Professional Documents
Culture Documents
Virgil Thomson
* Thomson.
Copyright 1947 and 1948 by Virgil
THE LAYMAN is under no obligation to exercise judg
ment with regard to musical works, to describe to him
self their characteristics or to estimate their value for
spirit.
We
do not need to, as a matter of fact, because
curiosity is
stronger than prejudice. Any musician faced
with a new piece will listen. He may not listen long but
he will submit himself to it,only for a moment. He
if
tasting,
is
going on
listening the experience of having
one's attention held. Not all pieces hold one's attention.
One is sad when they don't, but one must never under-
ART OF JUDGING MUSIC 105
is
why he is a musician to start with, because listening
is his line of least resistance. When a musician can't keep
his mind on a piece of music, that fact must be con
sidered when he comes to formulating judgment.
The final stage of the first
operation is the aftertaste,
the image that the whole piece leaves in the mind for the
first few moments after it ceases to be heard (I say
heard because reading a piece is
hearing it in the mind,
in however attentuated a fashion). This is as significant a
part of its
gustation as the first taste of it and the fol
lowing of it
through. It is a recalling of the whole,
while memory fresh and before the operations of cor
is
All new music does not produce this effect. But the
which does as valuable a datum for judg
degree to it is
is a search for the reasons why the piece did or did not
hold one's attention on first hearing. And the initial
106 VIRGIL THOMSON
taste or distaste for its
qualities
will constantly return to
judgment. It
depends, of course, on the success of the
first. If first
acquaintance has proved agreeable or inter
esting, one undertakes the second. The undertaking is a
result of first judgment, though not necessarily of re
flection. The whole first
operation, let me insist, is spon
taneous; and so is the initiation of the second. At this
is
present. In the case of executant musicians there is a
constant shifting, during the study of a work, between
score and execution, each stimulating and correcting the
other rill the artist's interpretation is fully formed as a
study period and its results, one has to approach the work
all over again from a distance. Here the acquisition of
piece at all. As
in reading old love letters or reviving
one can, if
necessary, neglect stylistic differences or even
abstractthem from the problem, whereas one cannot
or in any other way me a piece
perform, communicate
of music until one has found an answer, correct or in
way.
You will note that I have said nothing about com
municating one's passion about a work. I have not men
tioned it because it no problem; it takes place
presents
automatically and inevitably. What is most interesting
about any musical judgment is the description and
analy
on which
sis it is based, or, if you like (since the judg
ment is likely to precede the analysis), by which it is
defended. This is
revelatory and stimulating. The fact
that oneman likes or dislikes a given piece will influence
nobody. The fact that he considers that piece to be, shall
we say, more like a newspaper editorial about some
thing than a direct transcript of personal sentiments is,
however right or wrong, convincing or foolishworth
following up, if
only for refutation.
Nobody has to be right. Any opinion is
legitimate to
act on provided one accepts in advance the responsi
bilities of that action. Any opinion is
legitimate to ex
press that can be stated in clear language. And any opin
ion at all is
legitimate to hold. As I said before, it is not
the yes or no of a judgment that is valuable to other
ments is
chiefly the art of describing music. At this ex
ercise it is desirable to be skillful and, as often as
pos
sible, convincing. But it is the skill that counts, the skill
or gift,
if you will, of
understanding and explaining
at least of explaining that such and such is, for the pres
reply is
obligatory: "Study music and learn to write."