Christopher Webber pauses in his passionate rush to the ultimate zarzuela
to comment sagely on the principle that music is about communication,
concluding:

>It may be more fashionable amongst Those Who Know (modern edition) to
>prefer the subtler tinklings of a Reich or an Adams, but like it or not,
>they simply don't have Glass's inevitability, or therefore his popular
>appeal.

Precisely!  Christopher's carefully-argued thesis is that since the job
of music is to communicate, then an artist with an above average "machine"
to communicate the artist's message to a wider audience than that of his
contemporaries, peers or competitors is therefore self-evidently a better
artist -- QED. I understand this argument, though I'm not sure I agree
with it 100%; I am sure it is a view held by many and I respect that.

However, it does not explain one phenomenon.  I -- and I suspect many
others -- go through phases in which one or another composer occupies
the 'favourite' podium for a while.  Often this is a new composer to me
and he/she therefore receives the limelight while I investigate, audition,
dissect and explore -- they are often quickly replaced by the next
contestant declaiming peace for the world and the desire to be kind to
small furry animals.  But more intriguingly, I listen to specific music
in a specific mood, whether this is a conscious decision or not.  I don't
consciously decide "I'm down in the dumps, I'll play Bach" or "I'm in
love (again), I'll play Magnard, Raff or Tournemire", but I often find
"favourite" music varies depending on the mood I'm in, the weather, who's
winning the cricket or the state of my bank balance.  And whether the
composer in question relied on his own devices for promotion or had J.
Walter Thompson in his corner seems to matter not one whit.

In other words, it comes down to my oft-stated (too often, probably)
belief that because music is personal and communicates at an individual
level, the development of lists of 'the best' is, at best, out of date
as soon as the mood changes and, at worst, a pointless and fruitless
exercise.  And what makes music widely popular is that it communicates on
an individual level to a wide number of people -- the promotional 'machine'
simply makes that music available to a larger potential audience.  To
paraphrase Mimi Ezust (if she'll forgive me for doing so) "It's the TASTE,
stupid!"

Tim Mahon
Chair, Society for Converting Those Who Know to Those Who Feel