Mending Cracks: The Crisis of Musical Modernity and the Postmodern Condition: The Crisis of Musical Modernity and the Postmodern Condition

Author: (English) Ivan Hewett
Publisher:
Publish Date: 2006-06-01
Features: This is a profound, sharp, yet engaging book on music criticism. It addresses the value, current dilemmas, and future prospects of classical music. The reason why classical music is in such a state of decline and disarray in the postmodern context is that its illness has been lurking for centuries. This stems from the separation between music and its social function, as well as the beginning of music's self-referential meaning. From then on, music had to write its history along two distinct lines—internal and external—and thus acquired multiple perspectives and criteria for judgment. Amid the cacophony of contemporary music, you may feel confused, repelled, surprised, or lament, but never lose the passion for experiencing and judging music that it once had. Where does the value and criteria of classical music lie? This book will accompany you in exploring this question.
This book is a historical reflection on classical music after its journey through the 20th century. Author Ivan Hewett [Ivan Hewett] keenly recognizes that in the current era where music has presented an unprecedentedly diverse landscape and where the electronics industry and the internet have forced a massive transformation in how music is consumed, the face of musical culture is no longer rich and varied but rather ambiguous—we have entered the era of "new new music." Art no longer has a distinction between "high" and "low" or "right" and "wrong." We are constantly surrounded by all kinds of "music," yet unfortunately, we have lost the awareness and standards to judge its quality, and even the passion for experiencing music is growing increasingly numb. Does music still possess a value worth celebrating? If so, what is it, and how should it be judged? This is one of the core themes of the book.
Hewett takes a clear and affirmative stance on this issue, believing that: music is a value-laden discourse system, possessing a "sublimity" or "transcendence" similar to humanity, and therefore cannot be treated with indifference or a moderate attitude that avoids value judgment [see Chapter]. The reliable guide to music's value is not something else but classical music, along with the modern spirit that stems from it. In Hewett's view, classical music and modern music are not the "antagonistic relationship" often presumed but rather two solutions to the same problem: when the once-unified field of music was fragmented due to social changes, how could the "cracks" be repaired to restore unity?
In the past, the field of music was mixed with cosmic mathematics, scholastic philosophy, and social functions—it was neither independent nor unified. Classical music was a byproduct of this crack, and its method for "mending the crack" was to develop formal norms without departing from tradition or social reality, thereby fostering a universal public discourse on music. However, later, due to internal expansion [such as the development of harmony and the influence of literature] and external integration [with "others" like pop music and world music], art music once again split, giving rise to new music. The modernists who succeeded one another in their efforts to explore the best solution to mend the cracks and restore unity to the field of music bear resemblance to classical music. However, since these solutions are all flawed [some detached from tradition, some from society, some lacking formal value, see Chapter 6 "Authenticity"] and are independent and disdainful of one another, they ultimately failed, leading to the ills described in the section.
In this context, Hewett sincerely calls for the "transcendent" ideal of classical music and argues that this musical spirit should be the best guide for understanding contemporary musical culture. However, the author admits that in the current era where pop music factions are diverse, world music is on the rise, and the classical ideal is marginalized and gradually fading, treating classical music as a value standard is akin to taking a risky and provocative stance. But through an analysis and critique of the "authenticity" [the quality that marks an irreducible essence] claimed by various musical styles, as well as how this "authenticity" is realized in representative works of each style, the author ultimately demonstrates the rationality of the "classical" standard.