Fueling the Elitist Fire

Annoyingly long posts often suck the life out of a blog, or so I’m told. But hey, look on the bright side, you’ve got your health. So be grateful. Enjoy it while you got it. And if you want to stay for a spell, just put on some background music, dim your screen and let me take you on a long ride in a short bus.

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The LA Times writers have been quite aggressive these past few days, penning what seems to be a large number of opinion pieces dealing with attitudes toward art (a whole two articles, in fact). Both Scott Timberg’s High culture meets low culture in a mass-media world and Mark Swed’s Elitism is not a dirty word have garnered numerous responses on the blogosphere and elsewhere. Most are favorable and they incite a load of discussion. Awesome. They deserve it.

So what are they all about and why am I here? Scott Timberg’s subtitle lays out the problem quite nicely:

Many stigmas are gone as the lines between highbrow and lowbrow blur. But will a loss of quality be the price?

To me and, I’m sure, many of you, this is not a new thought. In fact, I can’t remember a time when this wasn’t part of the discussion. But here it is in the Times, published this past Sunday, as if it were novel. However late it may be, it’s still worth the time to read and consider (props to the Tim and the Times).

Tim goes on to talk about the blurring of the lines:

Most people I know share my disparate taste, enjoying " South Park" alongside Franz Schubert, the crisply plotted novels of James M. Cain as well as the philosophically searching films of Antonioni.

“Hey Franz, remember the underwear gnomes?” Good times.

He goes on:

I WONDER sometimes if we may have succeeded too well in getting rid of distinctions, though. It's hard for me to avoid a low-grade worry that we're losing our ability to recognize quality itself.

A fine concern, indeed. To help him sort it out, Tim talks with people he knows, including music critic Alex Ross, book critic Laura Miller and film critic Steve Erikson. They all have interesting things to say. But it’s what travel writer Pico Iyer says that catches my attention.

"What we seem to have nowadays is more of a hierarchy of media," said Iyer, "whereby, for example, dance, classical music, opera, and even theater and books, all of which commanded their own sections in Time magazine only a generation ago, are now regarded as lofty and remote subjects for only a handful of connoisseurs." Those pages, he said, are "given over now to a Britney watch or extended investigations into the new iPhone."

Uh, Tim. Pico. As I read it, arts are still separated into hierarchies. So, there is no blurring of the lines, after all? Are you saying that things are separated into, you know, third tier, second tier, mezzanine, orchestra pit, books?

Also, classical music, because it’s regarded as “lofty and remote,” sure sounds elitist, doesn’t it?

Instead of feeling guilty about reading pulp novels, he said, we worry that we've become "elitist" if we go see chamber music or jazz.

Really? That’s the worry? The fear of becoming an elitist? That precedes peoples tastes? Being an elitist? Really?

“You know, honey, whenever I hear Carl Orff on an advetisement, I feel this inexplicable and sudden urge to go the symphony. I think I really like this kind of music.”

“That’s great! But don’t forget, if you go to a concert, you’ll look like an elitist.”

“Ewww. I don’t want that! Maybe it’s better to stay home and enjoy it in private. Or better yet, let’s go see the Lakers, instead!”

I bet Mark Swed has something to say about this.

EVERY NOW and then, writers at The Times lose a word. Mainly these are adjectives subject to misuse. Some years ago we were advised to let go of legendary. Similarly, don't expect to see iconic, which has become equally cheapened, in the paper much anymore.

The adjectival criminal I'd like to see handed over to the word police is elitist, especially in its relationship to the arts and popular culture.

I know, right? I’m in complete agreement.

To explain:

In the "elitist" Oxford English Dictionary, the first definition of "elite" is the "choice part, the best (of society, a group of people, etc.)," none of which sounds so terrible. But that is not what is meant when, say, classical music, my field, is scorned as elitist, as it regularly is.

And to echo Pico:

The arts are seen as for the select few -- too expensive, too inaccessible, too chichi for the general public devoted to movies, pop music, television and sports.

Ah. To remember the days of Bernard Holland, elite of the elite...

...Oh, right! Stay focused.

Mark drives home an important division: that the word elitist has been thrown about so much in the pejorative sense, even though it is by its very definition innocuous, that it has taken on a new and very strong negative connotation, which is often used to describe classical music. And that sucks.

Why?

In fact, the reverse can just as easily be true.

Ever see High Fidelity?

A ticket to hear the Los Angeles Philharmonic in fancy-schmancy Walt Disney Concert Hall may not always be easy to come by at the last minute and top seats are now $147. But for most programs, bench seats behind the stage (which many love) go on sale two weeks before the concert for $15. Do I need to detail the princely sums in the thousands it takes to attend an NBA playoff? On Broadway, $400 tickets no longer raise eyebrows. At Disney, we are a democratic audience who sit together. In the supposedly populist Staples Center, luxury suites resemble nothing so much as the royal boxes in European opera houses of old. Anyone can go to an art museum, but not anyone can get past the bouncers at the latest in-crowd club.

In other words, things that make you think are elitist. At least that’s my crooked interpretation, given the analogies. Just kidding, maybe.

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By the way, let’s do away with the adjective academic, too. I mean, is Elliott Carter really academic? Or is it in the mind of the beholder?

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Either way, the word elitist can apply to anything. So it must go. And I agree.

More importantly, if it can apply to anything, then the lines between media hierarchies, in Tim and Pico’s sense, have indeed been blurred. The question then becomes, strangely, why is elitism worrisome? And that’s something even Mark wouldn’t touch, because it’s so thorny.

But enough of that tenuous thread. It’s a little too hyper-inter-textually meta-nitpicky for my taste. There are a few things we can take from all this, though:

1) Classical music is often seen as elitist, but that distinction has blurred.
2)The word elitist is cheapened when it’s applied to anything; therefore, it must go.
3)Once we get rid of elitism, a synonym for “best” or “choice,” there’s a void for adequate descriptors.
4)How do we best fill that void?

Take it away Tim:

Having some standards seems more and more important in a time when the traditional arts have lost a bit of their prestige, some of their audience, and all of their monopoly on perceived quality.

If we’re going to continue to make or criticize art or music or art music, which is an important part of making our way through the blurry flurry of culture, then we might want to set up some standards. Good idea, sort of. This is how I might start.

1) Don’t refer to something as “elitist.”
2) ...

3) Profit!

This can get a little tricky, especially if you want to avoid being an elitist know-it-all. Nonetheless, and harmless enough, Tim hypothesizes what this kind of blurred-lines kind of art might look like:

The great 21st century work seems to me to merge this promiscuous blend of pop styles with a rigor and discipline that comes from the old-school approach to serious art.

To the contrary, I might say that the great 21st century work blends this promiscuous rigor and discipline with pop styles. Whatever. Who knows? Right?

It's what I expect to find when I see " The Dark Knight"...

Ugh.

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Empiricus, what’s your point? Why the song and dance routine?

I’m glad you asked. And thanks for your patience, again.

The situation that both Tim and Mark present us with is, for better or worse, post-modern. It’s a world where the lines between one thing and another have been erased. Pre-established hierarchies of quality have collapsed, leading to a lack of standard weights and measures. In other words, tradition has been bucked, but somehow we need to get back on the horse. Aware of this, Mark sees an opportunity to throw out some useless descriptors. Originally innocuous, elitist takes on derogatory meanings, often specifically in reference to classical music. But, given post-modernism’s set of goggles, just about anything exclusive can be viewed as elitist (as a negative); so why use it?

As he concludes:

But elitism, in its pejorative sense, is a state of mind, not a cultural phenomenon.

From our perspective, here at the Detritus, this is something we’ve argued for since the beginning, only in a different way. Since our meta-goggles are focused on criticism, it makes sense to evaluate reviews with similar sensibilities. How are reviews elitist? How can we reconcile inflated language so that it’s not inappropriately self-aggrandizing? What responsibility does criticism have toward its readers or culture in general? So, if I were to rephrase Marks conclusion toward our purposes, it might be a tiny bit different:

Elitism, in its pejorative sense, is a state of mind, not a cultural phenomenon; this state of mind, however, is not limited to the word elitism, it is easily observable in critics’ unnecessarily inflated language.

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Take for instance Richard S. Ginell’s review, published a day after Tim and Mark’s pieces (also in the LA Times):

Mordern approach works for I Palpiti

It’s pretty standard fare...until we dig a little deeper.

By the time the Festival of International Laureates' I Palpiti string orchestra enters Walt Disney Concert Hall for its annual showcase...

In other words, they are displayed annually. Sounds like a special occasion. A rare treat. Is that elitist?

...it usually sounds ready to take on the world.

The group is world-class. Better than most. A hierarchy rears its ugly head, no?

Such was the case again Saturday night; the young 24-member ensemble played with a ripeness and polish...

Ripe = ready to eat, perfect taste; polish = silverware? And this is all pretty standard vocabulary—showcase, world-class, ripe, polished. No fault to Richard, this is the kind of language he inherited.

[Conductor-founder Eduard Schmieder] reached into the contemporary sphere and brought forth a profoundly moving threnody...

Profoundly moving!? I don’t know, but it sounds like Richard came out of this concert a new man, a man with a radically positive perspective on life; perhaps afterwards he made himself a resolution to donate twenty-percent of his paychecks to charity. That’s how profoundly moving it was.

[...] by Britain's John Tavener, who started out as a Beatles-sponsored wunderkind...

Wunderkind, to me, smacks of a kind of word-elitism. Why not use prodigy, instead. Why use the fun German word (I know it’s a common, so lay off)? Just saying.

...and evolved into one of the most popular of the so-called holy minimalists.

First, he evolved past the Beatles; he’s better, more popular. Second, he’s one of the “most popular.” Third, “holy minimalists?” It's not Richard's term, but still. If that’s not inflated language, I don’t know what is.

How about this?

...mystic trills...

If I had a nickel for every time some said that...

Or, how about this?

...everyone in the hall finally fell under the piece's spell.

Because, you know, pieces cast spells. Ugh.

So, that’s the Tavener. What else?

Malcolm Arnold's lushly neo-classical Concerto for Two Violins and Strings was a robust chaser.

Do you mean to tell me that something neo-classical is lush? It simply does not follow. Lush seems like an inflation, to me. Is that elitist?

And finally, the Grieg transcription:

...I Palpiti passionately nailed the Serenade's tough, fast unison runs.

How do string players passionately nail things?

...

You’re all filthy.

Like I said, I don’t fault Richard—this is the language he inherited. We all did. It’s just that, if classical music is to be seen as not elitist, then it’s up to our critics to call a concert a concert, instead of turning it into the second coming, which is very elitist.

(in an Andy Kaufman-like voice) tank you bery much.

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I almost forgot, you can listen to Mark on Talk of the Nation defending his article, here.
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1/3 Review, 2/3 Farting on the Page with Words*

Here’s a classy title, too.

ELITISM IS DEAD

And an even classier epanalepsis.

Long live classical-music elitism

If Wikipedia is right, this cliché (appropriated from “the King is dead; long live the King!”) refers to the replacement or succession of one type of elitism with classical music elitism. Good premise for a review, don’t you think?

Recently the musical world has been discussing the impending death of classical music.

Oh good. Another cliché.

This chatter, often led by lovers of the genre, may in fact be hastening the demise, as various writers attempt to conjure up reasons classical music must exist.

(silent repulsion)

We, as a society, desire high art, whether we acknowledge it or not.

I have good bumper sticker idea. How about: Stop Making Generalizations About My Driving!**

I think it could be successful, like “Kerry/Edwards ‘04.”

Just look at the success of shows like Bravo’s Project Runway or Top Chef, which focus on extraordinarily talented artists competing to be the best before a panel of sophisticated judges.

This is not a successful pop culture reference. But go on, make your point.

These reality programs deliver to millions of Americans an accessible version of high art — and it’s working.

Pandering to an audience. Free market. Good point. I’ll think about it next time I pen a symphony.

Recently, the Norman Lear Center conducted a survey on the correlation between political party and entertainment.

Recently, I referenced a study that had little or no importance, too.

It was found that “all political types claimed they enjoy classical music”...

People enjoying music? How interesting. Political types, sure. What about income levels? No? No. Go on.

...and “classical music nudged ahead of rock as the most popular genre overall.”

The problem? Is classical music more popular than popular music? Good study. And good reference to show how elitism has been replaced by classical music elitism.

And now for something completely facetious.

If more Americans listen to classical music than watch football (according to the Lear Center survey), why does Eli Manning make millions of dollars while amazing pianist Ingrid Fliter drew a crowd of fewer than 500 to the Merrill Auditorium February 6?

Cogent rhetorical question (for a paraplegic Hygomenocite from the planet Groc). Wait. It’s not rhetorical? Sigh (that’s the facetious part).

A possible answer: elitism.

Weeeeeee! This is fun isn’t it? I swear, it gets even better.

Since the Baby Boomers condemned classical music as the despised genre of their parents, leaving those who remain fans labeled proprietors of an inaccessible art form incongruent with popular art.

Weeeeeeeeeeeee! Sentence fragment!

Weeeeeeeeeeeeeeeeeeeeeeeeeee! Bumper stickers!

“If it is ‘elitist’ to create works over average people’s heads then why is it alright [sic] to have schools to educate them?” Portsmouth composer Roger Rudenstein asked recently in an essay in the e-zine NewMusicBox.

The disappointing thing here is that I think this was the grundgestalt, the originating idea/impetus, for the tone of the review. It’s neither here nor there, so I’ll leave it alone. But, don’t fret. We’ll return to this later.

There is nothing more elitist than suggesting a genre is over average people’s heads.

An important distinction to be made, Emily Parkhurst of the Phoenix, how big should we make your bumper sticker?

If a composer is composing art for the sake of art and a performer is interpreting that art for an audience there solely to bear witness to that art, elitism is utterly out of place.

I tried to make a reductive outline of this article, and I failed miserably, which is why I’m going sentence fragment by sentence. I apologize.

I mean, elitism is out of place? Where the F did that come from? Should I use a roman numeral or an arabic letter? Should I just make a new outline on a different page with a different pen in a different language?

Once the notes dissolve into the air, it is up to the audience to decide if the music was over their heads. And if many of them agree that it was, possibly the composer missed his mark (or will not be appreciated in his lifetime).

It’s certainly not popular, then, is it? Like popular music or Top Chef.

The rise and fall of Serialism is an example of elitist musicians’ willingness to alienate the very people they need to survive: their audience.

Didn’t you just say that it’s okay to write art music for art’s sake? That it is not elitist?

And by the way, what do you think serialism (not capitalized) is? Is it merely a technique? Or is it more akin to, say, facism? Facism is not populist, like Top Chef.

The casualties of this alienation, like waiters at a bad restaurant, are the musicians on the stage.

As a composer, and in lieu of tactful Top Chef references... I disagree.

New Hampshire pianist Paul Dykstra's new self-released album, An Ivory Winter, includes a number of what Dykstra calls “works that mean a lot to me.” These include Beethoven’s “Appassionata” Sonata, two Chopin works, and an exquisite rendition of a Scarlatti sonata. Dykstra suggests this is “music to drink hot chocolate to,” a fitting description, considering that every work on the album is in a chilling minor key. But Dykstra keeps the metaphor going, showing a little bite: “the tone of this album is more like dark chocolate than milk chocolate.”

Wow, I almost forgot that this was a review.

While most of Dykstra’s dark-chocolate interpretations were smooth, they were disturbed by the bitter taste of the last two tracks: two movements from Roger Rudenstein’s Piano Sonata No. 7, an abrupt and inaccessible composition.

As promised, here we are again, at Roger Rudenstein, the elitist whose words apparently struck a shriveled nerve with our dear incomprehensible reviewer.

Of Rudenstein's method, Dykstra says, “he composes everything in a stream of consciousness. He’s a very intellectual composer who uses a very mechanical process.”

Elitists and intellectuals and processes! Oh My!

Dykstra’s interpretation of this mechanical work is worthy of note and Rudenstein is wise to keep working with him. His fluidity through the difficult atonal passages revealed unmistakable technical prowess.

Yes. Yes. The only way Rudenstein’s elitist music might sound good is if he continues to write for Dykstra. Explitive! Etc.

As I was listening to this piece with a friend...

Oh good God!

As I was listening to this piece with a friend who has little classical-music background, he turned to me and said, ...

“Reviewing is not your calling.” No? Okay.

...he turned to me and said, “I really like classical music, except when I hear something like this.”

Ooh, an informed opinion, something you’re supposed to have, Emily Parkhurst of the Phoenix.

Elitist indeed.

Elitist indeed.

*Literally, 1/3 of this was a review, the other 2/3 a brownish poop smear on the page.

** I have another idea for a bumper sticker: My Other Car is an Elitist POS