One of the interesting aspects of writing these columns every week is that I find myself continually looking for issues to think and write about, and sometimes it doesn’t take much to set me off in one direction or another. Last week, as I was writing about Jennifer Jolley’s blog, I found an interesting post of hers describing a lesson she had taken with famed composer Augusta Read Thomas. While others might have simply written up a basic synopses of the lesson, Jennifer decided to give a play-by-play description of her entire time with Thomas–replete with pictures! One of those pictures was of a list of ten composers written on a sheet of paper–I’ll let Jennifer describe the context:
She also told me I needed to listen to more music; I completely agree. Some of my friends wanted that listening list, so here it is.
This jumped out at me for several reasons. First, I loved the fact that Thomas was telling Jennifer to listen to 20 works by each composer, thus ensuring that she become immersed in the sound world and creative concepts of each of those composers. Second, I was inspired to go listen to more music by many of her suggested composers myself because of this assignment. Finally, one could look at this list and get a very clear idea about the person who created it–it creates a window into their background, their priorities, pedagogical concepts, and stylistic tastes.
Thomas’s list got me thinking: What would other composers’ listening lists look like? Was Augusta Read Thomas unique in the method she used to create such a combination of composers to listen to for her students? How much overlap would there be across a wide selection of composers making the lists? What could one deduce from the names that were most often mentioned?
Being the inquisitive type that I am, I contacted a limited number of professional composers both here and in Europe over the weekend and asked them if they could give me a list of ten composers from the 20th and 21st centuries that they would want to give to an undergraduate or graduate student composer to listen to in depth. I’ve already received a good number of responses and the results are such that I’ve already decided to ask a lot more of my composer colleagues for their input on this topic before I make any findings public. I’m very cognizant that one could easily mutate this into a quest for a “best of” mega-list and I’m not interested in that at all. I’m already seeing some interesting patterns as far as which names come up the most and why, as well as the relationship between the overall list and the individual lists each composer is submitting. I will continue working on this and hopefully in the near future I’ll be able to write about what I’ve discovered in a future column–I’ve already decided that I won’t let anyone know who wrote which list, but I can see making both the aggregate list and the individual lists public down the road. If you are interested in taking part, please contact me directly via e-mail and please refrain from writing your list in the comments section below.
A few weeks ago my good friend Daniel Felsenfeld wrote a brilliant article on the “tyranny of lists” and as someone who tends to be a listmaker myself (as I’m sure at least a few of you remember), I want to be clear that I’m not jumping into this little side project in order to just make more lists or to push one viewpoint over another. I do, however, feel strongly that awareness in and of itself is ultimately a positive thing and if this project can shine some light on who we as a community listen to and subsequently pass down to future generations, then some good may come from it.