An essay about the importance of music and the arts

I believe that this is a time in which the strength to dream remains most urgently needed by our society
How far does this opinion have resonance for the young composer of the early 21st century?

In this essay I will argue that there is a need for new music in our society and also point to some ways in which that music can be made more accessible to the general audience in order to make the dreams of young composers come true in some form.


The 20th century saw a battle commence for hearts and minds. On the one hand the capitalist world seemed to offer limitless opportunities for growth but at the expense of those who were weakest in society, on the other, socialism appeared to offer possibilities for all. The dream of the left was soured by what happened in the Soviet Union and China, where dictatorships flourished in the name of communism, a term which became synonymous with power and corruption. There were advantages for a few but the means did not justify the end and by the end of the 20th century capitalist ideology appeared to have won.

The world is rapidly changing. There is a consumer boom born of the capitalist victory and countries in the Far East which have hitherto been riddled with poverty now want their share of what the west has had for many years. There is an energy crisis looming, food shortages are predicted, there is deep unease in the Middle East, and globalisation appears to be increasing the chance of doomsday. It is very easy to become totally disillusioned by all of this, to say that there is no place for artists in contemporary society, driven as it is by targets and assessments. There is no time for a dreamer in todays fast moving world. Music has also become a victim of this culture. Concerts are assessed by their financial success and this by definition limits their scope.

In addition to this contemporary music -and modern art- have become confusing for the listener, their languages demanding understanding (which implies education) but also the time in which to listen to and learn them. In response to this, minimalist composers have tended to compose music which is very accessible but which is also limited almost by definition in the way it can develop. Nevertheless, there are also an increasing number of performers who specialise in contemporary music, and that must be encouraging to young composers who want to hear their music in concert.

I believe that there has never been a more important time for artists and dreamers. Although scientists appear to have some of the solutions to the worlds problems musicians can carry messages of hope and caring, as for example Daniel Barenboim has done in his work with Israelis and Palestinians, of which he recently spoke during the 2006 Reith Lectures on radio 4. Music has often been described as an international language and the work of composers who involve their performers and audience can draw people of different cultures and backgrounds together. Musicians provide ample proof that personal effort can reap community rewards and in this the role of the composer is just as significant as that of the performer or conductor.

One of the problems that has befallen art is the cult of celebrity with the aforementioned performers and conductors now taking centre stage. This is partly a result of the emergence of mass communication in the 20th century and partly because the arts are financially driven. Nevertheless, the voice of the composer is surely of equal importance, and the voice of the individual in this time of mass consumption needs to be heard. Composers show courage in speaking as individuals, and when they have that courage, their voices can be heard clearly, even if it is only by a few. Composers of the 21st century are laying down a history for composers of the future, a musical heritage. Many composers who were deemed “difficult” are now mainstream as any glance at a list of 20th century composers will prove – Webern, Stravinsky, Britten, and Boulez to name but four. A programme of music by Stockhausen is likely to draw a big audience these days. I believe that we can only understand the past by its contemporary relevance, and unless young composers provide us with music which has contemporary relevance, perhaps the music of the past will become destined for museum art.
If composers wish to be taken seriously in the near future there are various things for them to consider. They have to decide whether they are writing for themselves or for an audience. If they are writing for an audience they have to make a decision about which audience to work for, an audience who want to be entertained without much intellectual effort, or an audience who do not mind finding themselves struggling with the meaning of what they are listening to. The young composer has to decide in which style to write something with a recognisable form at least – for example a concerto, a rondo or symphony, or a work with no recognisable parameters. It might be necessary for the young composer to develop new tools with which to create some meaning in, or a continuos peace of, music. Composers used to be at the heart of music making, Haydn working with his orchestras, Bach, as kappelmeister in Leipzig, Mahler working as a operatic conductor whilst also working as a composer. Young composers could consider placing themselves at the heart of the relationship between performers and audiences, and if they have something valid to say they will surely find themselves being listened to. There is still a huge audience for classical music and theatre, and the people who go to hear a symphony concert or watch a contemporary play also read books and are willing to be challenged by new ideas.

In a recent Guardian article the composer Stephen Mc Neff writes:

“Putting composers back at the heart of the orchestra is one way to revitalise the relationship between the various parties. Audiences will engage with new music if they play an active role in its creation.”

He adds; “Not that I'm suggesting a conservative approach, a return to 19th-century musical values or writing in an outdated neo-romantic way just to fill concert halls. Composers should continue to present challenging music, but there must be an attempt at communication, with both sides agreeing on the terms. My experience, such as introducing Heiligenstadt, giving pre-concert talks and being available for discussion and interviews, has, I think, invited audiences to see that I'm willing to talk and explain myself in return for them lending me their ears….

Education obviously forms a large part of this process, but not all composers want to or are able to work in schools. Engaging with the wider community through outreach schemes and capitalising on the loyalty that regular audiences have are equally important.

If contemporary composers have something to say, we have to make it heard beyond a small group of aficionados and colleagues and participate without compromising in a real world of performance and music-making…”

One of the more disheartening aspects of modern society is its mindless consumerism, which encourages television which is not challenging, magazines, pop music and blockbuster Hollywood films. It is difficult to dream whilst surrounded by the world of instant success – especially pop music where the rewards in terms of money and celebrity are both enormous. Student composers, hoping that their studying will reap some benefit must often wonder where their dreams will take them –if anywhere. Nevertheless there is a lot of help available in the form of societies and publications dedicated to the performance of new music and these should help keep the dream alive. A glance at the pages of the BMIC (British Music Information Centre) indicates the level of support and information available. It should be an encouragement to the young composer that these bodies exist, and should also be an indication that his/her work will be welcomed. The centre promotes both new and already published composers and is there to help them find their audiences.

One of the difficulties young composers face is the accusation that classical music is elite. They must be the ones to find a way to dispel that myth and to engage with people of all classes and persuasions. Music is in a unique position to fulfil such a brief.

It is my belief that dreamers have never been so urgently required. They may be the very people on whom our survival relies. This may seem farfetched, but as science rushes towards some unknown future catastrophe it may be composers who write the music that unites peoples, reconnects them to their emotions, allows them some means of free expression and reminds them of their common humanity.