I’d like the share more from Daniel Levitin’s This Is Your Brain On Music. Yesterday I shared some of Levitin’s thoughts on the chasm between performers and listeners. What I quote today shares that theme.
. . . in every society of which we’re aware, music and dance are inseparable.
But it is only in the last five hundred years that music has become a spectator activity – the thought of a musical concert in which a class of “experts” performed for an appreciative audience was virtually unknown throughout our history as a species. And it has only been in the last hundred years or so that the ties between musical sound and human movement have been minimized. . . . The polite listening response, in which music has become an entirely cerebral experience . . . is counter to our evolutionary history. Children often show the reaction that is true to our nature: Even at classical music concerts they sway and shout and generally participate when they feel like it. We have to train them to behave “civilized.”
In jazz, “Bebop developed as the younger generation of jazz musicians aimed to counter the popular, dance-oriented swing style with a new, non-danceable music that was more of a “musician’s music” that demanded close listening.” ∗
And as Levitin describes,
Classical music as most of us think of it . . . has diverged into two streams. Some of the best music in that tradition is being written for films . . . and is only infrequently the object of directed listening, as in a concert hall. The second stream is twentieth-century art music, much of it challenging and difficult for the average listener . . . . Contemporary “classical” music is practiced mostly in universities; it is regrettable listened to by almost no one compared to popular music; much of it deconstructs harmony, melody, and rhythm, rendering them all but unrecognizable; in its least accessible form it is a purely intellectual exercise, and save the rare avant-garde ballet company, no one dances to it either.
∗ Wikipedia entry on “Bebop”.