If I ever get around to teaching English at secondary level, I will make sure that I exploit the analogies between music and literature. I think the analogy is quite illuminating, with regards to the distinction between “form” and “content” and the relationship between them. More importantly, it is likely to interest students more than a lesson that stuck solely to poetry or prose. Most school students have musical interests of some kind, and with a bit of prodding most should recognise that the appeal of a piece of music is bound up closely with the relationship between its form and its content.
In a song, of course, the relationship holds between the lyrical part of the work and the instrumental part. The distinction between form and content, when made out in this way, is easier to grasp than the same distinction as it is manifested in poetry. It is easy and natural to make a separation, even a physical separation, between the words and the music in a song; whereas it is not so easy to make the separation between the “message” of a poem and its “delivery” (Partly because a student needs to know about things like rhythm, rhyme, alliteration, assonance, metaphor etc., before they can give a full account of the distinction; and partly because the distinction is problematic in poetry anyway).
As well as this pedagogically convenient difference between music and poetry, there are pedagogically convenient similarities. Much of the “form” of a poem comes from its sonic effects. Also, at least one thinker (Walter Pater) has held that it is the mark of a good poem that it gets close to the condition of music; and some interesting poetry has been written on the basis of this idea (eg. Gertrude Stein).
Many of the ideas about the form-content distinction that one needs to learn in the poetry case, can be straightforwardly carried over to the music case. Here are some examples:
That a good piece of art should achieve a match between form and content; and also that there may be some exceptions to this rule.
That the same content, given a different form, can be given quite a different meaning.
That form and content can match up in different respects: they might match in their mood, their tone, their pace, their degree of order and regularity.
That the work can vary in these respects, and the artist take steps to ensure that form and content vary concurrently.
That some elements of form are (for various reasons) quite rigid and non-negotiable, while others are easier to manipulate.
That it is tempting to relax the more rigid elements to give the artist more “freedom of expression” (Radiohead, Walt Whitman); but that this relaxation can have its downfalls as well as its advantages.
One of the dangers of doing this sort of thing, apart from annoying the class next door, is that students might resent this intrusion of school life upon their music life. Putting Nirvana in a classroom might “take all the fun out of it.” But I should think it more likely that a student would welcome the opportunity to discuss and explore their out-of-school interests during class time. And the idea that excessive analysis can destroy an artwork, or at least fail to illuminate its appeal, is an idea worthy exploring; and another of the useful analogies between music and literature.
That the same content, given a different form, can be given quite a different meaning.
That form and content can match up in different respects: they might match in their mood, their tone, their pace, their degree of order and regularity.
That the work can vary in these respects, and the artist take steps to ensure that form and content vary concurrently.
That some elements of form are (for various reasons) quite rigid and non-negotiable, while others are easier to manipulate.
That it is tempting to relax the more rigid elements to give the artist more “freedom of expression” (Radiohead, Walt Whitman); but that this relaxation can have its downfalls as well as its advantages.