When the crit hits the fanJanuary 23, 2015 at 5:51 pm | Posted in music | 4 Comments
Tags: adorno, countertenors, criticism, critics, crushes, emotion, fangirling, fans, iestyn davies, music, opera, rationality, reviews, singing
Fans have a rough time. We admit to a Bit of a Thing for someone, and immediately give up all hope of being taken seriously. The Arts World looks on us with faint distaste. Can’t we keep our silly emotions to ourselves? Whatever will become of rationality, if we allow ourselves to be swayed by something as base as looks?
There’s so much wrong with this. First, it’s more than just a question of looks. Fans react to the package (sorry): the acting, the singing, the musicianship, and yes, the looks (though looks can, believe it or not, be secondary: think of the Cumberbatch fans who only really fancy him as Sherlock). The ability to inhabit a part, to make us believe; to transport us, to sing us into submission. And, as I’ve pointed out before, esteem takes many forms, and it can be hard to figure out which one someone evokes in us. Admiration, inspiration, identification, #voicecrush, #mancrush…
Second, just because we’re fans, it doesn’t mean we don’t know or care about music. Well, OK, I don’t know much [cough] but others do. And admiring the cut of a tenor’s jib doesn’t negate this knowledge. We know a poor casting decision, a below-par performance, a phoned-in contribution when we see one. And we’re interested in the rest of the production too, not just ‘our’ star.
Third, there’s an element of sexism lurking here. While there’s the odd joke about fanboys, most of the disparaging comments I see are about women. Dirty, dangerous, lustful thoughts, we women have. How dare we? Can’t we have a cup of tea and a nice, safe, clean, intellectual think about things?
Lastly, and most importantly, emotion is part of life. Emotion is, very obviously, part of music. Why is it OK to admit to some emotional reactions to music (joy, pain) and not others (fascination, desire)?
Because YOU HAVE THESE FEELINGS TOO. Yes, you, Mr. Serious Critic. You may think you’re overcoming them, evading them; that your emotional reactions can’t possibly be influencing your intellectual assessment of a performance. But they are, because you’re human.
I’ve been listening to lots of countertenors recently. I bring this up, not just because it’s an excuse to burble on about Iestyn Davies again, but because it’s a good example of a response that isn’t intellectual in nature. I’m busy learning about different genres and techniques and approaches to the art, and starting to understand the immense skill and artistry that goes into classical singing. But I know that part of my obsession is just because some countertenor voices do inexplicable things to me. (Not everyone shares my view: my twitter friends’ reactions have been fairly evenly split between ‘God, that’s amazing! His voice is like a musical instrument!’ and ‘Ooh no, he sounds like a GIRL!’)
So, to some extent, we like what we like. And this is interesting in itself. I’d love to explain to you how the B-52s are the most criminally underrated band in the history of pop. I could go on for ever about the lyrical faux-naïveté, the clean-as-a-whistle vocals, the undercurrent of danger in the drumming. But I know it won’t make you like them (unless you do already, in which case, highfive!).
This fascinates me. But rationality has such a hold on our approach to criticism that we minimise the importance of these responses. People feel the emotion so strongly, and yet are so convinced of lovely clean tidy rationality’s priority over base messy mucky emotionality, that they seek intellectual explanations. It’s in the chord structure, the cadences, the phrasing. It can’t just be me, happening to like it. Do you like it too? You see! It must be universal!
I mentioned this to the boyf, and he brought up Adorno (he has a habit of doing this, but that’s what you get for living with intellectuals). Apparently, Adorno said that our reaction to an artwork is both rational and emotional, and it’s folly to think we can have one without the other. Instead, the tension between rational and emotional reactions creates the ‘problem’ of art appreciation; this ‘problem’ is, of course, what makes art interesting.
So I say it’s time to bring emotional reactions back into the critical fold. Accept them; learn to recognise them in yourselves; see them as part of your appreciation of performances, rather than some kind of dirty little secret you have to suppress. Start to understand their interplay with rational, intellectual interpretation. And stop looking down on fans, with our love and our pain and our joy and our desire so close to the surface. We might be closer to the truth than you think.