A good definition of music must address both its objective and subjective qualities. The definition must also recognize that there is a difference between musical meaning and expression. Musical meaning is the relationship between the notes themselves (sequence, augmentation, inversion, etc.). Expression is the listener's response. A definition such as "organized sound" omits the subjective and expressive sides of music and treats music as if it was only a science.

One of my favorite definitions comes from a book by John Winsor called "Breaking the Sound Barrier: An Argument for Mainstream Literary Music", published by Writer's Showcase. Winsor defines music as "the use of sound to represent biological rhythm".  He spends several chapters explaining and supporting this definition, but essentially "biological rhythm" means the rhythm of life, with its tensions and relaxations. This definition encompasses the two sides of music; it is objective because one can analyze the composer's use of tension and relaxation in all musical elements and it is subjective because of its connection to the human experience. Winsor also separates music into the composer's craft (objective) and the listener's response (subjective). While the separation exists, ideally the well-schooled composer can use his/her craft to elicit a specific human response.

Much of the music from the mid-20th century to the present has been out of balance between the objective and the subjective. The composer's craft has become so complex that the relationships between the notes themselves are only perceivable after intense score study, therefore eliminating the listener's response. In his book, John Winsor refers to the research of Gestalt psychology regarding how humans perceive things they hear. Humans, for the most part, cannot hear the relationships in much modern music, therefore alienating them from the music listening experience.

Audience-friendly contemporary art music respects the ability of the listener to perceive relationships between the notes according to the research of Gestalt psychology. It is music that presents and transforms musical ideas in a logical manner. It is “art” music in that it requires the listener to listen intently for full understanding as opposed to “pop” music that aims to merely entertain. It can stretch the ears without alienating the listener.

Sy Brandon, Editor

John David Lamb was born Portland, Oregon in 1935 and was raised in Yakima, Washington. He received a B.A. from San Francisco State in 1956 and a M.A. from the University of Washington in 1958, major in composition and conducting. He studied composition with Latvian nationalist composer, Volfgangs Darzin. Lamb was a teacher in Seattle Public Schools from 1960-1996.  He is currently retired and living in Seattle. He is married and has two daughters.

The Kronos Quartet and saxophonist, Paul Cohen, among others, have recorded his music. He composed over a dozen works for Sigurd Rascher and his students.

Lamb is in the process of creating a web site. He can be reached at dlamb@seanet.com

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