Finding Meaning in New Music

In art, I notice there is often a tension between the notion tradition and novelty. Artistic movements like Impressionism, Modernism and the Avant-Garde are responses to this tension.  Some might argue that Post-Modernism seeks to negotiate the conventional and contemporary.  This dialogue exists across disciplines and is communicated across mediums.  In Alex Ross’s article “Why do we hate modern classical music?” (2010) He tackles the issue in a discipline and musical genre that is often associated with the past.  The tenets of classical music (and Opera) are firmly rooted in tradition and history.  He laments the lack of acceptance or tolerance contemporary audiences seem to have for contemporary classical music.

Screenshot of  a "Guess the opera" post from the Facebook Group Page for
"Against Modern Opera Productions"

Exposure is a major factor to embracing new art forms. While I think the human brain is hardwired for simple tonality, it is merely a foundation for growth.  In his article, Mr. Ross fails to address that infants are exposed to many sounds in-utero, the most dominant being that of the mother's heartbeat. All internal bodily functions follow its steady rhythm with only variations in speed. It doesn't get much simpler than that.  As far as the infant's visual preference to representational images, it's a preference that functions as a foundation for further learning about the world visually. 

The fact is people rarely challenge themselves past, the familiar. I think this is why we reject new art forms, at least initially.  If it is not recognized, there can be no connection. The audience is alienated by the assumption that they should embrace something merely because it is new. They too expect, and expectation is a product of recollection. However, exploration through expression is what motivates most artistry.  The person who is concerned with exploration is far less fazed by the new. More poignant is how something new can relate to the old and still be fresh and progressive. People want art works to initiate a visceral response inside themselves that draws them in.  They want to be evoked, or exposed. It is up to the artist to express common points of reference to use these responses as pathways to connect with their audience.  I find this is what is missing from many contemporary music and art forms. Many contemporary artists are more concerned with showing a particular intellectual prowess, than making anyone feel anything. While I understand the overall tone of his article, I disagree with Mr. Ross' final statement that "What must fall away is the notion of classical music as a reliable conduit for consoling beauty – a kind of spa treatment for tired souls." This can be said for countless art forms.  So then, what must be said for art? The beauty lies in exploration, discovery, connection, and collaboration.  Once the work lacks any of these elements, it risks becoming superficial. Whether the subject is introspective and brooding, or light and ebullient, beauty brings us back to that place of childlike transparency where every experience not only informs of material existence, but advances our intellectual and emotional paradigms to help us navigate our relationships and create meaning.  

Works Cited

Ross, Alex. "Why do we hate modern classical music?" 28 November 2010. The Guardian. 18 September 2013 <http://www.theguardian.com/music/2010/nov/28/alex-ross-modern-classical-music>.