The essays are divided into three sections: those featuring some of the composers whose music has been of particular significance to me; then a group of pieces on compositional matters including aspects of style and form such as minimalism, improvisation and repeats; and finally a miscellaneous group on diverse topics including education, the sonic environment and the meaning of music and art in general.
The final essay entitled “Explorations” is a summary of those many enthusiasms that I have indulged in over the years, but actually, all the essays are attempts at sharing my love of music, sound, literature and places without in any way pretending to be authoritative. In fact I discovered that the more I try to write about a subject dear to me, the more aware I am of not knowing nearly enough about it. Therefore I plead guilty if it is levelled at these pages that enthusiasm outpaces concrete knowledge, although I would hope that it could not be said of them, as John Butler Yeats once said of his more famous son’s opinions, that they are drawn “from the depths of (my) ignorance”. I have tried not to theorise, feeling that there are altogether too many theories in the world. Some of these items celebrate, some explore. They are simply the results of numerous interests which I just do not want to keep to myself any longer. Whether this is wise or not - let the reader judge. The least I can hope is that I might stimulate others to explore some of the subjects which have inspired and indeed kept me going (mentally that is) through six decades.
Table of Contents
Introduction
A Note on Palestrina
Hesse, Busoni, Mozart & Immortality
Harmony & Monody in Chopin
Thoughts on Brahms
Liszt’s Late Works for Piano
A Few Words on Puccini
Improvisation and Western Classical Music
Methods
Minimalism
The Essence of Jazz
Introduction
Why is some music jazzy?
Jazz harmony and polyphony
Influence
Jazz and the classical musician
The jazz musician
Later developments
The Exhaustion of Musical Resources?
The Composer at the Crossroads.
The Process of Composition
Starting points
Continuity
Voices, instruments & performers
Finishing touches
Art as Alchemy
Apt for Voices or Viols
The inexorable rise of instrumental music
Repeats
Music as Meaning ...?
A Personal View
Is There Too Much Music?
The ubiquity of music
Is music special anymore?
The divine origins of music
Some Thoughts on Music Education
Conceptual Music
Some Examples
An Ancient Soundscape
Sonic Imagery in Virgil’s Eclogues
Explorations
Early enthusiasms
Books
A Literary Duumvirate
Art
Music
Places
A Surrey village
Objectives and Topics
This work explores the multifaceted relationship between composers, musical tradition, and the evolving landscape of sound. The central inquiry examines how music maintains its expressive power and "meaning" in an era dominated by technological abundance, the pressure for constant originality, and the shift from public performance to private consumption.
- The historical evolution of musical form and the role of the composer as a "master."
- The tension between traditional compositional techniques and experimental approaches like minimalism and conceptual music.
- The impact of technological dissemination and "over-production" on the perceived value of classical art.
- Philosophical reflections on the nature of musical meaning, expression, and the "human" element in sound-making.
Excerpt from the Book
HESSE, BUSONI, MOZART & IMMORTALITY
In Herman Hesse’s semi-autobiographical novel Steppenwolf a contrast is drawn between the life of the main character- the Steppenwolf himself- Harry Haller, which is depicted as disorganised, aimless, without belief or hope, and the abundantly creative, overcoming and fulfilled lives of those few whom Hesse terms “immortals” – in particular, Goethe and Mozart. Of the latter, Hesse says that
“Mozart’s perfected being…[is] the outcome of his immense powers of surrender and suffering, of his indifference to the ideals of the bourgeois, and of his patience under that last extremity of loneliness which rarefies the atmosphere of the bourgeois world to an ice-cold ether, around those who suffer to become men, that loneliness of the garden of Gethsemane.”
Humanly speaking “immortality” is of course, impossible. As a species we had a beginning in time on this planet and no doubt we will have an end also. But there are degrees of immortality if we use the term to mean “exceptionally long lasting”. Thus, a brief selection of prime candidates for “immortality”, whose works and thoughts live on and are always fresh and relevant to our unchanging human condition: Homer, the Greek dramatists and philosophers, Virgil, Dante, Shakespeare, Rubens, Michelangelo, Milton, Handel, Bach and, of course, Mozart. In the works of these and others whom we consider to be among the geniuses of humankind we recognise a lasting quality, which every generation can come to and be moved by. We may not be able to pinpoint exactly what makes for a work of genius, but we can sense that such a work will always speak with the same degree of forcefulness to each succeeding generation.
Summary of Chapters
Introduction: The author introduces the collection of essays, emphasizing his love for music and literature while disclaiming an intent to provide dry academic theory.
A Note on Palestrina: Discusses the beauty and discipline within Palestrina’s music, arguing that the "rules" of the 16th century were a means of perfect religious expression rather than mere restrictions.
Hesse, Busoni, Mozart & Immortality: Reflects on the concept of musical immortality and how great works transcend the specific stylistic limitations of their era.
Harmony & Monody in Chopin: Examines Chopin’s daring harmonic progressions and his unique approach to dissonance, situating him as a pioneer of 19th-century avant-garde.
Thoughts on Brahms: Provides a balanced appraisal of Brahms, defending his orchestration and rhythm against historical criticism and identifying him as a vital link between the classical past and modernism.
Liszt’s Late Works for Piano: Explores Liszt's experimental late piano pieces, which foreshadowed 20th-century developments like atonality and impressionism.
A Few Words on Puccini: Challenges the common criticisms leveled against Puccini, arguing that his mastery of dramatic musical flow is essential for effective opera.
Improvisation and Western Classical Music: Investigates the decline and potential revival of improvisation within the Western classical tradition, contrasting it with jazz.
Minimalism: Analyzes the minimalist movement as a reaction against post-war over-intellectualization, focusing on its repetitive techniques and widespread influence.
The Essence of Jazz: A composer’s perspective on the rhythmic and harmonic foundations of jazz, noting its distinctiveness while acknowledging its common ground with classical music.
The Exhaustion of Musical Resources?: Discusses the challenges facing contemporary composers in an era of stylistic plurality and technological saturation.
The Process of Composition: Details the practical and psychological stages of creating music, from initial inspiration to the refinement of structural form.
Art as Alchemy: Draws a parallel between the alchemist and the artist, both seeking to transform transient human experience into permanent works of beauty.
Apt for Voices or Viols: Explores the historical rise of autonomous instrumental music and its gradual divergence from vocal forms since the 17th century.
Repeats: Reflects on the use of repeats in classical forms, questioning their necessity and suggesting they often serve as mechanical devices rather than artistic requirements.
Music as Meaning ...?: Examines the philosophical question of whether music has inherent meaning or if meaning is acquired through association and cultural context.
Is There Too Much Music?: Questions whether the ubiquity of music in the modern world leads to a devaluation of the art form and a loss of appreciation for its "mystery."
Some Thoughts on Music Education: Advocates for a more academic and scientific approach to music education, emphasizing the need to break down prejudices and foster true musical understanding.
Conceptual Music: Discusses the nature of conceptual music, where the idea is paramount, and shares examples of the author's own conceptual pieces.
An Ancient Soundscape: Studies the sonic world depicted in Virgil’s Eclogues, drawing parallels between ancient pastoral imagery and the modern concept of the soundscape.
Explorations: A reflective conclusion detailing the author's personal journey through literature, art, and places, reinforcing the fundamental human urge to explore.
Keywords
Composition, Musicology, Minimalism, Jazz, Harmony, Palestrina, Brahms, Chopin, Liszt, Improvisation, Aesthetics, Sonic Art, Musical Meaning, Music Education, Soundscape.
Frequently Asked Questions
What is the primary objective of this work?
The book aims to share the author's lifelong enthusiasm for music, literature, and art by exploring how they communicate meaning, while reflecting on the role of the composer in a changing technological landscape.
What are the central thematic fields covered?
The text focuses on compositional processes, the historical evolution of musical forms, the philosophical nature of musical expression, and the impact of modern dissemination on the value of classical music.
What is the core research question or inquiry?
The author investigates whether music can continue to have significance in a world where it is constantly "on tap," and how composers can balance the burden of originality with the established traditions of the past.
Which scientific or analytical methods does the author employ?
The author uses a reflexive and analytical method based on decades of professional experience as a composer, teacher, and examiner, blending historical analysis with personal observation.
What is covered in the main body of the work?
The book covers diverse topics including specific composer studies (Brahms, Chopin, Liszt, Puccini), the nature of improvisation, the minimalist movement, music education, and the aesthetic process of composition itself.
Which keywords best characterize the book?
Key concepts include musical aesthetics, the role of the composer, the philosophical inquiry into musical meaning, and the intersection between traditional and experimental music.
How does the author characterize the role of the composer in the 21st century?
The composer is at a crossroads, balancing the "burden of originality" with the wealth of existing repertoire and the challenge of finding new ways to express human experience in an increasingly mechanical and electronic world.
What is the author's stance on music education?
The author advocates for a shift toward teaching music as an academic and scientific discipline, rather than solely as an activity or entertainment, to help students appreciate the complexity and power of organized sound.
How does the author distinguish between "art" and "entertainment"?
The author argues that art requires the full and undivided attention of the audience for its complete duration, whereas entertainment is often consumed as background and does not demand the same depth of engagement.
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- Michael Regan (Autor:in), 2012, Explorations - 20 Essays In and Around Music, Sound, Literature and Places , München, GRIN Verlag, https://www.grin.com/document/202807
