Andrew M. Cavallo

What makes music great?

The question is too large to admit of a simple answer. I therefore propose something considerably more modest: one possible mark of great music.

It is this: the derivation of pleasing musical variety from the most economical initial musical material suitable to a given compositional goal.

Now, it must be said that pleasing is perspectival, which is not, on my view, the same as subjective. For present purposes, I wish only to point out that a composer must write what is pleasing to him, irrespective of the audience.

The qualification suitable to a given goal is essential. Economy does not mean simplicity simpliciter. Suppose, for example, that I wish to write a sad ballad. My initial musical idea should be as simple as possible, but not so simple that it fails to capture the musical character I intend. A single repeated note may be simpler than a short melody in a minor key, but if it cannot adequately establish the sound I seek, it is not economical relative to my goal. It is merely insufficient.

Why should economy matter?

Because economy permits subsequent musical multiplicity to exist within unity. If a composition develops substantial melodic, harmonic, rhythmic, or textural variety from economical initial material, its multiplicity retains a relation to a common source. The composer obtains diversity through development rather than through the mere accumulation of independent ideas. The resulting composition can consequently possess great variety while retaining a coherent musical identity.

By contrast, variety is easily obtained by beginning with variety. A composer who cares only for complexity and multiplicity, and nothing for unity or musical identity, may simply introduce as many different musical ideas as desired. There is nothing profound in obtaining complexity at the end if complexity is simply assumed at the beginning.

The more interesting compositional achievement is perceiving the many enfolded in the one. On this view, a starting musical idea is, as it were, pregnant with many possible pieces: the part already contains a reflection of the whole. This view of music is inherently anti-reductionist.

Thus economy is not opposed to musical richness. Properly understood, it is one means by which richness becomes an achievement. One mark of great composition is not variety alone, but the generation of pleasing variety from economical means, so that multiplicity appears within unity rather than in place of it.