Throwing the Glove Down on American Music
08 August 2017 | Pago Pago, American Samoa
American music largely sucks. Where it does better is often by swiping classical themes and popularize them to a public that largely doesn't know better. On its own, America doesn't do well. About all of merit that is indigenous is classical jazz which I contend is or was largely the music of depressed blacks.
As a classical music lover, I am affirmatively revolted by hip hop and its belligerent tone, lack of anything musical much beyond rhythm and lack of modulation. Its musical poverty is astounding. Or country western with its intonation of a bawling calf recounting lost women, pickups and dogs. Other American types fare no better.
There really is good music and bad music.
Intelligence is powerfully drawn to quality and complexity in the musical elements of good music:
Melody: (pitch, range, theme).
Harmony: (chord, progression, key)
Tone (notes and frequency balance),
Timbre (characteristic sounds of instruments, especially when blended) and
Texture (musical and instrumental voices in music)
Mozart, Bach and many others understood and developed these musical elements in ways that those doing what passes for music these days simply don't understand but then they are working for a public audience that wouldn't understand or appreciate more. With Bach, music really became interesting, because he understood the elements of music so well and creatively. Others did well, too. Now, few try because American audiences are so bad.
Simple isn't very flexible and it just isn't very compelling.
This lack of interest in good music is very much a part of America's largely dead art scene.