Is There Logic Behind the Aesthetics of Classical Music?

Classical music, with its rich tapestry of melodies, harmonies, and structures, often seems to defy logic and be shrouded in mystery. However, beneath the surface, there are indeed clear logical underpinnings to many of the aesthetic choices we see in this genre. These rules, while sometimes intricate and complex, have their roots in sound empirical evidence and the human brain's auditory preferences.

The Rules of Tonal Music

Tonal music, the form of music based on the major and minor scales, follows a set of rules that are both fascinating and functional. Many of these rules have a strong empirical basis, meaning they are grounded in observable and scientifically measurable properties of sound and human cognition.

For example, one of the most fundamental rules in tonal music is the V chord resolving to the I chord. The reason behind this is rooted in the empirical properties of notes and chords. The fifth chord (V) contains notes that are closely related to the tonic (I) chord, particularly the dominant note. This relationship creates a powerful, unresolved tension that is naturally and effectively resolved when the dominant note (V) leads back to the tonic note (I).

Similarly, having a step-wise motion in a melody is another rule that aligns with how the human brain processes sound. When notes are played close together, they are easier for the brain to perceive as a cohesive unit. This is because the intervals between the notes are smaller, making it easier to follow the melody's direction and contour. In contrast, playing notes further apart can create a more disjointed and jarring effect.

Fuzzier Rules of Classical Music

While some rules in classical music can be clearly explained by empirical evidence, others are more nebulous and less easily defined. These include principles such as avoiding parallel 5ths, though even great composers like Bach occasionally broke these rules for artistic effect. Parallel 5ths can create a noticeable, sometimes harsh, dissonance, but they can also add a unique flavor to a composition when used judiciously.

Additionally, the late Romantic period of classical music saw the introduction of more complex chords, such as augmented chords and chords with 7ths. These chords, while potentially dissonant, can create rich, emotive textures and add complexity to the music. Indeed, the late Romantic composers loved these chords because they allowed for a more expansive and intense expression of emotion.

Dynamics and Articulation in Classical Music

Aside from harmonic and melodic rules, dynamics and articulation also play a crucial role in the aesthetic of classical music. While these elements are subject more to artistic intuition than strict logic, there are still clear patterns and best practices that have emerged over time.

Dynamics refer to the volume and intensity of the music, while articulation pertains to the way notes are played (e.g., staccato, legato). Certain dynamic patterns, such as gradual crescendos and decrescendos, create a sense of tension and release, mimicking the rise and fall of emotions in human experiences. Similarly, articulate phrasing can add nuance and expressivity to a performance.

Conclusion

In conclusion, while classical music may seem like an art form built on seemingly arbitrary traditions and preferences, it is underpinned by a series of logical and empirically grounded principles. From the resolution of chords to the melodic flow of notes, and even the emotional impact of dynamics and articulation, there is a clear rationale behind many of the aesthetics we find in this genre. However, there are also instances where artistic liberty and innovation lead to rule-bending, as seen in the works of late Romantic composers.

As a musician, it is both intriguing and humbling to explore these rules and their origins. While there is still much to uncover about the full extent of these principles, they provide a rich foundation for understanding and appreciating the beauty and complexity of classical music.