[Smt-talk] Criteria for Old and New
Chris Bonds
chbonds1 at willy.wsc.edu
Tue Mar 5 10:33:32 PST 2013
Prof. Ninov asks about how to tell what is old and new, who decides it,
and why.
"Advances" in music theory seem to me very different from advances in
the sciences. Theories about how music works have certainly changed over
time, but for me it is an open question whether to call these
"advances." [I know that no one here is calling them that]. The question
is what the implications of "old" and "new" are. "Old" is certainly
"obsolete" if nobody studies or teaches it anymore. But is it bad? I
hardly think so, if it is based on sound reasoning. And of course just
because a theory is new does not mean it's a good theory. The "proof" of
a theory's value is somewhat subjective--if it helps me to experience
music in a new way, it's a good theory. Personally, I think Schenker hit
upon a valuable insight. I think my teachers would have served me better
had they emphasized that there is no single correct Schenker analysis of
a musical work, and that the important thing was to develop a deep
understanding of how every note in a work functions in its particular
context. One of my favorite examples of how context can make a
difference is in Charles Rosen's comment that at a certain point in
Beethoven's Piano Concerto No. 4, the composer forcefully introduced the
tonic triad in root position as a dissonance. And he explained quite
clearly how such a thing could happen.
As to who decides about "old" and "new" -- this should not be a
consequence of political power. I am opposed to dogma of any kind,
because it is a substitute for thinking.
This discussion also reminds me of Nietzsche's comment that "the errors
of great men are more important than the truths of small men." The first
name that popped into my head when I read that was Arnold Schoenberg.
Christopher Bonds
Wayne State College, Emeritus
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