Music of any sort can make us forget. Or remember. Or grow. They can also make us gag, curse and flee. Which of those kicks in depends on when, where and why a particular music was made and when where and why it was listened to.  Like all art, music is a reflection of the situational triad of times, places and people so when the triad of the composer and that of the consumer are close together, the reason why a music came into being and why it is heard have a great chance of congruence. This ‘why’ factor then, speaks to the listener in terms of vicinities, proximities and histories and the closer an individual is to those temporalities, geographies, societies that are mirrored in the music the better the individual will understand it.

In contrast, classical music was created in a historical setting that changed slowly. For western music, this change occurred over hundreds of years, and for Hindustani/Karnatic music over thousands of years

These days we rarely hear mention of the two great classical music traditions of our world. These forms that originated in Europe and India and commonly called Western and Hindustani/Karnatic respectively seems to have been substantially removed from the current global musical aesthetic. If they had made like the Dodo and become extinct, there would be no great cause for alarm and no big reason to comment on its passing expect perhaps as a part of world history. To understand why this is so and, by extension, to figure out why they persist if they do at all, one must visit, at a very basic level, what music means to all us in terms of the tune, beat, harmony, symphony and cacophony.
The term ‘music’ is simple enough to understand and refers to the various manmade or natural sounds that pleases large groups of people but ‘a music’ has a far more spectral and complex meaning for it pulls in not just the tunes, beats and harmonies but also many other social, temporal, emotional, psychological and systemic factors which together can redefine random notes (or yowls or shrieks or bangs or bursts or thuds) as music (death metal anyone?).

Now, the classical music are named such both as much for their psycho-emotional, psychosocial situational fixas they are for their systems. These are both, to a greater extent, old.  They are so considered simply because they have not changed. Therefore, they have gradually violated the fundamental reason for the existence of music because situationally and systemically they have progressively ceased to mirror the changing world. That which they depict is becoming rapidly forgotten. Those systematic methods of tonal and harmonic commentary on the world that they constructed and solidified over centuries are being overrun by alternative systems that better reflect the urgencies, turmoil, poesies, societies and politics of the day.

Removed then, from the proximate cloud of time that surrounds today, the classical music systems and their times have to be viewed much like a historian would approach the past. They do not come naturally for they have no immediate referral to the present.So, essentially, the appreciation of classical music is an acquired taste if people are not deeply sensitive to histories. That is the case with the majority.

A condition of the modern world is that it forgets easily because it is assailed every day with many things to remember. Yesteryear for us is telescoped into a matter of days and lasts only as long as the next superlative idea or tune or regime that forces itself into our consciousness.

In contrast, classical music was created in a historical setting that changed slowly. For western music, this change occurred over hundreds of years, and for Hindustani/Karnatic music over thousands of years. Cooking slowly, they reached incredibly complex and subtle levels of creative expression since the situational triads out of which they grew evolved and changed but slowly, complexly and subtly. Because of this parallel development, the peoples of the past understood those music without really having to try for they were integral to their living evolution. To understand, contextualize and validate what they were hearing, they brought hundreds or thousands of years of historic remembrances to bear.  Yet, to a world where systems change overnight, where impatience is a virtue and speed of change is a value, such unhurried, millennia spanning complexity and subtlety are irrelevant, boring and unfashionable.

Many, if asked, would say they love Enya’s Gaelic ballads. The same would wonder if you’ve lost a few upstairs if you ask them what they think about the 2nd movement of Beethoven’s piano concerto number 5 even though the tunes and the harmonic juxtapositions are similar. The former uses 200 vocal overlays to get an effect that the later uses 200 instruments to create. The overlay trick is familiar, proximate and fully understood by most.The orchestra? Very few get it. Similarly, every Sri Lankan would recognize the basic tune of a Goyam Kaviya, but blank when asked about RaagGara played around the fifth although the tune and lilts are identical.

You see, it is not important to know. This is as it should be. It is really not relevant anymore to most. Therefore, if the classical music persists, they do so despite of society and not because of it.They are an aberration, an anomaly. Those who enjoy them are not the elites. Rather, they are the misfits. These misfits can place those music within the climes, times, and peoples from which they sprang. They can tie their own minds and experiences firmly to the ‘why’ of the composer and therefore, much like a historian would, they find in them great quality, great empathy, great reasons to forget, to remember, to grow. To them who take on the arduous task of unpacking an aria, goes the same salute that goes to the majorities who effortlessly move and thrive with the tune of the times. For themany that live now who are sick of our times, it would be worth their while to visit those music, at least to forget if not always to grow.

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