IT S NOT about YOU: DO WE STILL NEED AN ARTISTIC VOICE ?

Abstract

This article considers the possibility that the emphasis we place on composers developing an artistic voice might be unhelpful for making good pieces. I look at what constitutes an artistic voice and consider pros and cons for having a voice. As an alternative I examine strengths and weaknesses for being a capricious composer, which I define as a willingness to explore different compositional avenues without concern for constructing a consistent body of work. My objective is not to discredit composers who have a strong voice, but rather to loosen the grip of the single-voiced model that dominates the value system of new music.