Musing for Arts Sake by Stella Dayrit Roden

One of todays challenges is to sift through the enormous accumulation of media and the diverse
offering of live concerts to find meaningful art and music. One part of us just wants to be
entertained. Another desires a relevant experience, perhaps to be awed, and at the very least, to
have spent our time and money wisely. Who doesnt love fire-works, light shows, multimedia
presentations, and the latest technology? And sitting behind our computers in search of these
offerings, we are inundated with an imposed intimacy of inside jokes, memes, and other relatable
humor. My favorite internet meme is One does not simply and pictures actor Sean Bean in
character as Boromir from Lord of the Rings. Subliminally, we are fed the notion that anything
new, or humorous by way of culture, or having a shock factor is probably worthwhile art, media, or
news, and not to be missed. Add to that, relevance of media is measured largely by frequency, the
number of views or clicks, and of course, profit. Whether and why you might consider something
worthwhile art is not the argument. What should be examined however, is when art is justified in
large part by cultural newness or level of exposure. By choosing or evaluating works based on
date of creation, frequency, or with a state-of-the-art mentality we often perpetuate less expressive,
uninspired and less meaningful works from artists and art forms. Impressive use of technology
does not ensure the artistic value or the skill by which a piece of music or art is made.

As I continue to work in academia, I feel increased pressure to choose repertoire based on the
premise that newer works are the more relevant endeavors. I am equally inspired and moved by
the music of dead composers as much as the living. Despite familiarity, I have not tired of Puccini or
Strauss, with all its documented analysis and often times predictable cadences. I sense a tinge of
judgment knowing I might swoon while listening, as in sync with the ideas of these dead composers
as I am with many of todays current cultural memes. But unlike the meme, the experience is multi-
dimensional and long lasting. Again, the argument is not whether you believe this music is art, but
the impetus to perform the works of these dead composers often comes from a deeper human
attachment that is undervalued.

As a college professor, assigning repertoire to students from a wide array of genres and time
periods is standard practice. However, I often hear the justification for producing particular staged
works is related to how recently they premiered. Rather than producing a work based on the given
talents of a student body, staged works that are more frequently produced across the nation or
found widely successful are being considered first. The idea that a department or theater can put
on a particular show, trumps the level at which the show is given. Additionally, there is the false
prediction that the more recently created staged works will be produced more often at professional
houses. At least the students can add roles to their rsum, but it leaves me wondering if thats
good enough.

While performing works of living composers is among my priorities, more important, is my desire
to have the audience connect with the content of the music and the performance of it. If we value
this human connection more than instantaneous cultural identification or mere currency, our
experience is richer. Decide for yourself what art is, but perhaps, meaningful art is that which
creates a permanent attachment regardless of time, frequency, or culture.