The poetics of rock

I’m teaching at Montclair State University because of Adam Bell, a fellow self-taught rock and pop musician turned academic. Adam loves to quote The Poetics of Rock by Albin Zak, and rightly so.

The Poetics of Rock

Zak’s major point is that rock is an art form about making records, and that the creativity in making records is only partially in the songs and the performances. A major part of the art form is the creation of sound itself. It’s the timbre and space that makes the best recordings come alive as much as any of the “musical” components. We need some better language to describe the different components that go into making a rock record, or any kind of recording.

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Who cares if you listen?

I pride myself on having big ears, on listening to everything I can and trying to find the beauty in it. I’ve learned to enjoy some aspect of just about every kind of music. Every kind except one: high modernist twentieth century classical music. I just can not deal with it, at all. But I’m in music school now, and am having to confront modernism, listen to it, write about it, and produce it. So I’m trying to figure out whether I’m missing something, or whether the whole musical academic elite is out of its collective mind. Spoiler alert: I lean toward the latter.

The title of this post refers to an infamous essay by Milton Babbitt. He says that modern classical will never have an audience beyond its practitioners, and that it shouldn’t even bother to try.

I am concerned with stating an attitude towards the indisputable facts of the status and condition of the composer of what we will, for the moment, designate as “serious,” “advanced,” contemporary music.

I do not like the terms “serious” and “advanced” when self-applied by classical composers.

The general public is largely unaware of and uninterested in [the contemporary composer’s] music. The majority of performers shun it and resent it. Consequently, the music is little performed, and then primarily at poorly attended concerts before an audience consisting in the main of fellow ‘professionals’. At best, the music would appear to be for, of, and by specialists.

My question is this. Are we all missing out on something important because we’re unwilling to do the work? Or are we rightly shunning the music because it’s unbearable?

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