A TLS review of a new music book caught my eye, as it began, “Everything you know about the history of popular music is, in the view of Greil Marcus, most likely wrong.”
Paul Genders follows with a nice precis of Marcus’ argument:
[The] official, non-secret history referred to is the strictly chronological one: of jazz, blues and country giving rise to Elvis Presley, who gave rise to The Beatles, who changed everything – and the evolution has continued, with next year’s sounds emerging out of this year’s, in neat linear fashion. The problem is, of course, that the music itself doesn’t work nearly as prosaically as that narrative suggests. A great piece of popular music is less a “progression of the form” from an earlier work than a “rediscovery of a certain spirit”, or even a “step out of time”; this is an artistic medium best understood not as a sequence of forward manoeuvres but as “a drama of direct and spectral connections” between performers at different moments in history. We have “no reason to be responsible to chronology”, says Marcus, when considering something that moves as mysteriously as rock ’n’ roll.
I love this, and would only add that it’s as true of “classical” music as it is of rock ‘n’ roll. Although the time span goes on a little longer, the official history is still peddling a similar progression: baroque, to classical, to romantic schools, with Beethoven, who gave rise to Wagner, who “changed everything” serving as Elvis and the Beatles.
In fact, progression in music– maybe in any art form?–isn’t ‘forward’ –it’s multidimensional, and performers and composers are always waging restoration and revolution on their predecessors and successors. Does Stravinsky’s “Le Sacre” sound old or new? Is it still new primitive or is it old primitive now? Or consider his once derided opera “The Rake’s Progress,” which converses spectrally with Hogarth, Auden, Kalman, classical and bel canto musical forms, mid-20th century harmony, and, among others, via the medium of Dawn Upshaw, one of the great singers of yet another era.
Here is her performance of the soliloquy, “No Word From Tom,” at once an old-fashion scene and aria, and music that could have been written yesterday or tomorrow.