Author: brycon
Date: 2016-02-16 23:33
Quote:
Brycon, you're right but I disagree. I shouldn't speak for others, but the reason I enjoy certain music isn't because it's canonical, it's because it does something special for me. I always liked music, but the first time I heard a significant classical work (Dvorak's New World) it was something new I didn't even realize was possible until then.
I rarely get as deep an automatic involvement with other kinds of music - occasionally something else grabs me, but it isn't as likely as listening to "the canon".
And that may be designed into other kinds of music. My brother is a "Dead Head", who used to go far out of his way to attend Grateful Dead performances. One time he played one of his treasured tapes for me, and I was listening attentively. My brother looked at me and said, "Phil, you're not going to get it by listening." He was right.
Further, to really enjoy great classical music requires attentive listening from me, because the smallest detail might change everything. Having said that, I don't always do it: I listen while driving, writing software, exercising, or playing solitaire. I enjoy the music anyway, but to get the really good experiences from great music I have to follow the details moment by moment, and experience it on several levels. It isn't being prudish, I just have to do that to get what I want.
So, to some extent the "canon" is the canon because it delivers something the other stuff doesn't. Or, the other stuff does other things.
Hi Philip,
Firstly, the canon isn't the same thing as classical music. Even among the composers commonly grouped into the Western canon, some works are excluded, such as Haydn's operas; Wagner's string quartet; and until the 20th century, Mozart's Cosi fan tutte.
Secondly, my point wasn't that we enjoy canonical works because of their status, but that by privileging them, they in turn make demands of us. These pieces become sacred objects, which require us to treat them with a reverence that we wouldn't give to other works (does anyone feel the same obligation to pore over Dittersdorf's markings that they do with Mozart's scores?). And as I said, this reverence also leads us to expect certain things in concert settings--namely, that performers treat the score with the respect it deserves and ditch the mindless showmanship.
Furthermore, this idea of the piece of music as a sacred object implies a godlike creator--the solitary composer genius. And the concert therefore becomes a sort of religious communication. We are hearing the word of god transmitted through the performer, and we don't want our transmission mucked up by musicians' attempts to entertain us. I think this was what you were getting at when you wrote, "all you need from music is the sound." All you need is the composer's voice (the sound), and the performer and the audience are almost passive participants. As I said, I wouldn't mind ditching these sorts of pretensions.
And just to provide something to further think about with regard moving while performing, Alfred Brendel noted in his memoirs that:
"The sound of sustained notes on the piano can be modified with the help of certain movements, which make the pianist's conception of cantabile actually visible... There are many examples of pieces where suggesting things with physical gestures is necessary. Things like the end of Liszt's b minor sonata, where before the three pianissimo b major chords, there is a crescendo on one chord that one has to convey bodily, with a gesture. It is the only possibility."
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