet (have you?). As a quick fix, it may be recommended to play more “bright” baroque music in the morning (“a little Vivaldi in the background won’t do any harm” – see Benjamin Zander’s presentation below) or Bach / Mozart, and more “deep” symphonic pieces in the evening (e.g. Beethoven or Tchaikovsky, although of course it depends on the piece).

Combining listening to classical music with other joyful activities is more than a screening of pieces to identify the ones we like. It’s getting used to listen to classical music, and more importantly, it’s enhancing the joy we get from it, as repetition and the question how much we know a piece seems to play a key role in the extent we are capable of enjoying it (more about that later).

If you want to introduce your kids to classical music this way, also have a look at articles such as About.com's  Classical music for children or Examiner's How to introduce your child to classical music.

Evaluation: In conclusion, combining listening to classical music with other joyful activities seems to come at a low cost/investment, while leveraging the benefits from other activities we already enjoy doing, making it a possible good entry point for beginners.

2.) Go for the easy accessible "highlights"

Many “emotional hooks” seem to happen as a result of us enjoying specific movements/passages of classical pieces (rarely the whole piece). Below please find some pieces I can think of off the top of my head which contain easy-accessible movements:

A) Energetic (turn up the volume!)

- Beethoven's Freude Schoener Goetterfunken (also the Anthem of Europe):

Click here to view the embedded video.

(or watch this one with a wonderful introduction by Leonhard Bernstein)

- Bach's Toccata und Fuge:

Click here to view the embedded video.

(or this interesting version)

- Beethoven's Fifth Symphony, first movement:

Click here to view the embedded video.

- Rossini's Ouverture to Wilhelm Tell

Click here to view the embedded video.

- Dvorak's New World Symphony, 4th movement

Click here to view the embedded video.

- Bizet's Carmen

- Brahm's Hungarian Dance No. 5

- Richard Strauss' Thus spoke Zarathustra

- Giuseppe Verdi's drinking song from La Traviata or this one

- … or his La Dona e mobile from Rigoletto

- Johann Strauss' Radetzky March

- Mozart's ouverture to Le Nozze di Figaro

…among many others

 

B) Melodic / “romantic”

- Mendelssohn's violin concert, first movement

Click here to view the embedded video.

- Dvorak's New World Symphony, second movement

Click here to view the embedded video.

- Smetana's "Moldau"

Click here to view the embedded video.

- Bruch's violin conert, first movement

Click here to view the embedded video.

- Dvorak's violin concert, first movement

Click here to view the embedded video.

- Dvorak's cello concert, first movement

- Sarasate's Zigeunerweisen

- Schubert's Unfinished Symphony (If you want to give whole pieces a chance, Schubert is not a bad place to start with, as his composing is very song-like, melodic and easily accessible (he’s also called the “king of songs” sometimes). If you like his Unfinished Symphony, you may also try out his “Great Symphony”)

…and many more

 

C) Peaceful / “beautiful”

- Handel's Ombra mai fu from his "Xerxes"

Click here to view the embedded video.

- Mozart's concert for flute and harpe, first movement

Click here to view the embedded video.

- Pachelbel's Canon in D

Click here to view the embedded video.

- Delibes' Flower Duett from Lakme

Click here to view the embedded video.

- Schubert's Ave Maria

Click here to view the embedded video.

…or played by the violin

- Mozart's "Bildnisarie" in his Tamino

- Bach's Chaconne

- Massenet's O Souverain, o juge, o pere (sung by the very likeable Rollando Villazon)

- Donizetti's Una furtiva lagrima

- Puccini's Nessun Dorma in Turandot

- Schubert's Death and the Maiden, first movement

- Rossini's Una Voce Poco Fa in Barber of Seville

…and so many other, I am getting carried away!

 

D) Amusing / “joyful” / “happy” / entertaining

-  Mozart's Turkish Marsh or this one

Click here to view the embedded video.

- Mozart's Eine kleine Nachtmusik, Allegro

Click here to view the embedded video.

(also listen to the other movements)

- Vivaldi's Spring

Click here to view the embedded video.

- Ravel's Bolero

Click here to view the embedded video.

- Schubert's Trout Quintett

- Handel's Water Music

- Bach's Brandenburgisches Konzert (or this one…)

… and many more, waiting for you to get discovered!

 

E) Contemplative / sad

- Beethoven’s Moonlight Sonata

Click here to view the embedded video.

or this one

- Bruch's violin concert, 2nd movement

Click here to view the embedded video.

- Barber's violin concert, 2nd movement

Click here to view the embedded video.

- Theme from Schindler's List

Click here to view the embedded video.

- Schubert's Death and the Maiden

Click here to view the embedded video.

- Chopin's Funeral March

- Barber's Adagio for Strings

- Chopin's Prelude No.4

- Tchaikovsky's Andante Cantabile

- Vitali's Chaconne

…and many more, waiting for you to get discovered.

 

F) Virtuous / Performer is the “attraction”

Finally, some pieces where the performer is in the attraction (in all the ones above, no matter how well the performers played, they were still the composer's messengers; the following pieces, on the other hand, have been primarily composed to give the performers the chance to show their skill). I especially like Evgeny Kissin's playing of Liszt's version of Paganini's La Campanella…

Click here to view the embedded video.

Look at his hands starting from 3:30 – it's crazy! 

Or this one is intersting too.

For well-known movements in classical music, also see this video.

One more note on this section's proposal to listen to "highlights"; The term “highlights” should be used carefully as it may convey the impression this is the best that classical music can offer (which is not the case). It only refers to pieces/movements that may be rewarding very quickly to the listener who is starting out. All other aspects in which classical music can be rewarding are not covered. These pieces/movements may however be useful to motivate the listener to further explore classical music’s capabilities.

Evaluation: This approach requires a minimum of motivation (willingness to click through and listen) but comes at relatively low costs as it’s free and does not require much time (and may also be rewarding for people who are starting out).

3) Use classical music for relaxation

After listening through the pieces mentioned above, stirring up emotions, it feels like a step back suggesting to listen to classical music as relaxation technique. However, classical music can certainly also be that, and also for people usually unfamiliar with it, so it should not be left out here.

Important in this context however would be to avoid the listener getting used to classical music to relax (and getting tired) which runs the risk of nurturing a pawlow-type “classical music => sleep”-reflex2, which may prove prohibitive when exploring classical music’s wealth of capabilities.

Keeping this in mind, it may be suggested to use relaxation music which is not too slow, e.g. the ones listed under "amusing / joyful"-section above. Also, it may be smart to use a compilation of famous classical music pieces, such as this one. While they may not only contain pieces intended for relaxation, they may benefit from the listeners low expectations (after all, we’ve put it on without expecting much), potentially causing a positive surprise, which frequently has a very beneficial impact on somebody’s happiness.

4) Listen/watch easily accessible introductions to classical music

If you find 20 minutes please watch Benjamin Zander’s talk at the TED conference in 2007, in which Ben makes his case for classical music in a very entertaining way:

Click here to view the embedded video.

I also very much enjoyed listening to CDs like this one, giving listeners an easy accessible introduction to Verdi’s La Traviata. This one is in German, however there are also ones in English (I have not tried them out, but they cannot be too bad).

Introducing somebody to classical music via opera can be a smart approach, as it’s not only about the music (but a story – everybody likes stories) and its main instrument is arguably one of the most beautiful, because most natural: the human voice. Wrapped in a funny commentary, it can be made accessible to everyone.

In case you enjoy watching biographies and documentaries, you may also find value in Yehudi Menuhin’s biography (also exists on youtube), of documentaries such as the Art of Violin (guess what’s my favourite instrument ;-) ). Do you know of any other good documentaries / biographies like those? Please add below!

It’s also worth checking out Classicalconvert.com, an interesting blog devoted to bringing classical music to non-classical people.

5) Give it a try when you are feeling good

In combination to the approaches above, it’s a good idea to give classical music a try in situations in which you feel well, so that you are fully capable of receiving classical music’s pleasures, and also start associating classical music with good feelings (now that’s really sneaky! ;-) ).

For me, this especially includes listening to classical music after I’ve worked out, fully relaxed, balanced, and satisfied (e.g. not hungry)3. If possible, I try to get into that emotional state before going to a concert.

Some approaches frequently used to introduce people to classical music sometimes “miss the target”, which may lead the person in question not giving classical music a fair try again for some time (if it went really wrong). Therefore it may be recommended to…

  • Be careful taking somebody to a classical concert

Don’t get me wrong, I love (many) concerts. However, for somebody who has not found access to classical music yet it may be “risky”, as a lot may go wrong, i.e. the “costs” of this approach may prove to be very high. For example, the piece(s) played may simply not be his or her taste, or inaccessible because they are too new to his or her ears; having to sit tightly in a chair and listen through a 40-min symphony which is not “hitting the right tone” can become really uncomfortable (or even more extreme, taking the uninitialized to Wagner’s 14 hour “Ring”…).4

On the other hand, it should also be said that a classical concert can offer several advantages, which are also true for beginners:

- It’s the “real” sound, which is often perceived as still to be something different, going more directly “into the heart” (today’s audio technology is very good, but for some reason there still seems to be a difference)

- The sound is created “right now”, which may have an impact on how we perceive it, because it is more “original”

- We give the piece a real chance by devotedly listening to it (does not allow us to switch channels after one minute) and not being disturbed by other things

In summary, I would not rule out taking a newbie to a classical concert if certain circumstances are in favour of it, e.g. if:

- He/she has already shown interest in the piece played or similar pieces

- And/or if he/she is in a good, relaxed and balanced mood and also willing to listen through more moderate passages

- And/or if the piece played is easily accessible and does not demand too much from ears not used to it (for example, two movements of Schubert’s melodic “Unfinished symphony” should be well digestible, the same should be true for Ravel’s Bolero with its endless repetition of the same theme; both pieces also do not last too long, in case of the first one because it is, well, unfinished ;-) )

If this is not the case I’d suggest to stick to the other approaches mentioned above.5

  • Don’t push too hard

As mentioned above, chances are much higher if we give people the chance to find access to it themselves (although it can be guided with measures like the ones stated above). Sincere motivation is a “tender flower” which should be nurtured carefully…

That said, I’m sure there are also cases in which kids were forced by their parents to learn to play an instrument, thereby getting to know classical music very well and also finding their access to it. However, I believe this is not the approach which includes a lot of joy, and that these people also could have found access through more enjoyable approaches later in their life.

In summary, these are some first ideas potentially facilitating the beginner’s path to classical music. Of course, they will not turn people into the biggest fans of classical music overnight. Most likely the seed planted today will take a bit of time to grow; however, it needs to be planted at some point.

Thanks for reading so far! The next post will deal with some techniques for advanced listeners to get even more joy from classical music. If you don’t want to miss it, please subscribe to my RSS Feed or Email newsletter!

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1) Rational reasons may have an impact on emotional motivation (I hope the ones in the previous post had), but we shouldn’t only count on those as a.) we may simply forget them and b.) they do not work for people less susceptible to rational arguments, e.g. it may be hard to motivate kids that way… (go back up)

2) Similar to the “Harald” => sleep-reflex in the movie “Otto – der Film”. This is an insider for the German speaking community, sorry to you others ;-) (go back up)

3) Or, before listening to energetic pieces, drinking coffee may enhance the enjoyment too. (go back up)

4) In order not to leave anything out: a concert is usually more expensive than borrowing a CD from the local library or listening to it online, i.e. also increasing the cost-side of the equation. (go back up)

5) An acquaintance of mine recently told me of a notable exception to what I’ve said above: His parents took him to a Wagner piece (not considered to be the easiest possible entry to classical music) when he was very young (7 or 8 years old) which left a lasting impression on him. When we are really young, maybe we are more easily and directly impressed by the phenomenal sound (not necessarily the melody) of a piece, setting an “emotional hook” as well, especially as those “hooks” have a very strong and lasting impact when experienced as a child (I believe it would not have had the same effect if he had been taken to the concert as an adult for this first time). That said, it should also be mentioned that it may be more difficult to impress kids that way today (my acquaintance experienced this in the 1940’s) as today’s kids are more used to massive and dramatic sounds (they hear them every time they get nuked by a zombie on their Playstation). (go back up)

 

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