Music, in all its multifarious styles and idioms, is everywhere, 24 hours a day. It never rests, and we can hear just about everything of significance ever composed, performed and improvised, at the touch of a button, on recordings and on the radio. If we live in or near a large town or city, we can attend a concert (or two) every day of our lives if we have the inclination. In this brief investigation into the effects of all this I will be concentrating on classical- or “serious” music, but the same points made here could be made of popular music, jazz and “world” music –they are all continuously available on the air, on disc, on line and in “live” performance.
Thus, regarding classical music, we may perceive several differing, and sometimes opposed effects of its proliferation and availability. On the positive side, we are now in the situation where we can get to know very much more than our predecessors. Next to nothing is now out of our reach, whether it be some obscure Medieval motet, a 19th century piano piece by a forgotten minor composer, or the very latest work by a composer living and working in say, Lithuania or some equally remote region. All the great masterpieces of the past five or more centuries are regularly performed, or failing that, recorded, often numerous times. Works of lesser stature by minor composers continue to be rescued from oblivion and given their chance on disc and in the concert hall. In addition to this a steady stream of new music by composers from all six inhabited continents is performed and recorded.
Table of Contents
1. IS THERE TOO MUCH MUSIC?
1.1 The ubiquity of music
2. Is music special anymore?
3. The divine origins of music
Objectives and Topics
This work examines the contemporary state of music by analyzing the dual tensions between the massive quantity of available musical works and their perceived value in modern society, questioning whether constant accessibility leads to devaluation.
- The impact of musical ubiquity on the creative process for contemporary composers.
- The devaluation of classical and serious music through commercial and environmental misuse.
- The shift from music as an aesthetic pursuit to a utilitarian commodity.
- Historical perspectives on the divine and mysterious origins of music.
- The responsibility of music educators in fostering discernment and musical judgment.
Excerpt from the Book
The ubiquity of music
Music, in all its multifarious styles and idioms, is everywhere, 24 hours a day. It never rests, and we can hear just about everything of significance ever composed, performed and improvised, at the touch of a button, on recordings and on the radio. If we live in or near a large town or city, we can attend a concert (or two) every day of our lives if we have the inclination. In this brief investigation into the effects of all this I will be concentrating on classical- or “serious” music, but the same points made here could be made of popular music, jazz and “world” music –they are all continuously available on the air, on disc, on line and in “live” performance.
Thus, regarding classical music, we may perceive several differing, and sometimes opposed effects of its proliferation and availability. On the positive side, we are now in the situation where we can get to know very much more than our predecessors. Next to nothing is now out of our reach, whether it be some obscure Medieval motet, a 19th century piano piece by a forgotten minor composer, or the very latest work by a composer living and working in say, Lithuania or some equally remote region. All the great masterpieces of the past five or more centuries are regularly performed, or failing that, recorded, often numerous times. Works of lesser stature by minor composers continue to be rescued from oblivion and given their chance on disc and in the concert hall. In addition to this a steady stream of new music by composers from all six inhabited continents is performed and recorded.
Summary of Chapters
1. IS THERE TOO MUCH MUSIC?: This chapter introduces the core problem of musical ubiquity and the tension between the sheer quantity of available works and the potential loss of perceived value.
1.1 The ubiquity of music: This section details how constant access to recordings and performances impacts our relationship with music, focusing on classical music as a primary case study.
2. Is music special anymore?: This chapter investigates how the commercialization and constant background presence of music in everyday life diminishes its status as a significant art form.
3. The divine origins of music: This chapter contrasts modern, secularized views of music with historical and mythological perspectives that viewed music as a sacred or mysterious gift.
Keywords
Music, Quantity-aspect, Value-aspect, Ubiquity, Classical music, Creative urge, Modern technology, Aesthetics, Musical quality, Divine origins, Commercialization, Musical education, Minimalism, Sound, Cultural history.
Frequently Asked Questions
What is the central premise of this work?
The work explores whether the modern, constant availability of music creates an environment where the sheer quantity of accessible works leads to a decrease in the perceived value of music as an art form.
What are the primary themes discussed?
The text focuses on the ubiquity of music, the difficulties faced by modern composers, the commercial misuse of serious music, and the loss of the sense of mystery surrounding music's origins.
What is the author's primary research goal?
The goal is to challenge the reader to consider the consequences of "too much music" and to argue for a return to a more deliberate and appreciative engagement with musical works.
Which scientific or analytical approach is used?
The author employs a critical, essayistic approach, synthesizing historical, cultural, and sociological observations to evaluate the state of music in contemporary life.
What is covered in the main body of the text?
The text covers the accessibility of music, the creative struggle of contemporary composers against the weight of historical works, the commercialization of art-music, and the role of educators in teaching musical judgment.
What key terms define this publication?
The work is defined by concepts such as musical ubiquity, aesthetic fulfillment, creative urgency, and the distinction between music as an art form and music as a consumer commodity.
How does the author view the role of modern technology in music consumption?
The author acknowledges that while technology provides unprecedented access to music for scholars and listeners, it also contributes to the "background" status of music, often stripping it of its artistic significance.
What is the significance of the historical and mythological references?
These references highlight that, historically, music was revered as a divine or mysterious gift, a perspective that the author suggests has been largely lost in modern, utilitarian society.
How does the "No Superfluous Music Day" proposal summarize the author's argument?
It serves as a humorous but poignant critique of the constant, often unwanted presence of background music in public and private spaces, advocating for silence as a way to restore value to music.
What specific critique does the author level at contemporary music education?
The author criticizes the tendency to treat all forms of music with equal respect and the usage of music as a tool for academic or athletic achievement rather than studying it for its own aesthetic value.
- Citar trabajo
- Michael Regan (Autor), 2012, Is there too much music?, Múnich, GRIN Verlag, https://www.grin.com/document/195266
