Saw this at home, stared at it, something finally struck. Probably
monotony here.
Mark Weiss wrote:
> One of the things I'm distressed by is the general lack of knowledge of
> classical music among younger poets. I think I learned a lot more about
> form, not to speak of sound, from devouring the canon. There's simply a
> lack of complexity to popular music, as lovely or exciting as some of
> it is.
I do not believe this is a new problem. I also do not believe it is
limited to classical music. I have told this story once too often:
college students (i.e., apprentices--like it ever stops) in
undergraduate creative writing classes in the early 1970s who thought
reading and studying other poets--near-contemporaries or historicals,
however you define the latter--was a waste of time. "I don't have to
read this crap, I am here to express myself."
As someone who resides with a dog, I have another meaning for "express"
that is more appropriate to that sentiment.
So I am not surprised if some younger people have cut themselves off
from a source of inspiration, metaphor, etc. I used to write to a
section of Stravinsky's _Firebird _called "The Firebird's Plea." It was
perfect for the mood of most of my stuff about 10 years ago ("A rope to
hang her, mother...make my bed soon for I fain would lay
down"--something like that). I realize now that I've worked music in
once or twice over the years.
I don't "understand" musical forms except may some opera. Like most,
understand few. But listen and like to think I am teachable. I knew
nothing about Charles Ives, recall, when I was first here. Now I know
more than nothing but have listened to the symphonies and quartets, and
he's a wonder. I don't know why.
> Also distressed at the general lack of knowledge of folk music, and I
> don't
> mean the music of Bob Dylan and Donovan Leitch, profound students of the
> tradition. It used to be one of the things that held us together as
> communities.
I'm not sure the folk is limited to individual communities. You can
cross over. I became enamoured of both the clarinet (which I can play)
and hammered dulcimer (which I can spell). Klezmer builds heavily on
both. So you listen. Same with Irish. For me it is not poetically
driven, it is practical because I love the sounds: I tried to teach
myself simple-system flute, tinwhistle, even for a time uilleann
bagpipes. You must listen because you cannot play without a frame of
reference, a measure against which to compare yourself. I suppose that
is a sense of the past and whether you can integrate yourself into it.
So I got most of my money back on the pipes via Ebay:-).
> My Carlos was taken to a Cailith (please, please correct my spelling)
> by a
> then girlfriend of the Belfast Irish variety. He was utterly amazed that
> everyone knew all the songs. In the US you'd have to go to a Protestant
> church to find the like, and the fare would be hymns for breakfast lunch
> and supper.
I think it's a _ceilidh_, if you're talking about a folk concert/dance.
Oh well. No matter, I'm no Gaelic speaker. I learned it all from Matt
Molloy, Catherine McEvoy, and Laurence Nugent.
Ken
--
Kenneth Wolman
Proposal Development Department
Room SW334
Sarnoff Corporation
609-734-2538
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