My good friend
Hope has requested that I resume posting, so I'll give it another shot, assuming that I can think of anything to say (and that I can finish learning how to type in
DVORAK).
I love very much the old fellows over at Touchstone's
Mere Comments, and never more than when they get cranky. I can't possibly do what they do, but it's not that I disagree with them. It's more that I don't have the life experience or years of pent-up frustration to write such beautiful diatribes: vibrant denunciations that, at moments, rise to the effect of poetry. Of course, for every jeremiad, they write scores of constructive posts, but these don't usually go beyond the realm of the very interesting. Incidentally, I've considered posting on their message board, but the folks who post regularly can be fairly ferocious.
One example was S.M. Hutchens's “
Reverie in E Minor,” in which he discussed the havoc his generation wrought on the music of church culture.
“My generation, my abysmally stupid and culpably foolish generation, had the opportunity to keep the good--for there was very much good here--discard the bad, and bring in a golden age of church music, an age of beauty and invention, now in obedient harmony with the Great Tradition, with good theology instead of bad, and with an eye trained upon the history of whole Church and its music. Instead, however, it went as bad as it possibly could, seizing upon all the old mistakes it could find and amplifying them.”
I am no fan of the Baby Boomers –
thanks for the Social Security burden and the national debt, jerks! – and it always warms my heart to see them called “abysmally stupid and culpably foolish,” but I probably shouldn't be too hasty to judge until we see how my generation turns out. The more interesting question is whether or not Mr. Hutchens is correct in his judgment of rock music:
“Instead of turning their people toward the richness of the Christian musical tradition, their teachers spent their time justifying and promoting the music of rebels and drug addicts, now half-converted into something called ‘Christian rock.’”
And a few paragraphs later:
“The argument is that bringing them in will get them to heaven--but how can you show them heaven when you are presiding over a little piece of hell--a place where people are given vast quantities religious stimulation under the name of the “gospel,” the end of which can only be the a vast burned-over district where they have been effectively inoculated against Christianity by Evangelical religion, just as one is inoculated against Mozart by a steady diet of rock, or the realities of the world, including its beauties, by drug-eating, or against the power of words by overwhelming waves of pictures?”
Rock music: created by
rebels and
drug addicts to inoculate the youth of the world against Mozart. As someone who likes the stuff, I'm loathe to agree with him, but I think that I have to do it. Last night, I listened to the first hour or so of Bach's Mass in B Minor, wishing that I could understand it better than I do.
Some mathematical types love Bach, and it's not hard to see why. But even with the words and liner notes in front of me, I had trouble keeping my mind on the music. I don't have the descriptive vocabulary to follow the music in its intricacies, and my ear's patience has no doubt been destroyed by several years of listening to Guided By Voices. Ah, well. There's time yet for me.
So, I thought I had my fix for the week, until I came across Dr. Tony Esolen's “
The World that Has No Music in its Soul.” He starts from the wonderful article that writer/composer Webster Young published in the latest Intercollegiate Review, which was, in fact, the article that gave me the inclination to get out my Bach CDs. At any rate, Dr. Esolen argues that Webster Young's hopes for a revival of a “common language” for classical music may be premature:
“When Palestrina wrote his Masses, he was inspired by prayers that washerwomen and plowboys had heard every week of their lives; it was part of their common, lived experience. Without that inspiration from something
beyond Renaissance Italy, and something the composer shared with all kinds of people who were not composers or singers, you do not get the exalted music and theology of the
Credo of the Mass for Pope Marcellus. . .
“But what happens when you don't have a culture? I've argued this before, but it bears repeating. I'm taking the word literally. You have a culture when you
cultivate those beliefs, customs, celebrations, and virtues you hold most dear; and in this sense culture is by nature conservative and often proudly local. That's why totalitarian systems despise it; it stands in the way of the flattening of variety that the modern state demands. But this consumer society of ours despises it, too. It stands in the way of the itch for the new-and-improved, for novelty for the sake of vanity. The last hundred years, in part through no consciously evil plan, has seen the gradual replacement of culture with mass entertainment.”
Read the full essays for the full effect. I'm not optimistic that my generation can do any better, but at least it's nice to hear a warning from the older crowd.