I should have known that teasing Oliver Kamm about reading a book was a dangerous thing to do.
In an earlier post I urged readers to enjoy Ian MacDonald's Revolution in the Head, a book about the music of the Beatles. Incautiously I added: "Even you Oliver Kamm".
One of my reasons for encouraging the purchase of the Beatles book was that MacDonald argues - I think convincingly - that the politics and culture of the era, the views of the participants and their personal experiences shaped their music. And that it can't be properly understood or appreciated without it.
I knew Oliver - who strongly disagrees with me about the importance of personal experience - would not have read this book because popular music is not his bag. Hence the tease.
It turns out - how could I think it wouldn't have done - that while Oliver has not read Revolution in the Head he is, nevertheless, familiar with MacDonald's argument. Why? Because he has read MacDonald's book on Dmitri Shostakovich. And he regards it as unconvincing.
Oliver finishes his posting with this:
We can't gain direct knowledge of an artist's intentions, and even if we could then it still wouldn't necessarily be a reliable guide to the art. Art is independent of politics; we can make sense of a work of art only in its own terms, and not by inferring from it the intentions of the composer, author or artist.
These points have force. Few bodies of work have been as carefully examined as the songs of the Beatles. And few artists have given as many interviews about their work. Yet in many cases their intentions when writing a song remain obscure and the songs are enjoyed and understood without explanation.
Nevertheless I think Oliver, while having a good point, is being too dogmatic.
We can (and must be able to) make sense of a work of art in its own terms. Yes. We can make sense of a work of art only in its own terms. No.
Learning the context in which a work was completed helps both understanding and appreciation.
Using the - admittedly in Oliver's eyes lowbrow but also accessible - example of the Beatles, it is clear that, for instance, realising that Tomorrow Never Knows is the first example of an LSD influenced Beatles song aids understanding. And knowing that Sexy Sadie is an attack on the Maharishi aids appreciation.
There are countless other examples in Revolution in the Head.
I simply can't completely agree with the suggestion that art and politics are completely independent or that a composer's intentions are entirely irrelevant.