Klarinet Archive - Posting 000031.txt from 2009/01

From: "Colin Touchin" <colin.touchin@-----.com>
Subj: [kl] music?
Date: Sat, 03 Jan 2009 02:18:01 -0500

Mm, yes, I think I do feel aggrieved that the world of music I love - classical
- is separated from its home - Music; but it's also because Music is used to
include several areas which are inherently less musical. OK, this can bring
threads together - what do I mean by inherently musical? Is rap musical, is
serial composition musical? etc.
We all seem to agree that elements we can define, such as rhythm,
melody, harmony, can be observed to be present to greater or lesser
degree in all forms of sounding expression (which includes language itself
and all spoken languages as much as artificially created instrumental
sounds and vocalised sounds, including singing without words, humming,
linguistic elements used for artistic effect - rrrr, falala, etc.). We've also
touched upon the element of repetition - is it necessary or a hindrance to
construction? - and aimed to measure the output of an acknowledged
genius - Mozart (and how innovative he may have been or not) - against a
generalised unnamed rapper.
We've also revealed personal views and aimed to discover underlying
truths.
Before all this debate though, we received patterning from our teachers,
society, the broadcasts we innocently soaked in, the media proportion of
what matters (99% "popular" - widest sense - v. "classical" - ditto, an
increasing ratio as film/advert/trailer/tv-talk-show all employ non-classical
music), and this patterning is different for us all, making our receptors
incapable of tuning in to the same wavelengths of argument. So we can
search out those definitions, yes, but can we find a base level from which to
start the whole debate afresh?
Many of us, I feel, like the idea that we can measure (by analysis or refined
personal instinct) the elements of rhythm, melody, harmony in each art-
form at issue, but we can, amongst other parameters, also include duration
of whole piece and proportions of each of those elements within the piece -
how the creator uses that proportion to maintain the integrity of the
message, whether aimed at a specific audience, written for a specific
commission and circumstance, or created with no intention of the music
ever being shared by anyone (the ivory-tower composer and home-studio
rap-recorder - of all generations - whose scores/tapes never get heard also
deserve attention here). Does it matter that there is no audience or a
limited audience? - the aim of communication is from one soul (or group) to
another in the first place, followed by some form of interaction or dialogue?
- what response do we as a world society give to classical music, to rap, to
other forms? - is it dialogue or only one-way posturing? - if those who hear
do not wish to respond they can and do choose alternative dialogues to get
involved in, just as at great parties of mixed company.
Is it only relevant at a certain period of history? - is rap doomed to die after
50 years, as many forms of the great Western tradition also died in turn? -
does this make any of these forms more or less valuable in their
appropriate time and place?
Are there parallels/lessons with painting, sculpture, literature, newer forms
as photography and lithography, video installations, moving sculptures,
ballet, etc.?
I know I don't like rap and Country & Western and will gladly receive
recordings of anything else from any period from all over the world from
friends to listen to, add to my collection, add to my experience, but I
haven't yet decided WHY (though I do have some elemental analysis to
help me) I am prejudiced against those two particular forms - but I do know
it's more likely to be social prejudice more than artistic critique which
inherently created my basic reactions from first exposure. Other than that I
acknowledge I don't need those particular expressions in my life, but I do
positively NEED all others. And I love the fact we can have such a
discussion. Happy New Year's listening, Colin.

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