"I never learned to verbalize an abstract musical concept. No thank you. The whole point of being a serious musician is to avoid verbalization whenever you can"
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Thomson’s line lands like a polite slap at anyone who thinks art becomes real only after it’s been explained. “No thank you” is doing a lot of work: a courtly refusal that doubles as a warning label against the academic reflex to translate sound into theory-speak. He isn’t confessing a deficiency; he’s asserting a discipline. The “abstract musical concept” is the kind of thing critics, lecturers, and grant panels love: tidy, portable, quotable. Thomson treats that portability as contamination.
The subtext is a defense of music’s primary medium. For him, verbalization isn’t just awkward, it’s a category error. Language is sequential and referential; music is temporal but not referential in the same way. Trying to make it behave like prose can flatten what it does best: carry meaning without pinning it down. His phrase “serious musician” sharpens the provocation. Seriousness here doesn’t mean solemnity or prestige; it means fidelity to the ear and to craft, not to commentary.
Context matters. Thomson was a composer-critic who wrote plenty, so the remark is also self-aware theater: the man who could verbalize chooses not to when it comes to the music’s interior logic. In a 20th-century culture increasingly professionalized by conservatories and intellectualized by modernism, this is a tactical retreat to the sensory. He’s guarding the right of music to remain irreducible - and quietly accusing explainers of wanting control more than understanding.
The subtext is a defense of music’s primary medium. For him, verbalization isn’t just awkward, it’s a category error. Language is sequential and referential; music is temporal but not referential in the same way. Trying to make it behave like prose can flatten what it does best: carry meaning without pinning it down. His phrase “serious musician” sharpens the provocation. Seriousness here doesn’t mean solemnity or prestige; it means fidelity to the ear and to craft, not to commentary.
Context matters. Thomson was a composer-critic who wrote plenty, so the remark is also self-aware theater: the man who could verbalize chooses not to when it comes to the music’s interior logic. In a 20th-century culture increasingly professionalized by conservatories and intellectualized by modernism, this is a tactical retreat to the sensory. He’s guarding the right of music to remain irreducible - and quietly accusing explainers of wanting control more than understanding.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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