Monthly Archives: December 2013
For decades, Western culture has been reluctant to assign an inherent value or a purpose to art—even as it continues to hold art in high esteem. Though we no longer seem comfortable saying so, our reverence for art must be founded on a timeless premise: that art is good for us. If we don’t believe this, then our commitment—in money, time, and study—makes little sense. In what way might art be good for us? The answer, I believe, is that art is a therapeutic instrument: its value lies in its capacity to exhort, console, and guide us toward better versions of ourselves and to help us live more flourishing lives, individually and collectively.
Resistance to such a notion is understandable today, since “therapy” has become associated with questionable, or at least unavailing, methods of improving mental health. To say that art is therapeutic is not to suggest that it shares therapy’s methods but rather its underlying ambition: to help us to cope better with existence. While several predominant ways of thinking about art appear to ignore or reject this goal, their ultimate claim is therapeutic as well.
Graag wil ik op deze plaats verwijzen naar het essay van Adreas Kinneging: ‘Anders dan alle anderen’, over de invloed van de Romantiek op de hedendaagse Westerse samenleving, te vinden onder de titel ‘Een uit de hand gelopen idee’ (zie menu ‘Texts’ bovenaan deze site).
Van groot belang voor iedereen die in de problemen van de hedendaagse cultuur geïnteresseerd is.
In one of the more respectable German music magazines, the Neue Zeitschrift für Musik (New Journal for Music), set-up by Robert Schumann in 1834 and still in full swing, a devastating article has appeared in the 06/2013 issue about my book ‘The Classical Revolution’, tearing it to pieces with a vehemence, mostly reserved for religious quarrels among fundamentalists. The author: Konrad Boehmer, is a Dutch/German sonic artist, born in Germany in 1941 from a father working for the regime but nonetheless killed in the war, grown-up in the DDR, later-on fleeing to West-German Cologne which was in the fifties the centre of electronic celebration. Later-on mr Boehmer landed in Holland where he quickly became a member of the modernist establishment, the small circle of self-made revolutionaries who planned the Brave New World in music. I do not know him personally, nor have I ever done harm to him, I have not even mentioned him in any of my writings, since his works never gave me a reason to give them much attention. But I owe him my sincere gratitude for the efforts he put into the mentioned article, because it fully and wholeheartedly confirms and demonstrates what the problems of the modernist mentality were.