Taruskin is a rhetorician of unsurpassed ability, and logical reasoning (in the classical sense) is always at the forefront of his assessments and critiques. Perhaps it is no surprise, then, that he is so adept at pointing out fallacies in the way we think about music history. Below is a list of the fallacies gleaned from the first 500 pages of Vol.I. We will be adding to it as we move forward, I’m sure.
The Fallacy of “Essentialism”: This lapse in thinking occurs when we conceptualize any trait as the essence of something. For example: “Black musicians don’t have the same restrictive mind/body dualism as white musicians” (essentializes black musicians as not adhering to the mind/body split and white musicians as adhering to it. The essentialization here occurs on the grounds of race.); “Medieval music is harmonically simple while Renaissance music is more harmonically complex” (ascribes essential qualities – harmonic simplicity and complexity – to music from different eras which, as we have seen, are arbitrary constructions anyways.) For more, see p.381.
The Pathetic Fallacy: We commit this fallacy when we ascribe agency to music itself, not to the people creating it. Thus: “English descant delights in parallel thirds” (the music doesn’t “delight” in anything; the composers/performers did.); “The leading tone likes to resolve to the tonic” (leading tones don’t “like” to do anything other that what they are instructed to do by composers on a page and by singers in the throat.) See p.221.
The Organic Fallacy: This line of reasoning has been addressed frequently on the blog. The central assumption is that music grows and evolves just like a living creature. There is also the presupposition that music grows more complex with time, which is a misreading of evolutionary theory. For instance: “Beethoven was way ahead of his time when he wrote his Grosse Fuge” (one cannot be “ahead” or “behind” one’s time; one is simply in one’s time.); “Debussy’s use of non-functional harmony led to a total breakdown in the tonal language that reached its climax in Schoenberg’s 12-tone technique” (Debussy did not develop into Schoenberg; atonality was not the natural byproduct of a process of organic development – it was its own culturally and temporally embedded musical process.) See all over the place, but especially p.142.
The Genetic Fallacy: We stumble into this fallacy when we equate origins with essence. Thus: “A drinking song could never be a national anthem” (a drinking song is a drinking song, thus not a national anthem, goes the argument – of course, any piece of music can be anything.); “Rock ‘n’ Roll is really just a latter-day development of the blues” (while blues may be an ancestor in rock’s family tree, rock came to occupy a different meaning and position in our culture.) See pp.221 and 472.
The Poietic Fallacy: This one mistakes music (and music history) for composition. Thus, the history of music is the history of what composer’s write. For example: “The music of the Trecento is filled with Landini cadences” (of course, only notated, composed music can be said to have this feature; everything that happened in the oral tradition is gone to us.). This one hasn’t come up yet in the OHWM, but I just encountered it in RT’s review of Susan McClary’s Festschrift.
If readers can think of any other Taruskinian fallacies, please submit them in the comments box and I’ll add them to the post. I’m sure I must have missed something..