Representational Versus Abstract in Music

 

Gerhard Richter -- Isa (1980)

 Representational/Abstract labels are usually applied to visual art, but it is interesting to apply them to music.

"Representational" in music is that which uses music terminology, e.g. score (canvas), melodies and chords (paint), orchestration (color) and so on. Composing in the "classical" milieu also activates a deeper history of music, although having a cursory knowledge of Bach or Beethoven may not inform writing a pop song. The skill to paint portraits and landscapes (music corollary: compose string quartets) may not have any impact on making abstract art (writing pop music). Abstraction is about making something that "works", i.e. appealing to the eye/ear for usually mysterious reasons, and isn't necessarily a consequence of representational forms and processes. Using both at the same time is probably the most interesting, where rules are allowed to be broken. Pop is supposed to be easy: The art experience begins when you say to yourself: "I like how that looks (or sounds)", and proceed accordingly regardless of whether you are skilled or learned.

There are some visual artists that can effectively operate on both levels, although it is rare that purely classical composers (except perhaps Leonard Bernstein and a few others--like Owen Pallet) can do pop as well.

Gerhard Richter is sometimes referred to as a "part-time abstractionist", when in fact almost all of his later work is either abstract or conceptual. Ideally an artist and/or musician can (and probably should) work in both milieux. Both are suffused in modernity, and the effects cannot be avoided: One cannot avoid gravity, climate or entropy; ergo a contemporary artist can't be out of their time, even if painting landscapes or using sonata form. Richter has always finely finessed both genres.

Most pop musicians are not that interested in music history, unlike many artists who can appreciate all art outside their bailiwick. I have an affinity for post-Pollock artwork, but can spend hours looking at European art. Music doesn't necessarily require a history lesson, as it wouldn't be useful. Using a classical "representational" form (not just a sample of a recording) requires a knowledge of standard music notation and knowledge of orchestral instruments. But the abstract version of it without the background can result in valid product.

Lady Gaga's Sound of Music medley at the Grammys ("representational") demonstrated an actual musical talent, as well as an interest in music history--not just a history saved-out from samples of recordings. Collages of extant material are not paintings. Mashups are not through-composed music. But they are both equally valid and worth serious consideration regardless of the labels.