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The New Elegant Simplicity:
In Defense of My Music
by Dr. Janet Dunbar, DMA, Composer
Why is it that just about everyone recognizes, remembers and likes
the Ode to Joy theme from Beethoven's ninth symphony? Even people who
almost never listen to classical music feel a strong attraction to the tune.
Thankfully Beethoven wasn't all over himself trying to impress people
with the complexity of the theory behind his music. He recognized the
importance of utilizing melodies his audience could remember and enjoy.
For some time now, academics and critics have derided memorable melody and
tonal music, calling them simple tunes and pretty music. Even some
performers have jumped on the bandwagon and closed their minds to any
modern music that is melodic and tonal, opting instead for the wide
choice of encyclopedias of extended techniques and dry musical manifestations
of pedantic theoretical constructs.
Beautiful sound attracts listeners, while memorable melody appeals to
their passions. Organization in music should deepen that emotional impact
through the careful control of tension and release. Theory and showmanship,
while playing a part, can never be the be all and end all of artistic
achievement. Some elitist composers at many of our academic institutions
write music only for each other and the small group of performers who
follow them. Consideration for making music that appeals to audiences
has been kept alive in popular music. Modern classical composition
has been in the doldrums for quite sometime; it is therefore ripe
for a renaissance. Indeed it is amazing that what has passed for
classical composition since the 1920s has had any audience whatsoever.
However, there is never a shortage of performers trying to ace each other out
with how fast or how adept they are at dashing off some extended technique.
Such gimmicks have a place in music, but when employed solely to show off
the composer's or the performer's technique, they degenerate into
exercises in narcissistic ego gratification. Many composers have lost
the ability to empathize with audiences; instead they eschew the very
elements that audiences have always enjoyed. Is it any wonder that
many of the people who still enjoy classical music today believe that
there simply aren't any good living composers?
While other aspects of music might be important, the most crucial
is the melodic content. By avoiding melody or making it too complex,
unattractive, or annoyingly repetitive for the average listener, modern
classical music has alienated its audience. I don't think that was the
intention of all involved but it was probably the intention of some to
subvert classical music so that no one would like it. Our job is to
bring classical music back from the stone ages of twelve tone, atonality,
serialism, misuse of technology for its own sake and mindless minimalism.
In short we need to bring back a more musical taste. This is why I am
compelled to realize my musical vision.
To fill the void in modern classical music, I have developed a style
called The New Elegant Simplicity. Characteristics
of the style include the following:
Memorable singable melody
The audience should be able to understand and remember the melodic
ideas so as to have a psychological engagement in the music. This is
the element that most moves people. If it is missing as in so much
modern music, then the audience is lost. Maybe the composer can remember
the melody or maybe not. Either way, the audience is left cold.
Straightforward tonality that avoids the abuse of dissonance
Granted that dissonance in the right places can add poignancy and
variety to the harmony, dissonance for its own sake leaves audiences
dying to flee the scene as soon as possible. It was never meant to
be this overdone.
Countermelodies that are enjoyable to play and to hear, rivaling
principal melodies in their appeal
A countermelody should be secondary to the principal melody, but
attractive in its own right. While countermelodies can add interest,
they should support the main melody. Good counterpoint provides a
sense of propulsion to the music.
Rhythmic excitement and drive
Exciting rhythm is felt in the body, heart and mind. The organization
of contrasting rhythms in a piece has a profound effect on the listener.
Some combinations of rhythms are catchy in and of themselves, aside from
any melodic content.
Elements of both repetition and surprise
Repetition provides unity but, when employed too frequently, it can
reach the point of annoyance. No repetition whatsoever denies the
listener of the satisfaction in recognizing repetitions and therefore
contrasts. When overwhelmed by seemingly random information, the mind
tends to shut down. Predictability in music is most useful when the
outcome is not totally predictable: sometimes things happen as expected;
sometimes they don't. The audience is prompted to listen more attentively.
Intentional avoidance of cumbersome, overly complex chaotic filler,
which interferes with the communication of crystal clear melodic ideas
The cold intellectual approach to music has provided handy excuses for
composers and performers alike. Whether the content is unmusical, or
there is too much repetition of the same darned thing over and over,
the poor craftsmanship of the composition loses audiences. Performers
don't have to worry about making the music sound good; nobody would
notice the difference anyway.
Contrasts of dynamics, texture and timbre
The listener's attention is greatest when there are changes in sound,
not when the sound remains essentially the same or is constantly changing
in a non-artistic way. For this reason, varying dynamics, texture and
timbre is exceedingly important. The symphony orchestra, capable of such
a broad dynamic range and so many tonal and textural combinations, is one
of the best vehicles for engaging audiences.
Mastery of tension and release in formal design.
Many of the factors already discussed influence tension and release
in formal design. Such items as build up of sound and rhythmic
and contrapuntal activity lead to an increase in tension. If these
elements occur ubiquitously in the design without let up, the required
build up of tension will not occur. Tension needs someplace to buildup
from.
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