Since I no longer subscribe to the Press Herald, I have taken to getting my morning news from National Public Radio. One of the more annoying features of NPR news is its regular interviews with pop singer-songwriters and “artists” of whom no one has ever heard. There was one the other day, with an aging female rock star whose rudeness was off the charts. The interviewer continued with his polite obsequiousness, when anyone with a brain in his head would have terminated the conversation immediately.
The other instant turn-off feature of NPR’s Morning Edition is the Writer’s Almanac, whose compiler once decided, on air, to make Kipling’s “If,” which I learned as a child of six, politically correct.
What has all this to do with classical music? I know only two popular songs that have withstood the test of centuries. One is ”Greensleeves.” and the other isn’t. The truth is that, like money, bad music drives out good, and the perceived decline in the audience for the latter has much to do with the “seriousness” accorded the former
I thought, many years ago, that musicology applied to bad pop music was a vampire that had been exposed to the light of day. In the days of 45’s, when I was in college, there were parodies of this kind of exercise all over campus. Alas, no one had driven a holly stake through its heart.
It is hard to believe, but not too long ago most people thought that music, because of its very nature, could not portray evil. Said the Greek philosopher: “Music is a moral law. It gives a soul to the universe, wings to the mind, flight to the imagination, a charm to sadness, gaiety and life to everything. It is the essence of order, and leads to all that is good, just and beautiful, of which it is the invisible, but nevertheless, dazzling, passionate, and eternal form.” Plato (c. 428—c. 347 B.C. )
We have learned, to our dismay, that not only can music portray evil; it can be evil. See certain forms of Rap, which some people believe is music, and automobile boom boxes, which can permanently damage the sense of hearing in half an hour.
I am not intending to dismiss music that appeals to a mass audience, merely to point out that the notion that “all musics are created equal,” which now seems a media truism. is fatuous nonsense, and does real harm. In another recent NPR interview, the music directors of two of Maine’s symphony orchestras also succumbed to the leveling virus, one going so far as to entertain the idea of programming concert versions of background music for video games.
Sir Percy Scholes, author and editor of the Oxford Companion to Music, an indispensable reference, lists the characteristics one should look for in evaluating a piece of music: vitality, originality, workmanship, proportion and fitness, feeling, personal taste, and the test of time. Except for the last item, music for mass audiences may show some or even all of these characteristics. But it is just this final one that makes the best of popular composers aspire to the classical.
Scholes tells of overhearing a conversation in Blackpool, in which one girl complained to another that music in a shop window was out-dated, being at least a year old. He pointed out that at that moment, Schubert had been dead for a century, but still endured.
“Probably bad popular music now lives a shorter time than ever before, since its incessant repetition by radio, television, juke-box, cinema and taped music tends to speed the judgement of Time” he writes. I-Tunes, Pandora, and the like have further speeded the process, while reducing the value of even good music, by making it a commodity available upon demand.
The opportunity to hear good music, played live, still exists in Maine. Some of the performances are free, and everyone, young or old, should take advantage of them while they last.