Music in the World of Today
Identifieur interne : 001639 ( Istex/Corpus ); précédent : 001638; suivant : 001640Music in the World of Today
Auteurs : Gerald M. AbrahamSource :
- Music educators journal [ 0027-4321 ] ; 1962-01.
English descriptors
- Teeft :
- Aesthetic premises, Archaic string fantasias, Artistic equipment, Asian musicians, Asian themes, Burgundian court, Certain amount, Certain sections, Chinese clasthem, Church music, Common heritage, Communist countries, Comparative studies, Complete fusion, Conference copyright street washington, Constant reference, Contemporary idioms, Contemporary music, Countries music, Dance music, Delicious songs, Delightful article, Different composers, Different viewpoints, Dissonant sake, Early education, Editorial board, Electronic music, European composers, European music, Exciting duty, Experimental music, Experimental musics, False distinc, Famiddle ages, Familiar classics, Familiar divisions, Fashionable trio, Fifteenth century, Fresh types, Futilefor musicians, Gerald abraham, Gifted musician, Great deal, Great extent, Great interest, Great miliar, Greatest composers, Highest pleasure, Important european music, Important factor, Imtwo editions, International music council, International society, Inwith european ones, Isme convention, Larger orchestras, Little music tional understanding, Major responsibilities, Many adult music lovers, Many dialects, Many others, Many periods, Many treasures, Milder kinds, Mlaking lmusic, Modern world, Music department, Music education, Music educator, Music educators, Music educators journal, Music today, Musical educafamiliar classics, Musical education, Musical esperanto, Musical growth, Musical marriage, Musical works, Musical world, Normal musician, Oriental cultures, Oriental music, Original specialty, Oxford history, Passive listeners, Peaceful society, Perplexed world, Popular music, Practical fact, Precise sense, Prima prattica, Prolific writer, Provinicial view, Russian music, Seconda prattica, Serious music, Seventeenth century venice, Sical opera, Sixteenth century, Sixteenth frottole, Social symptom, Socialist realism, Specific society, Stylistic wave, Such opportunities, Temporary west, Today gerald abraham, Unhappy society, Unified culture, Universal language, Universal lanleading authority, University level, Unknown music, Western experisimilarly, Western music, Whole people, World today intrinmusic educators journal number, Worth study.
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DOI: 10.2307/3389628
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ISTEX:9D83215775CF1DDEA237FCD1F5CE05BA680259DDLe document en format XML
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<pub-date pub-type="ppub"><month>01</month><year>1962</year></pub-date><volume>48</volume><issue>3</issue><fpage>33</fpage><lpage>34</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Music in the World GERALD ABRAHAM of Today living music is conditioned to a great extent by its world, its environment. This truism is 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 past 150 years or so that musicians, and artists generally, have tended to be rebels, at odds with society. That, too, is a social symptom. ALL TRULY IF MUSIC, then, is conditioned 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. I DID NOT embark on this “representation of chaos” We occidentals recognize now that it was a comically narrow and provinicial view that our music was the only for its own dissonant sake, any more than Haydn did music that mattered; today we at least realize the with his “Vorstellung des Chaos” in the “Creation.” I validity and wealth of the great musical cultures and have reminded you of a situation of which we are all languages of India, of China, of the Arab lands-to take aware, simply as a preface to asking what we, as teachers, only three-even if we have hardly begun to understand can and ought to do about it. Perhaps I should ask first them. But in addition to these old, familiar divisions, whether we ought to do anything about it. Is all this music today suffers from many new ones, divisions that bewildering variety of music in the world today intrinMUSIC EDUCATORS JOURNAL number three, January 1962 Volume forty-eight, 1962 by the Music Educators National Conference Copyright Street N.W., Washington 6, D.C. 1201 Sixteenth either did not exist at all before or did not exist in nearly such serious forms. In Western music alone there are the division 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 Haydn and Mozart and Schubert, even Beethoven, wrote dance music. Not idealized 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 mlaking lmusic, 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 Sch6nberg or Webern, of Hindemith, of Messiaen, of Boulez, of Stockhausen, serialists (and there are now warring sects among the serialists themselves), practitioners of musique concrete, 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.” II sically a bad thing? Not altogether. It is infinitely more healthy than uniformity. Let me go back to my earlier GERALD ABRAHAM, noted musicologist, England's denial that music is, or ever has been, a universal lanleading authority on Russian music, and chairman of the Music Department at the University of Liverpool, is guage. I confess that I hope it will never be. immediate past president of the International Society A year or two ago I listened with great interest, at a for Music Education and is presently a vice-president. meeting of the International Music Council in Paris, The article contained on this page and the preceding to discussions about Occidental and Oriental music and one, is taken from the address Mr. Abraham delivered at the ISME convention in Vienna in June 1961. Heartily their relationship. Some of the speakers seemed to favor recommended for publication by the Editorial Board of Music Educators Journal, the address was called some species of musical marriage between East and “An exciting and beautifully stated philosphy,” “A West; there were suggestions that European composers thoroughly delightful article… of interest to every music educator who believes that musical growth must should experiment with Asian themes, Asian musicians take place in teachers before it can be guided and inwith European ones. I don't deny that in the past there spired in children.” has been some valuable cross-fertilization between East A prolific writer, Mr. Abraham has become well-known to readers in the United States through his numerous and West-in the West one thinks of Glinka, Debussy, books and through a series of symposia he edited deal Roussel, Messiaen-and no doubt there will be more ining with Tchaikowsky, Schubert, Sibelius, Schumann, and Handel. Mr. Abraham was a contributor to the last the future. This is interesting but not really very imtwo editions of Grove's “Dictionary of Music and Musicians,” and currently has major responsibilities portant. But the idea of anything like a complete fusion in editing the “New Oxford History of Music.” Broadening of West with East, of the construction of anything in his interests from his original specialty of Russian the nature of a musical Esperanto, strikes me as deplormusic, Mr. Abraham is now distinguished by his research into the sources, origins, and editions of various able. What we should do is to study each other's musical works, and in comparative studies of versions and revisions. cultures: try to understand them and appreciate their masterpieces, learn from them if we can, but not try to o O (1 () -(10 () imitate them or assimilate them. I do not want any of our Western experi Similarly, mentalists 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 good and serious music terribly bad. And I repeat: We bear in mind that if they do not maintain contact with the must teach understanding. When one understands the musical public, the musical public will soon forget about background and the aesthetic premises of Chinese clasthem. Nor do I want the musicians of “Socialist realism” sical opera or Webern or Socialist realism in music, one to be untrue to their aim of writing for the whole people, may still not like them but one can hardly fail to be though I wish they would show a little more confidence in interested in them. the ability of their public to enjoy fresh types of musical thought and more daring adventures in sound. ) () -O _O () _0l (1 (1I)14(l lI l I I HAVE INCLUDED of music in the modern world. But wherever there is a IT IS FUTILEfor musicians to think of converting each division it is still always possible to build a bridge, and no other to different viewpoints or to dream of a musical one in the musical world has such opportunities to build Esperanto. What they can do, and what we teachers in bridges as we educators-at all stages, not merely at high particular can help to do, is to understand each other. school, college, or university level. One of the reasons And I mean “understand” in a precise sense, not in the why contemporary music of even the milder kinds is vague, platitudinous way in which we speak of “interna- alien to so many adult music lovers is that too little music tional understanding.” Musical education must begin at in contemporary idioms, too often none at all, was used home, which in Europe and America means “with the in their early education. I have said that musical educafamiliar classics which are our common heritage.”tion must begin with the familiar classics, but the classics But it mustn't end at home. It should be our task, indeed (in that sense) did not end with Brahms, or with Strauss it is our difficult and exciting duty, to show those whom or Debussy, or even with Stravinsky. If the music of the we teach that the world of music contains many treasures modern classics-Stravinsky and Prokofiev, Schinberg besides those familiar classics; the still living music of the and Shostakovich, Bart6k and Hindemith-is not “fa Middle Ages and Renaissance, the music of the great miliar” to us who claim to be educators, then there is Oriental cultures, the experimental music of the con- something wrong with us and something very seriously temporary West, and many others. Naturally, we cannot lacking in our artistic equipment. The variety of musics in the world of today may be know all these treasures ourselves; their scope is too vast. But we can assure ourselves, and indicate to our pupils, bewildering, but once we have quietly mastered our bethat these things exist and that any of them which wilderment, it can also be exciting. An unknown music, specially attracts us will be infinitely worth study: whether of another continent, another age or even of whether it be Indian or Chinese classical music, or our own age, is (if you like) like another planet; and Webern, or the music of Socialist realism, or the music-travel is much easier and safer and less expensive delicious songs made for the Burgundian court in the than space-travel. I will add that, for people of my fifteenth century. temperament (and perhaps yours) it is just as stimulat We can show our pupils that the distinction betweening, infinitely more congenial, and probably much more “serious” music and “popular” music is a false distinc- rewarding. The variety of musics, then, is exciting in itself. It istion, certainly not to be equated with the distinction between “good” and “bad,” since popular music can be also exciting in its challenge to us as teachers. Page 34 Music Educators Journal a great deal about the divided state </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Music in the World of Today</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Music in the World of Today</title></titleInfo><name type="personal"><namePart type="given">Gerald M.</namePart><namePart type="family">Abraham</namePart></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1962-01</dateIssued><copyrightDate encoding="w3cdtf">1962</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</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><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1962</date><detail type="volume"><caption>vol.</caption><number>48</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>33</start><end>34</end></extent></part></relatedItem><identifier type="istex">9D83215775CF1DDEA237FCD1F5CE05BA680259DD</identifier><identifier type="ark">ark:/67375/M70-TT3GGWGM-H</identifier><identifier type="DOI">10.2307/3389628</identifier><identifier type="ArticleID">10.2307_3389628</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></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/9D83215775CF1DDEA237FCD1F5CE05BA680259DD/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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