Obituary
Identifieur interne : 001583 ( Istex/Corpus ); précédent : 001582; suivant : 001584Obituary
Auteurs : Frank CallawaySource :
- International Journal of Music Education [ 0255-7614 ] ; 1988.
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DOI: 10.1177/025576148801200109
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Society for Music EducationObituaryGerald Abraham: ISME President (1958-1961)
SAGE Publications, Inc.1988DOI: 10.1177/025576148801200109
Frank Callaway When
Gerald (Ernest Heal) Abraham died early this year the career of this outstanding
doyen of English musical scholars was the subject of many tributes in the
British and international musical press. These statements, coupled with the
entry in the New Grove and Malcolm Brown's informative Introduction to Slavonic
and Western Music - Essays for Gerald Abraham (on his eightieth birthday in
1984), are so comprehensive that they could be seen to leave little need for
further tributes. However, despite that coverage of the remarkable range of
his scholarly interests, it is in fact appropriate for more to be recorded
and his contribution to ISME is an example. It was as a fellow member of the
Board of Directors during his Presidency of ISME from 1958 to 1961 that I
first came to know Gerald Abraham, particularly when he officiated in 1961
at the IV International Conference of our Society in Vienna. The broad field
of music education at all age levels with which ISME concerns itself might
appear unusual territory for the self taught scholar Gerald Abraham. Also
the period of his involvement with ISME was comparatively brief, yet I believe
no one connected with the organisation has ever expressed so clearly and convincingly
its worldwide educational and musical challenge as Abraham did in his 1961
Presidential address entitled Music in the World Today, the text of which
follows this obituary. My friendship with Gerald Abraham, which began through
ISME, developed during periodic visits to England in the years that followed
and as an editorial advisor for its musicological journal Studies in Music
(of which I was then an editor) of the University of Western Australia he
contributed significantly to the development and international accepance of
that publication. Gerald Abraham was a key figure in many of the great enterprises
in the international world of musicology of recent times but his commitment
to them did not diminish his interest in the welfare of ISME which he retained
until his advanced years. Music in the World Today - Gerald Abraham's 1961
ISME Presidential Address Let me begin with a truism: all music - all truly
living music - is conditioned to a great extent by its world, its environment.
I shall leave on one side the seductive philosophical idea which has tempted
many minds, down to the English writer, Sir
4646
Thomas
Browne, in the seventeenth century, and Schopenhauer in the early nineteenth:
that music and the world of phenomena are only different expressions of the
same inner essence. When I say that music is largely conditioned by its environment,
I want only to remind you of a hard practical fact. When the Church was the
most important factor in Europe, the most important European music was Church
music and as there was only one Church in most of Europe, European musical
culture was a unified culture. The vogue of secular vocal music in the sixteenth
century - the frottole, the polyphonic chansons, the madrigals - was typical
of the age of humanism (music closely married to words and even subordinate
to them) and was made possible only by the invention of printing. Opera was
born in Florence out of the spirit of the Renaissance but was set on the path
it has followed ever since in the wealthy merchant-republic of seventeenth
century Venice. The world has sometimes demanded mostly music for performers
(as in the sixteenth century), sometimes music essentially for passive listeners,
as in the nineteenth and twentieth. A prosperous and relatively peaceful society
can afford, and therefore demands, larger and larger orchestras, more and
more sumptuous operas; an increasingly impoverished and unhappy society cannot.
In all ages and in all countries music has been produced in accordance with
the needs of a specific society, or certain sections of it, a specific age
and culture. It is only in the last 150 years or so that musicians, and artists
generally, have tended to be rebels - at odds with society. And that, too,
is a social symptom. If music, then, is considered by its environment, what
sort of music should we expect to find in the torn and perplexed world of
today - a world divided not only by race and language, as always, but by sharply
opposed ideologies? We should expect to find precisely what we have: a profoundly
divided music. In fact, not 'music' but many 'musics', many more 'musics'
than ever before. For, of course, music never has been a 'universal language'.
Even European music has had many dialects and though a symphony by Brahms
or Bruckner may be enjoyed by a Frenchman or a Spaniard, it will not mean
to him what it means to a German or Austrian. And we Occidentals recognize
now that it was a comically narrow and provincial view that our music was
the only music that mattered; today we at least realize the validity and wealth
of the great musical cultures and languages of India, of China, of the Arab
lands - to take only three - even if we have hardly begun to understand them.
But in addition to these old familiar divisions, music today suffers from
many new ones - divisions that either did not exist at all before or did not
exist in nearly such serious forms. In Western music alone there are the divisions
between 'serious' and 'popular', the division between 'classical' and 'contemporary,'
even between one kind of contemporary music and another, and the division
between music that the normally gifted musician can hope to play or sing and
that which he can only listen to. There always has been a distinction between
'serious' and 'popular' music, but' not a difference so deep that they have
had to be written by different composers; I need hardly remind you that in
this city of all cities (Vienna) Haydn and Mozart and Schubert, even Beethoven,
wrote dance-music. Not idealised dance-music like Chopin's, but music for
dancing. At many periods a certain amount of music has been produced, too
difficult for any but virtuosi to perform; but the greatest composers have
always until fairly recently provided for the normal musician who believes
that the highest pleasure lies in making music, not in passively listening
to it. Again: one stylistic wave has often succeeded another before the first
has subsided, producing an opposition of a 'modern' style to an older one,
but many a composer - for instance, Monteverdi with his prima-prattica and
seconda prattica, Purcell with his archaic string fantasias and his fashionable
trio sonatas - has been able to write in both styles with equal ease. But
never before has there been such a bewildering variety of new musics, the
adherents of each contemptuous of all the others: followers of Stravinsky,
of Schbnberg or Webern, of Hindemith, of Messiaen, of Boulez, of Stockhausen,
4747
serialists
(and there are now warring sects among the serialists themselves), practitioners.
of musique concrète, of electronic music, of the most rigid mathematical control
and of no control at all except whim or chance. Nor do I for a moment forget
the deep ideological division, on one side of which all this bewildering variety
of experimental musics is lumped together and dismissed as empty 'formalism',
while on the other the new music of the Communist countries is similarly dismissed
as equally empty 'epigonism.' I did not embark on this 'representation of
chaos' for its own dissonant sake, any more than Haydn did with his 'Vorstellung
des Chaos' in The Creation. I have reminded you of a situation of which we
are all aware, simply as a preface to asking what we - as teachers - can and
ought to do about it? Perhaps I should ask first whether we ought to do anything
about it. Is all this bewildering variety of music in the world today intrinsically
a bad thing? Not altogether. It is infinitely more healthy than uniformity.
Let me go back to my earlier denial that music is, or ever has been, a universal
language. I confess that I hope it will never be. A year or two ago I listened
with great interest, at a meeting of the International Music Council in Paris,
to discussions about Occidental and Oriental music and their relationship.
Some of the speakers seemed to favour some species of musical marriage between
East and West; there were suggestions that European composers should experiment
with Asian themes. Asian musicians with European ones. I don't deny the fact
that there has been some valuable cross-fertilization between East and West
- in the West one thinks of Glinka, Debussy, Roussel, Messiaen - and no doubt
there will be more in the future. This is interesting but not really very
important. But the idea of anything like a complete fusion of West with East,
of the construction of anything in the nature of a musical Esperanto, strikes
me as deplorable. What we should do is to study each other's musical cultures:
try to understand them and appreciate their masterpieces, learn from them
if we can, but not try to imitate them or assimilate them. Similarly, I do
not want any of our Western experimentalists to give up experimenting - though
I wish they would control their experiments by constant reference to what
the normal intelligent ear can take in, and generally bear in mind that if
they do not maintan contact with the musical public, the musical public will
soon forget about them. Nor do I want the musicians of 'Socialist realism'
to be untrue to their aim of writing for the whole people - though I wish
they would show a little more confidence in the ability of their public to
enjoy fresh types of musical thought and more daring adventures in sound.
It is futile for musicians to think of converting each other to different
view-points or to dream of a musical Esperanto. What they can do - and what
we teachers in particular can help to do - is to understand each other. And
I mean 'understand' in a precise sense - not in the vague platudinous way
in which we speak of 'international understanding'. Musical education must
begin at home - which in Europe and America means 'with the familiar classics
which are our common heritage' - but it mustn't end at home. It should be
our task - indeed it is our difficult and exciting duty - to show those whom
we teach that the world of music contains many treasures besides those familiar
classics: the still living music of the Middle Ages and Renaissance, the music
of the great Oriental cultures, the experimental music of the contemporary
West, and many others. Naturally, we cannot know all these treasures ourselves; their scope is too vast. But we can assure ourselves, and indicate to our
pupils, that these things exist and that any of them which specially attracts
us will be infinitely worth study: whether it be Indian or Chinese classical
opera, or Webern, or the music of 'Socialist realism', or the delicious songs
made for the Burgundian court in the fifteenth century. We can show them that
the distinction between 'serious' music and 'popular' music is a false distinction
- certainly not to be equated with the distinction between 'good' and 'bad',
since popular music can be good - and serious music terribly bad. And I
4848
repeat:
we must teach understanding. When one understands the background and the aesthetic
premises of Chinese classical opera or Webern or Socialist realism in music,
one may still not like them but one can hardly fail to be interested in them.
I have spoken a great deal about the divided state of music in the modern
world. But wherever there is a division it is still always possible to build
a bridge, and no one in the musical world has such opportunities to build
bridges as we educationists here. At all stages, not merely at high school,
college or university level. One of the reasons why contemporary music of
even the milder kinds is alien to so many adult music-lovers is that too little
music in contemporary idioms, too often none at all, was used in their early
education. I have said that musical education must begin with the familiar
classics - but the classics (in that sense) did not end with Brahms, or with
Strauss or Debussy, or even with Stravinsky. And if the music of the modern
classics - Stravinsky and Prokofiev, Sch6nberg and Shostakovich, Bartok and
Hindemith - is not 'familiar' to us who claim to be educators, then there
is something wrong with us and something very seriously lacking in our artistic
equipment. The variety of musics in the world of today may be bewildering,
but (once we have quietly mastered our bewilderment) it can also be exciting.
An unknown music - whether of another age or even of our own age - is (if
you like) like another planet; and music-travel is much easier and safer and
less expensive than space-travel. And I will add that, for people of my temperament
(and perhaps yours) it is just as stimulating, infinitely more congenial,
and probably much more rewarding! The variety of musics, then, is exciting
in itself. It is also exciting in its challenge to us as teachers. This address
was given at the ISME Conference in 1961 in Vienna and was first published
in the International Music Educator, 4 October 1961, 137-138.</full_text></body></SAGEmeta></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>Obituary</title><subTitle>Gerald Abraham: ISME President (1958-1961)</subTitle></titleInfo><titleInfo type="alternative"><title>Obituary</title><subTitle>Gerald Abraham: ISME President (1958-1961)</subTitle></titleInfo><name type="personal"><namePart type="given">Frank</namePart><namePart type="family">Callaway</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="other" displayLabel="Other" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-7474895G-0">other</genre><originInfo><publisher>Sage Publications</publisher><place><placeTerm type="text">Sage CA: Thousand Oaks, CA</placeTerm></place><dateIssued encoding="w3cdtf">1988</dateIssued><copyrightDate encoding="w3cdtf">1988</copyrightDate></originInfo><relatedItem type="host"><titleInfo><title>International Journal of Music Education</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><originInfo><publisher>Sage</publisher></originInfo><part><date>1988</date><detail type="volume"><caption>vol.</caption><number>12</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>45</start><end>48</end></extent></part><identifier type="ISSN">0255-7614</identifier></relatedItem><identifier type="istex">44B6F4E98C1DF7F00BDE7A6D6F23AE849B15F0AD</identifier><identifier type="ark">ark:/67375/M70-3H6CVQDL-S</identifier><identifier type="DOI">10.1177/025576148801200109</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource><recordOrigin>Sage Publications</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/44B6F4E98C1DF7F00BDE7A6D6F23AE849B15F0AD/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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