The Practice of Music Part I

On Musical Style

It was not that he was afraid of war. But he did not like it.
— T.H. White, The Once and Future King.

In this free-writing exercise, I hope to process my thoughts and gain clarity on my artistic direction and musical curriculum moving forward. I want to start with ‘Musical Style.’

It seems impossible to separate this discussion from my experience interviewing as a Master’s candidate in Composition (as graduate school is a viable way of moving forward in this career path) at three prestigious conservatories: The Peabody Institute, Manhattan School of Music, and Mannes School of Music. I was unsurprisingly unsuccessful in securing a spot in these world-class programs, which has prompted me to reflect on what my next portfolio should look like. These reflections invariably lead back to the question of ‘Musical Style.’

I strongly disagree with the omnipresent pressure to create something entirely new. When placed as an expectation on students, it can be discouraging. However, I also reject the notion that all art is inherently unsafe—there is absolutely such a thing as safe art, and it is open to criticism. Navigating this space is mentally taxing: on one hand, developing a personal musical style should be an organic process—driven by an insatiable need to express oneself rather than an artificial attempt to mold one’s work into something academically novel. On the other hand, I do not want to box myself in by half-consciously composing within self-imposed limitations.

I think graduate school composition committees seem to be searching for students who demonstrate a clear artistic direction—whose portfolios attempt to express something personal and unique via a cohesive musical language. This necessitates a certain degree of technical understanding and craftsmanship, which must be evident both in the music and in the way the candidate articulates themselves in an interview. Regardless of these committees, this is something I recognize as crucial to strive for. 

I think musical style is a conversation between the past and present. An artist, regardless of discipline, has the power to determine how to engage in this exchange—or whether to engage at all!