My apologies for the laziness of posting someone else's words (!), but I want far more people to be aware of Steve Soderberg's extremely acute insights into where we’ve come from, where we are, and the perils of where I fear we may be heading on the path of so-called serious music, art music, contemporary classical music, or however it is characterized these days.
Steve is Senior Specialist for Contemporary Music in the Music Division of the Library of Congress where he plans and coordinates internet, concert and collections-related projects focused on American contemporary classical music. He is also an authority on compositional and mathematical music theory as well as a prodigious thinker and commentator on new music in general and is a very significant figure in the contemporary American music landscape.
By way of introduction I want to paste his post ‘Prelude’ from Tap the Knot: a beautifully concise meditation on the perversities (or if you are of the brother/sisterhood, the glories) of being a C20th/C21st century composer.
It was thirteen or fourteen years ago that I wrote a short essay, "Riemannian Variations on a Theme by Milton Babbitt." The "theme" running through this essay was something I called a "Babbittian question" which I defined as a problem whose solution is likely to result in further questions. Nowadays I think of it even more cryptically as a question whose only correct answer is another question. Much more on this idea in later posts. But for now just try to hold this odd thought when reading the following re-edited paragraphs from the same essay:
Around 1900, give or take a quarter century, Western music's Common Practice died. But the hole it left was almost immediately filled with a different kind of commonality that survives with a vengeance to this day.
Here's the situation.
On the one hand it is nearly impossible to imagine Mozart sitting down before a blank sheet of manuscript paper and asking himself, "How shall I arrange the twelve notes this time?" On the other hand it is equally difficult to imagine any composer of our present age sitting down in front of a blank sheet of virtual manuscript paper and not asking some version of that very question. Even the "neo-tonalist," simply trying (intuitively?) to write some of that good music left to be written in C major, at least feels its ominous presence.
Our current language points to the problem. If we were to utter words like "precompositional design" or "compositional algorithm" to Mozart, he would no doubt stare blankly at us. And if we were to mention "compositional theory" he might respond, "What other kind is there?" Borrowing a phrase from Michael Colgrass, "Instead he just wrote music. Poor soul."
So here it is. Laid bare. The truly radical core of the twentieth-century revolution in music. The single thing binding together the most antagonistically disparate minds.
We have become self-conscious.
Now, after the Great Demise, we must think about it -- theorize if you will -- before we compose. Whether this is a one-time event beginning our career or a re-evaluation mid-career or, literally, every time we sit down to make a new piece of music.
Whether we want to be serialists, atonalists, diatonicists, minimalists, maximalists, spectralists, microtonalists, fractalists, quasi-anarchists (even John Cage chose to use the I Ching), or proud naifs ...
before we get down to work -- before we can create -- before we can compose, perform, listen, judge and bloviate -- there are decisions to be made and questions to be answered.
But what questions?
And do they have a common source or thread?
Perhaps they are all models of the same quest-
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