P
Portrait
Guest
Dear Tally Marx,Hello there, Portrait! I’m glad to see that you are willing to put thought into this subject before posting. However, there are, I believe, more things for you to consider before judging the matter. First of all, rock music is not communication minus the words. Actually, this is a better despcription of classical msuic. In classical, you listen to the tune and emotion that the music encites and then interpret it, relating it to some experience you have had (“Dolly’s Dreaming and Awakening” by T. Oesten) or some object/person (“Le Petite Chien” by Chopin).
In rock, however, the words indeed do matter. Yes, it is true that the music sets the tone and animates the words. Of course, the opposite is also true; the words help mold and contain the music, providing it with a fairly clear meaning and leaving out the wide range of interpretations available to classical music. I’ve always been under the impression that this co-operation between the music and the words was the point of music and one of the traits of a good lyrical song. It is rarely that I hear a song which is ineffably sad where the lyrics are concerned, but with a bouncy, hopeful beat. Finding a tune which expresses and enhances the words is one of the challenges of composing. It can be bent in any direction, hence the many different genres, such as soft rock, alternative rock, hard rock, and classic rock. It all depends on what you, the composer, wants the song to be about.
If this is indeed so, can you please tell me what underlying philosphy is common in the Dave Matthew’s Band’s “Funny the Way it Is”, STYX’s “Renegade”, Roxette’s “Listen to Your Heart”, Switchfoot’s “Only Hope”, and Journey’s “Open Arms”? If they all possessed the same harsh, passionate beat (like rap music does, as a general rule) then I would say the words to not matter. However, the tune fits the words, the words fits the tune, and there is a great variety of sounds and words between hard, soft, classical, and alternative rock.
(to be continued in post below)
Cordial greetings and a warm welcome to CAF. Thankyou for your responses to my post.
First, when any music is composed, it is not composed into a neutral nothing, but rather into a positive something, vis-a-vis, a form that is definite and meaningful, with colour and character - rock is no exception. Therefore it will necessarily convey an expressive communication, for when single notes or tones are intentionally brought together in a musical work they are most decidedly not neutral. Music is probably the most powerful stimulus known among the perceptive senses. Moreover, the medical, psychiatric and other evidences for the non-neutrality of music is utterly overwhelming. However, be that as it may, words are timid things anyway; decibels, beat and rhythm are bold things that get through to the blood of the listeners and bury the words under an avalanche of sound. The fact is that rock music per se has a message and that message is chiefly the message of sexual permissiveness. As music affects one’s body one instinctively desires to put motions into it. What kind of motions fit rock music? Basicly sensual motions. Now if the message of rock music evokes that sort of response, then how can it be suitable music for a Christian who is supposedly pursuing holiness?
Second, rock or Pop music does not require a “harsh, passionate beat” to either be sensual or to elicit a sensual response (e.g. Phyliss Nelson’s Move Closer and Donna Summer’s *Love to Love *You Baby, both of which are soft ballad’s but also very sensual, especially the latter).
Warmest good wishes,
Portrait
More to follow.