What about 5. Linkage to another belief that causes us to associate so-called masochistic behavior with something good?
Some people like BDSM because they like the feeling of someone being else in control. Some people like being hit because they associate it with the love of their parents. Some people wallow in bad feelings because that's how they learned to get attention.
I think question 2 is an important one. These behaviors can be logically grouped together as "masochistic', but the kinds of "bad" that they move towards are completely different. You're talking physical pain, confusion, fear, exhaustion, self-judgment, identifying with "suffering," etc. I don't think there's anything to be gained by combining them into one category. If we want to talk real masochism, I think the cleanest solution would be to stick with the enjoyment of physical pain.
Anyone gonna weigh in on the old pleasure and pain two-sided coin?
Subscribe to RSS Feed
= f037147d6e6c911a85753b9abdedda8d)
Even granting this statistic, this is highly selective reporting. Vienna has historically been a musical center, and was especially so at that time. The situation there was hardly typical of European society as a whole. And the phenomenon of high-quality music being played in gathering places hasn't disappeared either: buskers play Bach, and recently I heard Beethoven's 7th symphony come on between jazz selections in a coffee shop.
That is silly and presumptuous. "Popularity" is hardly an appropriate metric for judging "the verdict of history" on a form of advanced creative intellection. I can assure you that the Second Viennese School is held in high esteem by expert composers and music theorists.
Besides -- if "history" has "ruled against" the Second Viennese School, why are you complaining about the "death of great music" resulting from their influence?
That's good; but there's also a larger issue here. Assertions about music should be held to the same level of scrutiny as assertions about anything else. (As a result of discussions like this, I may be tempted at some point to do a post on rationality as it relates to the arts.)
I would love to read and comment on such a post. I would take issue with the widespread use of terms like "good," "high-quality," "real," and "art" to differentiate the Western canon of choral/orchestral music from everything else that's out there. I'm sure there are many jazz composers and theorists who wouldn't give Berg or Webern the time of day. And buskers play all kinds of music - it doesn't have to be Bach or Beethoven to be meaningful.
In terms of the Second Viennese School, what I should have said in my previous comment is that there's a popular misconception that Schoenberg was the one who tipped the linear progression past the point of contemporary accessibility. i.e. that while Bach's contemporaries, for example, may not have known his music, they were not freaked out by it. But this seems to be a pretty common thing in musical history - new composer comes along, people say "what the hell is that guy doing? ack, the impropriety!" and decades or centuries later, everybody gets it. Popularity is a fine metric for judging the verdict of history; you just have to wait until it's actually history.