Showing posts with label impressionism. Show all posts
Showing posts with label impressionism. Show all posts

Saturday, March 15, 2014

"If you can name it, don't use it" (1)

Whenever someone leaves a comment on any of my blog posts, no matter how old the original post, I receive an E-mail notifying me of this. This was how I found out that Jessica Blenis had recently left a comment on a post written almost six years ago called "Why Atonal/Post-Tonal Music?"

Jessica graduated from Memorial University a few years ago with degrees in music composition/theory and music education, and is currently working on her Master's degree at the University of Calgary.  It was great to hear from her again!  This was actually her second comment on this post, the first coming during the first weeks of her first composition course here in 2008, and so I was interested to see how her perspective might have changed during the interim.

Her recent comment is very thoughtful and well-written, as was typical of Jessica while she was a student here, and I urge you to read it.  In it, she mentions that someone (a teacher?) once told her, with regards to specific compositional techniques, "if you can name it, you can't use it," and she wonders what other composers think of this advice.

To explain further, I gather that this advice means that any compositional technique or style (or device?) that has a name, such as serialism, spectralism, polystylismimpressionism, expressionism, minimalism, aleatoricism, etc., can not be used, and I would guess (although Jessica does not say this) that this restriction came from a teacher (not me); if so, there was likely a pedagogical reason behind it.

One problem in responding to this advice is that it is not clear as to what is meant by "it;" harmony, counterpoint, notes, textures, and instruments can all be named, but are they forbidden?  Probably not, I would guess, but perhaps Jessica can enlighten us on this.

Another problem is not knowing the context in which the advice was given. Was it intended as a stricture, as in, "Composers should never use a technique or style that can be named!", or was it a simply a challenge to be more original?

In any event, it is interesting and provocative advice, and, like, Jessica, I wonder what others think of this. Please leave comments below, and thanks! I will wait a while before posting my thoughts.