**The Ultimate Taboo in Contemporary Music Composition: Writing in Old Style Without Irony**

In the avant-garde domain of contemporary music composition, a paradoxical tension has emerged that reveals a significant cultural blind spot. While the field ostensibly champions pluralism and the dismantling of artistic boundaries, there remains a profound taboo: composing in historical styles—such as Baroque or Classical—without irony, but rather with genuine reverence and pleasure. In an era dominated by innovation, irony, and a rejection of tradition, sincerely engaging with historical forms, devoid of subversion, is frequently considered heretical. However, this approach holds an invaluable place within the creative landscape for those courageous enough to embrace its complexities and potential. This article explores the controversy surrounding the sincere composition in old styles, its implications for contemporary composers, and the potential for a deeply fulfilling creative experience it offers to both creators and audiences.

### **The Modern Dilemma: Originality Versus Tradition**

Since the early 20th century, originality has become a cardinal value in music composition. The surge of modernism, followed by postmodernism, established a paradigm that celebrated the shattering of conventions and the deconstruction of past aesthetics as the ultimate artistic pursuit. Figures like Arnold Schoenberg, Igor Stravinsky, and John Cage redefined music, venturing into uncharted territories of dissonance, atonality, and novel conceptual frameworks. Within this context, composing in a historical style—employing the counterpoint of J.S. Bach or the formal structures of Mozart—came to be seen as anachronistic, lacking artistic vision and originality.

The ethos of postmodern irony has further entrenched this outlook. The use of historical styles has often been permissible only if approached through the lens of irony or parody. Composers may reference Baroque ornamentation or Classical motifs, provided that such evocations carry a subversive undertone or serve as a critique. Sincerely attempting to craft a fugue akin to Bach's or constructing a sonata with Haydn's clarity and formal rigor is met with skepticism, often viewed as naive or nostalgic rather than a valid form of creative expression.

This emphasis on irony has fostered a cultural milieu in which sincerity is undervalued, and genuine homage is misinterpreted as a lack of creativity. The relentless drive for innovation has led to an environment where appreciating historical techniques, without transforming or subverting them, is practically unthinkable. Contemporary composers are expected to exist in a perpetual state of revolt against the past, even when historical forms may still possess profound relevance and artistic potential.

### **The Power of Sincerity in a Cynical World**

Composing in an old style without irony today requires a radical and unapologetic sincerity. It demands recognition that the principles of beauty, clarity, and structure that guided past masters remain valuable. In a musical culture often preoccupied with complexity and innovation for their own sake, the act of composing in historical styles becomes a form of defiance—a rejection of the idea that progress necessarily requires abandoning what has come before. By engaging sincerely with these older forms, composers assert that the aesthetic values of the past retain their potency, undiminished by the passage of time.

This approach also involves an inherent vulnerability. To attempt a work evocative of Handel or Beethoven is to invite direct comparison with some of history's greatest composers, which can be an intimidating prospect. It requires humility to acknowledge one's place within a grand lineage and to recognize that mastery of these forms is a lifelong endeavor. Yet it is precisely this vulnerability that imbues such music with an authenticity and emotional depth that is often lacking in more detached, ironic works.

In a cultural landscape that is increasingly driven by cynicism, sincerity becomes a rare and radical act. This sincerity contests the prevailing notion that contemporary art must be challenging, obscure, or ironic to be significant. Instead, it seeks to reconnect with the emotional and aesthetic impulses that have always been central to the human artistic experience. There is intrinsic value in the simplicity of a well-crafted harmonic progression, the elegance of a balanced sonata form, or the poignancy of a lyrical melody. By engaging sincerely with these elements, composers can tap into a deep well of emotional resonance, offering something that is both timeless and immediately accessible.

### **Pleasure as a Radical Act**

One of the most subversive aspects of composing in an old style without irony is the emphasis on **pleasure**—both in the compositional process and in the listening experience. Contemporary music often carries an implicit burden: it is expected to be provocative, unsettling, and intellectually challenging. Pleasure is frequently dismissed as superficial, overly sentimental, or insufficiently rigorous. Yet to compose a beautiful minuet or aria simply for the joy of it is to reclaim a fundamental aspect of music that has been marginalized.

This emphasis on pleasure highlights an often-overlooked aspect of music's purpose. Music, at its essence, has always served as a means of connection, delight, and transcendence. The composers of the past understood this deeply, and their music reflects a profound joy in craftsmanship—whether in counterpoint, melody, or form. By choosing to compose in these historical styles, contemporary musicians can draw from this lineage of delight, bringing a sense of timeless beauty to modern audiences.

Prioritizing pleasure in composition is, in itself, a countercultural stance in today's art world. It challenges the assumption that meaningful music must provoke discomfort or confusion. Instead, it validates the emotional experiences of joy, contentment, and beauty as being equally significant. By focusing on pleasure, composers resist the prevailing cultural narrative that equates difficulty with depth and reaffirm the role of music as an affirming and connective force.

### **Contextualizing the Taboo: Historical Perspectives**

The taboo against sincere engagement with historical styles is a relatively recent phenomenon. For centuries, composers routinely drew inspiration from their predecessors. J.S. Bach's work was deeply influenced by earlier German composers such as Pachelbel and Buxtehude, Mozart assimilated Baroque counterpoint, and Beethoven explicitly saw himself as continuing the legacies of Haydn and Mozart. These composers engaged with their musical heritage respectfully and inventively, balancing tradition with personal expression.

It was with the advent of modernism that the notion of “progress” in music began to be conflated with a break from the past. The emphasis on relentless innovation led to a cultural climate in which traditional forms were viewed as obsolete, relegated to the status of museum artifacts. The insistence on always being “forward-looking” made any genuine engagement with historical aesthetics suspect, implying a lack of creativity or a failure to adequately address contemporary concerns.

Romanticism, too, fostered a complex relationship with the past. While there was a profound reverence for historical forms, Romantic composers often transformed them through a highly subjective lens, infusing them with intense personal expression. By the late 19th century, an interest in exoticism and nationalism led composers to re-contextualize historical forms and folk traditions, imbuing them with new meanings. However, it was the early 20th-century modernists who most aggressively rejected the past, adopting an almost militant insistence on progress that dismissed historical continuity as irrelevant.

### **Challenges Facing Composers Today**

The contemporary composer who seeks to write sincerely in an old style encounters numerous challenges, both external and internal. **Externally**, there is considerable skepticism from peers and critics. Institutions such as music schools and conservatories, which have long been bastions of modernist and postmodernist thought, often view a Baroque-inspired cantata or a Classical-era string quartet as lacking the intellectual rigor expected of contemporary composition. Such endeavors are sometimes dismissed as out of touch or insufficiently engaged with current artistic discourse.

The broader musical community can also be dismissive. Critics may see these compositions as uninspired, devoid of the dissonance and abstraction that have come to be associated with serious contemporary music. The fear of being labeled as unoriginal or reactionary can be a powerful deterrent, discouraging many composers from sincerely engaging with historical forms.

**Internally**, composers must contend with questions of authenticity. How does one create something original when working within an established style? How can one avoid merely imitating the past? The challenge lies in approaching historical styles not as static museum artifacts but as living languages that can be adapted and imbued with new meaning. This requires a deep understanding of the underlying principles of these styles and a willingness to explore their expressive potential in a contemporary context.

Composing sincerely in an old style also demands technical mastery. Crafting a convincing fugue or a classical sonata requires more than just a superficial understanding of harmonic progression and counterpoint; it requires an intimate familiarity with the intricacies of form, balance, and nuance. Unlike more experimental forms of music, which may prioritize spontaneity and emotional immediacy over formal precision, writing in an historical style necessitates a disciplined approach, where every note serves a deliberate structural purpose.

### **A Contemporary Case for Embracing Tradition**

For those willing to embrace this taboo, the rewards are substantial. Writing in an old style provides an opportunity for profound engagement with the craft of composition. It involves a deep exploration of harmony, voice leading, and formal structure—elements that form the foundation of Western music. Engaging with these principles can cultivate a renewed appreciation for the architecture of music and the complex interplay between structure and emotion.

The decision to compose in an old style also offers a distinctive means of communicating with audiences. There is an inherent accessibility in a beautifully resolved cadence, a well-crafted melody, or a sonata form that feels complete. In an era where contemporary music often feels alien to the general public, embracing traditional forms can serve as a bridge, inviting listeners to engage with new compositions that resonate with a familiar sense of musicality.

Moreover, writing in an old style can be viewed as a gesture of continuity. It acknowledges that the techniques and forms developed by past masters are not obsolete but remain potent tools for expressing profound ideas. This engagement with tradition represents a dialogue with the past—an ongoing conversation that respects historical context while adapting it to the present. By placing themselves within this lineage, composers can contribute to a narrative that has defined Western music for centuries, adding new chapters that reflect the concerns and sensibilities of the modern era.

Themes of timelessness and continuity also emerge in this practice. By composing in a style that is centuries old, composers participate in a long-standing tradition that transcends individual historical moments. This can lend the music a spiritual quality, suggesting that certain aesthetic principles—such as the beauty of a well-resolved cadence or the intricate elegance of a fugue—speak to fundamental aspects of the human experience. These themes can foster a sense of connection, both for the creator and the audience, to something greater than the self—a cultural and artistic continuum that links the past, present, and future.

### **The Role of Audiences and Performers**

The acceptance of this approach also hinges on the attitudes of audiences and performers. In recent years, audiences have demonstrated a growing interest in music that is emotionally resonant and structurally comprehensible. Many listeners, alienated by certain forms of contemporary music, find comfort and beauty in works that draw upon familiar forms and tonal languages. By composing in old styles, musicians can meet this desire while still contributing something new and vital.

The relationship between composer and audience becomes one of shared appreciation for craftsmanship and beauty. Many listeners take pleasure in the experience of a finely structured sonata or a well-executed fugue, responding to the inherent order and the nuanced interplay between tension and resolution. Through such compositions, composers can engage audiences on both emotional and intellectual levels, offering works that are thought-provoking yet deeply satisfying.

Performers, too, have a crucial role in the revival of this approach. Musicians trained in historically informed performance practices possess a nuanced understanding of Baroque and Classical repertoire, and their expertise can be instrumental in bringing newly composed works in these styles to life. Collaboration between composers and performers is essential, as performers offer insights into phrasing, ornamentation, and articulation that are critical to achieving the intended effect of these compositions.

Historically informed performers are uniquely equipped to navigate the subtleties of older styles, from the rhetorical aspects of Baroque phrasing to the intricate dynamics of Classical-era ornamentation. Their expertise allows them to interpret contemporary works in ways that enhance their authenticity and emotional depth. This creates performances that are vibrant and meaningful, honoring both the historical tradition and the context of modern creation.

### **Conclusion: Toward a Pluralistic Future**

The ultimate taboo in contemporary music—writing in old styles like Baroque or Classical without irony but with genuine respect and pleasure—is a taboo worth breaking. It challenges prevailing assumptions about what it means to be a “contemporary” composer and calls for a more inclusive understanding of creativity, one that values tradition alongside innovation. By embracing historical styles sincerely, composers can reconnect with the core joys of music-making: the beauty of form, the pleasure of melody, and the satisfaction of creating something that speaks to both past and present.

In doing so, they remind us that music is not solely a forward-moving enterprise but also a timeless dialogue. It is an art form capable of simultaneously looking backward and forward, drawing strength from its roots while striving toward new horizons. By composing in old styles with sincerity, contemporary composers contribute to a richer, more diverse musical landscape—one in which the voices of the past and present coexist in harmony.

Ultimately, breaking this taboo is a call for plurality in artistic practice. It invites composers to explore the full range of creative paths available—whether those paths lead into the uncharted territories of the future or the deep reservoirs of historical knowledge. In a world that is often obsessed with progress, there is immense value in pausing to reflect on where we have come from, to honor the traditions that have shaped us, and to draw inspiration from the music that continues to resonate with the human spirit. By doing so, composers can create works that are not only of their time but also deeply connected to the broader continuum of human artistic endeavor, ensuring that the music of today remains resonant, inclusive, and profoundly meaningful for future generations.