good enough: the young composer and the search for aesthetics
TRANSCRIPT
GOOD ENOUGH: THE YOUNG COMPOSER AND THE SEARCH FOR AESTHETICS
Kyle VanderburgAesthetics of Music - MUSC 5970
October 30, 2009
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Introduction
What is beauty? Can it be identified, can it be defined, can it even be
put into words? Moreover, how does one define beauty in music? These
questions and many others are at the forefront of a young composer's mind
as he or she begins musical study. While beauty may be the first worry of a
composer, the term "beauty" is not often used. Instead, the sorts of
questions that plague the young composer are formed as "am I qualified as
a composer?" or "am I good enough?" Following the myriad directions music
took in the twentieth century, the answers to these questions have changed
significantly. Over the last century the composer's chief concern has been
finding a suitable audience for a composition rather than the mastery of
musical components. This trend among composers mirrors a similar
phenomenon among the listener. While the composer worries about writing
music beautiful to the listener, the listener too must worry about what
music they find beautiful. This question is not a question of what the
listener finds enjoyable, palatable, or even bearable, as music criticism has
been in existence as long as music itself, showing differences in musical
opinion. Instead, the question becomes whether a listener can find beauty in
music which they do not like or tolerate. In this sense the concept of beauty
in music seems to have moved from a concrete term to a relative one. This
appears to be a recent development caused in part by the abundance of
musical styles utilized in the twentieth century. John Rahn addresses the
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issue when he asks the questions "what is valuable in art, and can music
still achieve it?"1 Rahn says
These important questions resist any definitive or absolute answer, intrinsically. Imagine someone giving the absolute answer to these questions. Inescapably, such an answer would circumscribe the personal artistic space of the answerer, presenting the shape of that space as its essential quality. This is why pronouncements on such subjects are usually interesting when they emanate from people whose artistic space is of general interest, from a Babbitt or Xenakis or Boulez, a Carter or a Stockhausen, a Glass or Cage.2
The future of composed music will depend on the aesthetic sense of the next
generation of composers,3 and the products of this next generation of
composers will be a result of the individual composer's sense of aesthetic
judgment. Cast in this light, how this generation of composers will create
and develop their aesthetic guidelines becomes a question of great
importance.
Hanslick and the musically beautiful
Eduard Hanslick, in his book On the Musically Beautiful, has a great
deal to say regarding what beauty is as it relates to music. He begins this
explanation by defining music in the famous sentence: "The content of
music is tonally moving forms."4 This sentence serves as a key thesis in
Hanslick's book, and due to its importance has been argued repeatedly.
Using this definition, Hanslick moves on to discuss the ability of composers:
1 John Rahn, “What is Valuable in Art and Can Music Still Achieve It?,” Perspectives of New Music 27, no. 2 (Summer, 1989): 6.2 Ibid.3 For more information see Milton Babbitt, Pierre Boulez, Harrison Birtwistle, Brian Ferneyhough, Steve Reich, Franco Donatoni, Louis Andriessen, and Gyorgy Ligeti “Brave New Worlds: Leading composers offer their anniversary preductions and speculations…,) The Musical Times 135, no. 1816 (Jun., 1994), 106-112.4 Eduard Hanslick, On The Musically Beautiful, trans. Geoffrey Payzant (Indianapolis: Hackett, 1986), 29.
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Just as out of the same marble one sculptor carves ravishing forms, the other clumsy botchings, so the musical scales in different hands take on the form of a Beethoven overture or one by Verdi. What makes the difference between these two compositions? That the one represents a heightened emotion, perhaps, or the same emotion more faithfully? No, rather that it is constructed in more beautiful tone-forms5. This alone makes a piece of music good or bad, that one composer puts in a theme sparkling with genius, the other a common-place one; that the former works everything out in new and significant relationships, while the latter always makes his (if anything) worse. The harmony of the one unfolds eventfully and with originality, while that of the other turns out to be not so much flawed as impoverished; the rhythm in the one throbs with life; in the other, it thumps like a military tattoo.6
With this paragraph Hanslick argues that music should be composed (and
for that matter, studied) as a science. This is partially true. All serious
students of music at American universities today are required to study a
battery of theory, harmony, and form, but the chief method by which this is
learned is through analysis of earlier works. While this has been a
fundamental aspect of the educational process of music and continues to be
fundamental to the present, the strict scientific analysis of music does not
guarantee a composer's abundance or lack of success in composing. What
Hanslick fails to fully address is the concept of creativity. The aspect of
creativity that Hanslick does address regards the ability to exhaust a
musical idea over a certain period of time and the inherent requirement in
5 What Hanslick seems to be saying here is the ability of a composer is based on his or her understanding and utilization of musical elements. One example that really appears to support Hanslick is jazz improvisation where the manipulation of musical elements is of paramount importance. This topic is covered in great detail in Ted Gioia, “Jazz: The Aesthetics of Imperfection,” The Hudson Review 39, no. 4 (Winter, 1987) 585-600.6 Eduard Hanslick, On The Musically Beautiful, trans. Geoffrey Payzant (Indianapolis: Hackett, 1986), 35.
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the art of composition to reinvent the wheel every thirty years.7 This idea
allows Hanslick to bypass the concept of creativity in composition.8
Additionally, Hanslick's view of the musically beautiful is that musical
aesthetic is an absolute definition, suggesting that all listeners feel the
same way regarding the content of music. While this thought may have
carried quite a bit of weight historically, the concept breaks down as the
traditional concept of tonality breaks down.9 As tonality has been
transformed throughout the twentieth century, it has allowed the musical
community to journey away from Hanslick's original thought that beauty is
automatically inherent in works that have been composed by composers
who have truly mastered the elements of (tonal) music. Despite the
criticisms of the translation of Hanslick's ideas to a new century, mastery of
the elements of music is an important step in the creation of a
compositional aesthetic.
Composers and Relative Aesthetics
While conducting research for this paper, I had the unique
opportunity to hear composer Daniel Asia speak during the composers
forum at the University of Oklahoma. Regarding the end result of music, he
7 Eduard Hanslick, On The Musically Beautiful, trans. Geoffrey Payzant (Indianapolis: Hackett, 1986), 35.8 Hanslick's omission of composition requiring creativity could be seen as a link to his opinion that a piece of music should be judged based on its content and not on its reference to outside works or influences. This is a major portion of Hanslick’s opinion and can be first found in ibid. 5.9 It is important to note that the translator's attempt to translate tönend to English creates a slightly ambiguous and incorrect statement, and therefore Hanslick's tonality applies not to strict tonality but to any form of tonality or lack thereof. For more information, see Geoffrey Payzant, “Essay: Towards a Revised Reading of Hanslick” in On The Musically Beautiful by Eduard Hanslick, trans. Geoffrey Payzant (Indianapolis: Hackett, 1986), 95.
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stated that a composer must say to him or herself "I believe so strongly in
this piece [of music] I have to let it out."10 Or, a shorter question, "Do I love
the result?"11 This is where applying Hanslick's belief on aesthetic value to
the art of composition becomes questionable. The question becomes "Do
composers write music they find to be unpleasing?" to which the answer
appears to be "no," except in a few cases. The first case is when a composer
chooses to place more importance on the fee generated by composing than
on aesthetics. An example today would be a composer with a classical
background writing radio jingles or other such advertisement material. An
historic example would be Richard Wagner's American Centennial March,
which was criticized as Wagner's acceptance of a commission based entirely
on money.12 The second case in which a composer might write unpleasing
music is when an aesthetically distasteful effect is needed, which is
frequently used and useful in film music.13 The aesthetics of film music are
inherently different than the aesthetics of art music, as film music generally
works to support film, while art music usually stands on its own.14
In asking whether a composer composes aesthetically unpleasing
music one must question the music that lies outside of the realm of
10 Daniel Asia, untitled presentation, Norman, OK, October 22, 2009.11 Daniel Asia, “The Act of Composition,” (presentation, University of Oklahoma Composers Forum, Norman, OK, October 22, 2009.12 Lieselotte Overvold, “Wagner’s American Centennial March: Genesis and Reception,” Monatshefte 68, no. 2 (Summer, 1976): 180.13 For more information regarding aesthetics and film music, see David Huckvale, “Twins of Evil: an investigation into the aesthetics of film music,” Popular Music 9, no. 1 (Jan., 1990); and James Tobias, “Cinema, Scored: Toward a Comparative Methodology for Music in Media,” Film Quarterly 57, no. 2 (Winter, 2003-2004).14 The exception being musical works where extramusical performances are intertwined with music, such as opera and ballet.
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traditional tonal music, such as electronic music and atonal music. In both
of these genres harmony does not serve as an aesthetic basis, instead it is
replaced by form, systematic mathematical calculations, or randomness.
Aesthetics and the Audience
The first major problem with allowing young composers to control
their own sense of aesthetics is that audiences may or may not appreciate
what a composer is trying to say through a piece of music, and composers
may begin their studies writing music completely inaccessible to the
audience. What must emerge is a sort of silent compromise between artist
and consumer which dictates the parameters by which a work of music
must be composed. Composers generally understand this as the phrase
“know your audience,” which would prevent a composer from writing a
serial work for an audience generally accustomed to music of the common
practice period. The same reasoning applies for excluding Bach’s “Art of the
Fugue” from a new music concert.15 Now the young composer not only has
to worry about finding his or her compositional voice but also how to let
that voice speak through the silent compromise of audience connection.
Unfortunately there is no “aesthetic integration in composing” class in the
academic composition curriculum. Instead this process occurs gradually.
What begins to take place in the field of composing is the circular
process of: audience enjoys composer’s music, composer becomes popular,
composer is commissioned to write new work, audience enjoys composer’s
15 This reasoning falls apart when applied to derivative works, like Wendy Carlos’s Switched-on Bach. I mean, really, that’s just awesome.
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music, ad infinitum. A study by Karl Weick, David Gilfillan, and Thomas
Keith titled “The Effect of Composer Credibility on Orchestra Performance”
explores an aspect of that cycle which they call composer credibility. The
main result of the study’s findings was that ensembles performed the music
of a more credible composer with fewer mistakes than the music of a less
credible composer.16 Later rehearsals of the music resulted in fewer
mistakes, bringing the performance of both the qualified and unqualified
composers’ pieces to an equal level, but the implications regarding
perceived composer credibility are important to the compositional
community. If perceived composer credibility affects ensemble
performance, then actual composer credibility is of utmost importance.
Teaching Composition
The art of teaching composition is a musically interdisciplinary event.
A good composer must be the following: a music theorist, to understand the
functionality of harmony, melody, rhythm, counterpoint, and form; a
musicologist, to understand the historic use of forms and instrumentation; a
performer, to understand the mind of a performer and how best to notate
music so that it is clear and easily grasped; and an orchestrator, to
understand timbre and instrumental function.17 All of these roles must be
16 Karl E. Weick, David P. Gilfillan, and Thomas A. Keith, "The Effect of Composer Credibility on Orchestra Performance," Sociometry 36, No. 4 (Dec., 1973): 435-462.17 This is a condensed list which does not include the more commercial activities of professional composers such as publishing, promoting, research, keeping up with current technologies, or any of the myriad other activities in which composers take part.
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balanced to create a well-rounded composer, and learning these roles
seems like an insurmountable goal for the beginning composer.
Stan Bennett, after interviewing eight professional composers in the
1970s, tried to explain the compositional process.18 In the case of these
eight composers, the "mean age when the first composition occurred was
12.1 years, with the range of 4-22 years of age."19 Although these
composers began composing for a variety of reasons, all agreed that
development had occurred in their musical composition.20 A more recent
study conducted in 2002 tracked the compositional processes of four high
school composers in an attempt to discover the creative process by which
music was composed. In this study, none of the four high school students
had any previous experience composing art music.
The compositional processes graphed by Bennett regarding
professional composers21 and by Kennedy regarding high-school
composers22 show interesting parallels. Both models23 start with thinking or
a germinal idea,24 which is then developed or refined, which then becomes a
completed work. More interesting than the parallels, however, are the
differences. Bennett's model is a crisp, concise chart of compositional
choices, while Kennedy's model shows a process that branches in multiple
18 Stan Bennett, “The Process of Musical Creation: Interviews with Eight Composers,” Journal of Research in Music Education 24, no. 1 (Spring, 1976): 3.19 Ibid., 5.20 Ibid., 6.21 Ibid., 7.22 Mary Kennedy, “Listening to the Music: Compositional Processes of High School Composers,” Journal of Research in Music Education 50, no. 2 (Summer, 2002): 105.23 Both models are reproduced in appendix I of this paper.24 Kennedy's model starts with "listening as preparation" which is considered training in Bennett's schematic and is therefore not shown. It is omitted here for the sake of clarity.
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ways, showing the high school students’ attempts to make sense of their
musical landscape. Kennedy also notes high school composers "had a
tendency to procrastinate and wait until the last minute to work on their
acoustic pieces."25 Additionally, although Bennett noted the elaboration and
refinement step in his model, Kennedy noted that the students in her study
worked without much revision, allowing for little refinement and
development. Looking at these two models of the compositional process, the
lack of development in Kennedy's model is the largest contrast. As
composers mature, it seems, the developmental process becomes a more
important part and the entire compositional process becomes streamlined.
In addition to mapping the compositional process, Bennett also
compiled a list of thoughts the interviewed composers had regarding their
formal compositional studies. One phenomenon Bennett observed is that
four of the eight composers interviewed were not impressed by their
compositional studies and, quite the opposite, were disillusioned by them.26
However, despite this disillusionment, "some indicated that they needed the
rigorous background provided by disciplined study."27 This greatly contrasts
Kennedy's finding that notes novice composers are prone to become
complacent with a work rather than work toward developing an idea.28
25 Mary Kennedy, “Listening to the Music: Compositional Processes of High School Composers,” Journal of Research in Music Education 50, no. 2 (Summer, 2002): 100.26 Stan Bennett, “The Process of Musical Creation: Interviews with Eight Composers,” Journal of Research in Music Education 24, no. 1 (Spring, 1976): 6.27 Ibid.28 Mary Kennedy, “Listening to the Music: Compositional Processes of High School Composers,” Journal of Research in Music Education 50, no. 2 (Summer, 2002): 107.
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One aspect of musical composition not explored by Kennedy is the
aspect of inspiration. Bennett offers some basic feelings or states in which
composers find themselves. Tranquility, security, and relaxation all play a
major role, but none of these adequately describe the inspirational process
as it relates to composition.29 Several composers indicate what first pushed
them toward becoming a composer, but there is no significant mention of
compositional inspiration.30
Developing Aesthetics
When asked for whom he wrote, Igor Stravinsky replied "The
Hypothetical Other"31 which suggests that Stravinsky had an audience in
mind while composing, and the same is likely true for all successful
composers. But this outlines a more important question: "What is this piece
of music about?" This question has a variety of implications which must be
addressed on several levels. If the composition is programmatic music,
these choices become slightly easier as the subject matter will likely
suggest the artistic path of the composer. Regardless, many decisions must
be consciously (or subconsciously) made regarding the content, form,
harmony, development, and even ethics32 of a composition. In early works of
student composers, these decisions are made subconsciously (if at all,) 29 Stan Bennett, “The Process of Musical Creation: Interviews with Eight Composers,” Journal of Research in Music Education 24, no. 1 (Spring, 1976): 10-11.30 Ibid., 5-6; John Adams, Hallelujah Junction: Composing an American Life (New
York: Farrar, Strauss and Giroux, 2008), 2031 Milton Babbitt, “On Having Been and Still Being an American Composer,” Perspectives of New Music 27, no. 1 (Winter, 1989): 112.32 This opens a door to a different argument, but Ken Stephenson asserts the acts of "composition, performance, and listening" to be human acts and therefore potentially good or evil. For more information, see Ken Stephenson, “Reforming Music Theory: God’s Voice and Balaam’s Ass,” Christian Scholar’s Review 35, no. 2 (2006).
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while advanced students become more concerned with the decisions they
are able to make regarding a composition. This active engagement in the
compositional process shows an increased level of academic and
compositional maturity and is an important step in the creation of aesthetic
taste. These decisions, if they are based on good judgment rather than on
whim, generally come from a great deal of listening and analysis of earlier
works. For reasons such as this, the compositional curriculum is structured
with several years of music theory and analysis and several semesters of
music history. Unfortunately, on the undergraduate level a study in
compositional decision making is not emphasized, as this process is usually
reserved for graduate study. Additionally, if compositional study is pursued
without a mentor or teacher in composition, these decisions must be made
by trial and error. While an effective method of developing aesthetic taste
and partially required in conjunction with any other method, trial and error
alone is a significantly slower method. Additionally, too many errors
produced by this method could have negative effects as discussed earlier by
Weick, Gilfillan, and Keith.
One problem that has been introduced in recent years is the problem
of aesthetics as it involves electronic music and computer-composed music.
While the question of taste as it refers to produced sound can be studied,
the question remains whether computer-composed scores have aesthetic
value despite the lack of human creativity, or if computer-composed scores
are simply the result of mathematical calculation. Gottfried Michael Koenig
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answers this problem by suggesting aesthetic integration in computer-
composed music as "the process by which the data of the computer printout
are transformed into the 'aesthetic object' we hear as a performed piece of
music."33
Conclusion
While there is no clearly set way in which a student composer makes
the transition aesthetically to a professional composer, there are several
ways in which a composition student gains a sense of aesthetic judgment.
The first, as noted by Kennedy and Bennett, is the broadening of the aural
palette through listening to works by other composers. In many student-
teacher situations a great deal of the works studied are works by the
teacher, allowing the teacher to impart a sense of musical wisdom to the
student. Additionally, many networks of composers have been established
during the last century, allowing composers young and old to communicate
musical ideas as well as ideas specific to composition34. A third method by
which aesthetic judgment is developed in the young composer is simply
through the utilization of trial and error. While this may not be the fastest
method of developing musical taste, it is eventually successful. A fourth
method is through the conscious decision making explained earlier.
However, despite the identification of these methods of assembling
33 Gottfried Michael Koenig, “Aesthetic Integration of Computer-Composed scores,” Computer Music Journal 7, no. 4 (Winter, 1983): 31.34 The internet has made the creation of these networks much more feasible. A small sampling of these groups are the American Society of Composers, Authors, and Publishers; Society of Composers, Incorporated; the American Composers Forum; Broadcast Music International; and the National Association of Composers, USA.
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aesthetic judgment in music composition, no single method will be entirely
effective when used alone. Instead, a combination is recommended to create
a fully well-rounded composer, which is largely how the compositional
curriculum in American universities today is structured.
The American composer Milton Babbitt, writing in 1989, commented
on Stravinsky's "hypothetical other," simply stating
I--who have been obliged too often to confess that I try to write the music which I would most like to hear, and then am accused of self-indulgence, eliciting the ready admission that there are few whom I would rather indulge,--I am prepared to confess that I, too, have composed for a Hypothetical Other, but--to paraphrase another American thinker--I have met my Hypothetical Other, and he is I.35
Here, Babbitt (in his fifth decade of composition) explains his aesthetic
sense as an extension of himself, showing just how closely intertwined a
composer's creative judgment should be to the process of composition.
35 Milton Babbitt, “On Having Been and Still Being an American Composer,” Perspectives of New Music 27, no. 1 (Winter, 1989): 112.
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Appendix I: Compositional Process Schematics
Figure 1From Stan Bennett, “The Process of Musical Creation: Interviews with Eight
Composers,” Journal of Research in Music Education 24, no. 1 (Spring 1976): 7.
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Figure 2From Mary Kennedy, “Listening to the Music: Compositional Processes of
High School Composers,” Journal of Research in Music Education 50, no. 2 (Summer, 2002): 105.
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