This agitated analytical mind less susceptible to (whole) power of music is a great way of putting it. If underneath everything we are not in flow and at ease with our system sound and it doesn’t have essential rightness the drive to change becomes a fairly ceaseless underlying agitation. Its exactly the same in a landscape design. Until there is right balance, and right flow, form and fit in a design (like in a system) the itching of agitation is never far away.
At stages analysis is clearly important but some spend much less time there and some deliver their creations fairly much whole. I’ve always imagined that’s what Mozart’s brilliantly lit process may well have been. Not the (perhaps more time working the analytical) darker struggle that perhaps was the process of Beethoven. For me being in flow state and the state of union is the final summative state and in that perfect balance of flow, form and cohesive fit is the core of where the full whole perception of music is I figure.
I agree with most of what you wrote. Alas, Beethoven - imagine being a talented composer and turning deaf.
That drive to change is part of the audiophile's
And yet there are millions of people who can snap their fingers and sing along with the car radio. The idea that one cannot be 'emotionally engaged' to music without 'proper sound' - that one needs optimized sound from an exotic stereo system may seem perverse to some to whom music is no less a part of their life than that of an audiophile. I remember being quite happy listening to Hide Tide and Green Grass on a tinny Silvertone stereo.