MOZART’S “MINUET” FOR PIANO

Questions on the thing itself

What is its substance?

            I would think the proper being of any piece of music would differ with each person.  I, for instance, cannot read music so the printed score means little to me.  I know it is probably music since there are notes placed at various intervals along the score, but I do not know what they mean.  How long does a full note last?  What do the other symbols mean?  Therefore, for me, the proper being would be in actually hearing the music performed in some way.

            Even it its performance its proper being may differ with each listener.  Some may not enjoy the performance as heard over the radio or a home stereo system.  Yet they may receive great pleasure from a live performance.  Others may feel it is most true to the original composition if played on an instrument similar to the ones for which the original piece was composed.  To them its being is only felt, or at least more closely experienced, when the piece is performed as originally heard or composed.

            Obviously, then, I feel the proper being of music can be many things at the same time.  I do not believe there is an irreducible minimum, except that beyond which the individual listener can no longer enjoy the music or recognize it as music.  In this sense, then, music is not permanent.  At least not any one particular composition.  However, even if once lost and forgotten it can be reincarnated by chance.  In that sense it is permanent.

When – and where – does the piece exist?

            This question follows well with the previous question.  The answer to where a piece exists depends on one’s ability to appreciate the music.  Therefore, although I can see the musical score, the music itself does not exist for me until I can hear it.  Once I hear it, however, it has the potential to exist in my mind after having actually hearing the piece performed.

            Admittedly, this particular “Minuet” may not exist in my mind for as long as some more “catchy” tune.  In this case it would take a number of time of actually hearing the piece performed before I would be able to sub-consciously play the music in my mind.

            If I were to listen to the piece to the point of memorizing every sound I would be able to tell if a performance was true to the original composition.  In this case the piece would exist in my mind but not in the performance, since the performed piece is incorrect.  On the other hand, if I memorized it wrong, or memorized an incorrect rendition, I might think the piece exists in my mind when in reality it does not.

Questions of Value

Is it good?

            As Lewis Rowell says in his book, “Thinking About Music,” “each of us has a set of personal criteria.” (p. 13)  What my criteria deems good may not be good when judged by another’s criteria.  I feel this minuet is good because it flows, and allows me to relax and listen to its rhythm.  I can get caught up in the sound of the music.            As far as the minuet being a “competent representation of its class,” I must defer to the experts.  It appears this piece does indeed conform to the rules.

Will it do me good?

            Again, I feel it is a matter of the beholder.  Music, such as this minuet, inspires me.  I often play this type of music when I study.  It gives me what I like to call a gentle background that allows me to concentrate on my studies.  I admit there are times I want to sit back and simply “take in” the music, but in general it is a soft gentle inspiration.

            For others, however, I’m sure this kind of music gets on their nerves.  They could not possibly relax with this music playing in the background.  Studying would be out of the question.

Questions relating more to the observer

How are my own feelings and emotions involved with it?

            My feelings and emotions have a direct effect on how I feel about, or listen to, a particular piece.  My moods will often determine what I want to listen to.  When in a melancholy mood I have a tendency to want to listen to music that seems to evoke sadness, emotional pain, or hurt.  If I’m in a brighter mood I want to listen to bright, fast tempo music.

            Often, however, I don’t have a choice of what to listen to.  Instead I must listen to whatever is being performed, whether live or via some electronic medium.  When this happens my mood usually determines my feelings about the piece being performed.  My mood also determines how I interpret the music.

            Mozart’s “Minuet” for piano will leave differing impressions on me, depending on my mood at the time I listen to it.  If I’m melancholy I may want to allow the deeper, slower notes to dominate what I hear.  When I’m in a more joyful mood I might find that the sharps give vibrancy to the piece.

Must I possess any special or peculiar knowledge to assert that it is good, beautiful, or meaningful?

            On a personal basis I believe there must be two answers to this question.  First of all, if I’m to judge this piece on it merits, I must know what the standards are that qualify it as good and meaningful.  Therefore, if I am expected to judge a musical piece in this way then the answer to the question must be yes.  I must possess certain knowledge and skills related to the study and practice of the art of music. 

Yet, since I have almost no training in music I cannot judge its quality based on whether or not it meets the standards only understood by those who can read, interpret, and perform music.  I do not know if certain notes attain a better resonance if played by a certain instrument.  I do not know if two different types of instruments, when performing as a duet, may or may not clash.  I do not know if it is important to maintain a certain tempo.

So then, the second answer to the question must come from my limited understanding of music.  From this point of view I can say, if it sounds good to me then it most likely will have the potential of being either or both meaningful and beautiful.  I don’t need to be musically trained for a musical piece to have personal meaning, or even beauty.  The experts may judge a piece to be beneath the known talent of the composer, yet it is beautiful to me because I heard it at a time or in a situation that caused the piece to touch me in a meaningful way.  It then has meaning to me.

Questions on the context of the piece

Is it important to know (and, if so, why) –

When Mozart lived?

            If music is to be considered a product of the culture from which it comes then it is not only important to know when Mozart lived, but where he lived.  This may be as important, if not more important, in the study of the music, as in the performance of the piece.  Again, I have no education in music, but it would seem to me that the judgement of a compositions value must be based on the level music had attained at the time the piece was composed. 

            It also stands to reason that judging a piece by playing it on instruments not available at the time it was composed may not be fair.  Some music of the 18^th Century, for example, may sound beautiful on an electric violin.  Another piece of the same era, otherwise considered a masterpiece by all other standards, may sound horrible on the same electric violin.

            Likewise, to judge a piece of music from the orient by the standards of the Western World would be unfair to the piece.  To my ear, oriental music may not seem to have the depth and range of what we call classical music.  To the people of the Orient, however, the music may have great cultural significance, and be considered very beautiful.

What Mozart’s piano sounded like?

            To the student of music, and to the student of Mozart in particular, it may be important to know what his piano sounded like.  The tones he was able to get from his piano may very well have determined the direction in which he took his music.

            For the casual listener, like myself, it is not important to know what Mozart’s piano sounded like.  It is only important that the piece is performed well, and that it touches me somehow.