"Truth is a big concept"
About this Quote
“Truth is a big concept” lands like an understatement with teeth, the kind a composer might offer after watching audiences and institutions demand clean, declarative answers from an art form built out of ambiguity. Foss isn’t dismissing truth; he’s resisting the way people shrink it. “Big” is doing quiet, strategic work here: it suggests scale, complexity, maybe even danger. You don’t hold truth in your hand like a slogan. You move around it, you hear different facets depending on where you stand.
Coming from a 20th-century composer who lived through modernism’s rupture and the postwar hunger for certainty, the line reads as a defense of multiplicity. Foss worked across styles - neoclassical clarity, experimental procedures, theatrical collage - and that aesthetic restlessness becomes the subtext. If truth is “big,” then any single system (serialism, tonality, minimalism, dogma of any kind) is too small to contain it. The sentence is also a gentle jab at intellectual gatekeeping: the people who speak most confidently about truth are often the ones reducing it to something manageable, something that can be graded, funded, programmed.
There’s a musician’s pragmatism hiding inside the philosophy. In music, truth can mean fidelity to a score, emotional honesty, historical accuracy, sonic fact. Those truths can conflict. Foss compresses that whole messy argument into five plain words, like a cadence that refuses resolution. The point isn’t to stop searching; it’s to stop pretending the search ends.
Coming from a 20th-century composer who lived through modernism’s rupture and the postwar hunger for certainty, the line reads as a defense of multiplicity. Foss worked across styles - neoclassical clarity, experimental procedures, theatrical collage - and that aesthetic restlessness becomes the subtext. If truth is “big,” then any single system (serialism, tonality, minimalism, dogma of any kind) is too small to contain it. The sentence is also a gentle jab at intellectual gatekeeping: the people who speak most confidently about truth are often the ones reducing it to something manageable, something that can be graded, funded, programmed.
There’s a musician’s pragmatism hiding inside the philosophy. In music, truth can mean fidelity to a score, emotional honesty, historical accuracy, sonic fact. Those truths can conflict. Foss compresses that whole messy argument into five plain words, like a cadence that refuses resolution. The point isn’t to stop searching; it’s to stop pretending the search ends.
Quote Details
| Topic | Truth |
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