New Consonant Music
 

WHAT IS NEW CONSONANT MUSIC?

 « In place of a hermeneutics, we need an erotics of art. » 
Susan Sontag, Against Interpretation

But - each adjective - 'new' and 'consonant' can lead someone who is not familiar with these ideas on to a wrong track. We won't deny it.

With 'new' there is no need to look for revolutionary aesthetic discoveries. This word does not mean, in this context, a sudden revolution which can end all discussion while producing a definitively new way of musical composition and rejecting all previously developed styles. As for 'consonant', it can be misleading in its apparent evocation of an aesthetic that would keep any musical bumps or dissonances well away from our ears. In fact, this is not the case.

New Consonant Music is much more an attitude - of serenity and humanism after the cataclysmic upheavals which the art of music has endured during this century.

The history of music could - as a caricature - be summarised as a very long struggle between two trends: on the one hand the will to incorporate what has been found beautiful into a formal structure and, on the other hand, the inextinguishable impulse to go outside that context and to produce freedom of expression that explodes the frameworks and their rules.

So with the passing centuries and in the course of some thrilling adventures, the second trend got the better of the first - without the first finally giving way to the second for all that! Several compositions have pushed one or other of these tendencies to the very limit. Perhaps the most amazing example is John Cage's 4'48'' for Orchestra (only an absolute silence during this precise period of time), or on the other hand, some post-serial works which again go to the limit, demonstrating crystal clear symmetry on paper, but that are, alas, almost unbearably incomprehensible for the ears. It must of course be said that many composers have produced works of genius without necessarily going to such extremes.

The point is that through the centuries music has been enriched by sounds which have enabled it to express the very depths of sensitivity, if not in universal terms then certainly in a relevant and contemporary way. Therefore we must place ourselves in the context of what has gone before and also take account of the amazing accessibility of music and sounds, along with the technical possibilities of acoustics, some of which surpass by far the possibilities of human hearing. It is surely a good thing that we can now have at our disposal everything which the human ear is capable of hearing!

This spectacular explosion of possibilities has its challenges as well: the fact that the listener gets saturated and can lose interest in an art that has become too accessible. Additionally, as a composer one is inhibited from composing in a spontaneous manner because all that is spontaneous is deemed to be trivial and uninteresting. Has everything not already been said, after all?

It is precisely this attitude which New Consonant Music seeks to oppose!

So this trend has a unique aesthetic objective ... not to prescribe an aesthetic! It is true that 'barbarity' based on nothing more than the desire for novelty is not welcome. Nor does New Consonant Music embrace the merely 'attractive' if there is no mystery, delicacy and inventiveness. It is very skeptical in face of commercial demands, or music 'made to measure'.

New Consonant Music hopes instead that each composer might dispense something of resonance and charm, something truly of himself, whatever the form and language of his composition.

In contrast with commercial music, made for mass-consumption and dishearteningly accessible (and devalued!), and in contrast to music destined only for a few initiates in rarefied, oxygen-free environments, New Consonant Music can be thought of as an approach which is open, and which 'tastes' - no matter what the style or framework. Of course, such musics are conceived of as communication with the listener, as a result of the formal dimension and in the context of concerts and formal and informal contacts between composer, performer and listener.

In this way, innovation is an opportunity and not an end in itself. Indeed, is innovation really so essential, given that our creations are already as different as are we ourselves?

Pierre-André Boland

[ Let's see the composers... ]