To understand music is to recognize place. Life is a soundtrack. This too is accounted for by neurochemistry, as Levitin writes.
Each time we hear a musical pattern that is new to our ears, our brains try to make an association through whatever visual, auditory and other sensory cues accompany it; we try to contextualize the new sounds, and eventually, we create these memory links between a particular set of notes and a particular place, time, or set of events.
Recorded in December of 1964 and released in 1965, A Love Supreme is Coltrane’s personal declaration of his faith in God and his awareness of being on a spiritual path. “No road is an easy one,” writes Coltrane in a prayer at the bottom of his own liner notes for the album, “but they all go back to God.”
Milo describes Nannerl’s fate: “left behind in Salzberg” when she turned 18. “A little girl could perform and tour, but a woman doing so risked her reputation…. Her father only took Wolfgang on their next journeys around the courts of Europe. Nannerl never toured again.” We do know that she wrote music. Wolfgang praised one composition as “beautiful” in a letter to her. But none of her music has survived.
The question may remain an academic one, but the life of Nannerl has recently become a matter of popular interest as well, not only in Milo’s play but in several novels, many titled Mozart’s Sister, and a 2011 film, also titled Mozart’s Sister, written and directed by René Féret and starring his daughter in the titular role.
For The World Is Sound at the Rubin Museum of Art in Manhattan, the entire building is treated as an instrument.