The Aphex Axiom
Abstract:
In my explorations of music, I have begun to revise some assumptions about what constitutes greatness. How fine, truly, is the music of the canonical masters—Bach, Mozart, Beethoven whose talent has been enshrined as a truism? This reverence owes as much to establishment influence as to merit. Art movements and seminal artists are often supported by institutions that shape public opinion, musicologists, and critics. All humans, including myself, are prone to bias—awarding accolades or withholding them as we see fit. This tendency is mortal, subjective, and endlessly interesting. The ideas expressed here are fluid, yet I will write boldly, guided by contemplation and credible criteria.
Turning points in intellectual and artistic history often ossify as new standards emerge. When I entered Cornell University in the mid-nineties, Hemingway’s stark, simple prose was the ideal; florid expression was considered a distraction from clarity. Years later, minimalism in poetry dominated as a backlash against the visionary and esoteric. Such trends illustrate how human-enforced subjective taste can shape our perception of greatness. The same applies to music. Beethoven, Bach, and Mozart were once rebellious tykes, snubbed by the standards of their day. Today, questioning them would invite scorn from the educated.