Roger Scruton (BBC/Scotland) discusses the need for beauty and, following Plato, links beauty with God. Note that Scruton distinguishes "utility" art from "real" art--something which Benedict XVI also mentioned. Also note how Scruton's description of 'utility' art indicts some of the music-for-worship stuff which regularly crawls into the Liturgy and gasses the faithful, even though they just love the stuff.
...a beautiful breath of fresh air in a world gone ugly.
We as musicians (truly dedicated to beauty) need only to leave the ugly structures that try to entrap us within their utilitarian walls; to simply walk away, and visit them no longer. We need only those things which draw out and reveal the beauty of our own life and the lives of others. The grafitti of ugliness will eventually be the town deserted, and we will no longer have need to scream into the darkness, but turn around and simply gaze into the light.
What we have to consider is not eliminating utility music--which often shows up as improvs-while-waiting-for-the-priest.
What we have to consider is making even utility music as beautiful as possible. I would suggest that Chant-tune improvs are excellent prospects for that.
I wrote last week at NLM about this very topic -- the contrast between utility music and church music, secundum mentem Ratzinger (and brought in Scruton, BTW):
I think there's a question here of terminology. EVERYTHING good that we do is useful in some way, because we are needy beggars; unlike God, we cannot do something that is purely and totally void of any usefulness to us. The question is about the character of the work of art itself -- but anyway, see the article above for more.
There's a cable television network called AWE (All Wealth Entertainment) that among other veddy artful programs has one in which a city is "profiled" via the life and works of famed composers. Nice, niche idea I think. One show featured the music of Saint-Saens and Debussy, the latter being one of my top ten "genius of all time" composers, and their relationship to Paris during those late Romantic, early Impressionist eras. Now this is going to digress, so bear with me. IIRC, wasn't Erik Satie's oeuvre a sort of post-Impressionist/DaDa reaction to the complexity of the SS/Debussy/Messaien school? So, I suppose what I'm asking amounts to "how do we assess the utility versus beauty ratio of music like Satie's Trois gymnopedie? For that matter, same question for much of Copland's stuff (Appalachian Spring springs to mind!)
Satie had, imo, an astounding ability to make essential music, but could not go beyond his immediate sense of 'taste': he was an improvisor. ... (Messaien was later). Debussy was a well trained,skilled, and talented musician, who could plan music, complex though it might be. I think Copland might be intermediate between the two ... reasonably skilled, but less skilled than Debussy and less inspired than Satie. All opinions, so don't parbroil me.
As to Gymnopedie: our DirMus played one of them, on the piano, as a communion 'meditation'. Although our DirMus is credentialed with a Ph.D., after listening to his work, one suspects that the degree was granted in a mixologically-oriented establishment.
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