By Michael Alec Rose
Author and composer Michael Alec Rose is helping readers decode the indicators composers provide us of their music—sounds that invoke very specific ideas, photos, and cultural contexts—and finds the intense ingenuity with which convinced items installation recognizable figures in a musical landscape. None of this is often performed systematically. every one paintings reinvents "the code" and calls for a different set of approaches. But the chapters during this invigorating book spring from an analogous musical flooring, the place the single factor that issues is to be aware of the wonders of significant music.
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Additional resources for Audible Signs: Essays from a Musical Ground
Suffering simply exists; there is no justification for it. What art can do is to find a voice opposed to suffering, to fight back, to work hard against suffering in the only way humans know how, which is to sing, to sing our hearts out, to sing until we die. “Hey Jude” is every bit as much of an arduous ascent as the Earning Your Song 41 Ninth, all the more so on account of its compact brevity on a classical scale/inordinate length in rock ’n’ roll terms. In two waves, first in the verses and then in the coda, the music comes into being like aural masonry, stone placed lovingly on stone, an additive principle of sound construction, of sound construction.
On the contrary, I am attacking the song for its own pomposity and cynicism. “Pomp” signifies an outward display of ceremony, without any necessary correspondence of inner feeling. The “cynic,” like the maligned dog (cynos), expresses affection towards its master only to achieve a base end. In the dog’s case, it’s a doggie biscuit; in the song’s case, it’s ka-ching, ka-ching. “The Greatest Love of All” is pompous and cynical, reaching its unworthy apotheosis without due struggle. As for Earning Your Song 47 the song’s inordinate popularity: I blame Whitney for this phenomenon, not her fans.
I want to be absolutely clear about my intentions on this score. When I attack the song, or any song, for not having earned its emotions, it is not out of either pomposity (Bill knows this) or cynicism. On the contrary, I am attacking the song for its own pomposity and cynicism. “Pomp” signifies an outward display of ceremony, without any necessary correspondence of inner feeling. The “cynic,” like the maligned dog (cynos), expresses affection towards its master only to achieve a base end. In the dog’s case, it’s a doggie biscuit; in the song’s case, it’s ka-ching, ka-ching.