We've good composers--everybody knows John Williams, and there are plenty of others writing in classical styles, but they generally write for movies or play--and probably ads too. Not for concerts. I've not found much recent concert classical music to be memorable, even when it isn't unpleasant.
A review of The War on Music finds the book's thesis inadequate (postwar suppression of music the Nazi's liked and things they disliked), but its critique accurate:About one thing, though, he is absolutely right. He writes with derision about the “trinity” of postwar music: the donor (usually the government), the critic (not infrequently an idiot) and the institution (the university that employs the composer, the orchestra that commissions his music). It’s a nice arrangement, Mr. Mauceri remarks, but it “leaves out something quite significant: the audience.”
Wright has a somewhat polemical attempt to understand why recent efforts in books and movies have often been dull. Painting and sculpture have been famously weird for decades, and "performance art" seems to delight in nonsense and chaos. An old joke says that "Modern art is what we got when painters quit painting women and decided they had a better idea."
Francis Schaeffer suspected that the modern world slowly came unmoored from Christianity, from tradition, and finally from reason, with the disconnect starting with the more rarified disciplines (philosophy) and working its way out through the rest of culture.
It's hard to see how to maintain a connection to tradition and roles when you're hooked on novelty. After a while novelty-hunger corrodes everything else: nothing else matters as much.
Hat tip to Maggie's Farm
No comments:
Post a Comment