Modern theories of musical meaning

Modern theories of musical meaning

Before the 19th century, musicians themselves seldom were theorists, if theorist is defined as one who explicates meaning. Musical theory, when it was something other than the exposition of a prevalent or emerging style, was likely to be a technical manual guiding vocal or instrumental performance, a set of directions for meeting current exigencies in church or theatre practice, or a missive advocating reforms. Prolific masters, such as Johann Sebastian Bach, produced not learned treatises but monuments of art.
The 19th century saw the emergence of composer–critics (Carl Maria von Weber, Robert Schumann, Hector Berlioz, Franz Liszt), versatile artists with literary proclivities who were not, to be sure, propounding comprehensive theories or systems of thought. Richard Wagner, an active theorizer, presaged a new species, the composer–author. But he did little to advance musical theory. He proposed a unity of music and drama (Gesamtkunstwerk)—a reflection of the “programmatic” preoccupations of 19th-century composers—but its multiplicity of musical and extramusical elements only added to the confusion of musical thought. The distinctly musical character of Wagner's genius, clearly discernible in The Ring, is in no way explained by his discursive credos. Igor Stravinsky, Arnold Schoenberg, and other composer–authors of the 20th century were to be somewhat more successful in elucidating their techniques and aims.