All posts by Gary C. Woodward

two color line

The Unsung Virtues of Restraint

[Among the most viewed of the nearly 400 short essays posted on The Perfect Response is this from 2014, suggesting that there are sometimes advantages to not replying to another’s rebuke. We assume every arrow aimed at us needs a quick counter-response. But the psychological rewards of angry replies can be overrated. As noted here, even a brilliant retort is not likely to force an errant advocate back on their heels.]

For many of us the urge to enter the fray to correct or admonish others is a constant. It is always tempting to think that we are being helpful when we explain to the misguided how they have failed to notice their mistakes. It’s a self-fulfilling process. If others offer corrections or criticisms of our ideas, the least we can do is return the favor.

Aristotle was one of the first to formally describe how a person should defend their ideas when challenged. He equated the ability to make counterarguments to the realm of sometimes necessary personal defense. Though the great philosopher used other words, he essentially noted that we shouldn’t allow ourselves to be pushed around; our arguments should strike back. This was about 380 B.C., demonstrating that some things never change.

Even so, it has perhaps become too easy to fire off a rejoinder or a personal attack. Most of us find it hard to be in a public space and not encounter cross-court slams from an ideological opponent that need an equally aggressive return.

The digital world easily brings this kind of escalating indignation to the fore. Many websites make the mistake of accepting comments that are protected by anonymity. Are we surprised that they are often rude? And it isn’t just the trolls that are rattling on about a writer’s sloppy logic or uncertain parentage. In private and public settings everyone seems to be ready with a hastily assembled attitude. The felicitous put-down is so common that screenplays would wilt in their absence. What dramatist could write a scene about a family Thanksgiving dinner without including at least a couple of estranged relatives rising to the bait of each other’s festering resentments? To add to the fray, some of us get paid to teach others how to argue, with special rewards going to those who are especially adept at incisive cross examination.

Sometimes saying nothing is better than any other alternative: less wounding and hurtful, and the best option in the presence of a communication partner who is out for the sport of a take-down. In addition, the psychological rewards of verbal counterpunches can be overrated. Even a brilliant rejoinder is not likely to force an errant advocate back on their heels. You may be itching to set the record straight in no uncertain terms. But they are probably just as determined to ignore you.

And there are costs to becoming shrill. Harry Truman famously sensed this. The former President had a hot temper. Even before he came to office in 1945, he had more than his share of critics.  But his approach to doubters made a lot of sense.  In the days when letters often carried a person’s most considered rebuttals, his habit was to go ahead and write to his critics, often in words that burned with righteous indignation. But he usually didn’t mail them. The letters simply went into a drawer, which somehow gave Truman the permission to move on to more constructive activities, such as a good game of poker.

Not responding to someone else’s provocative words has several advantages. One is that your comments probably won’t be received anyway. It is our nature to ignore non-congruent information, a process known in the social sciences as “confirmation bias,” but familiar to everyone who has ever said that “we hear only what we want to hear.”  Another advantage is that rapid and heated responses to others can carry the impression that the responder lacks a certain grace. Not every idea that comes into our heads is worth sharing. And fiery replies sometimes indicate that we weren’t really listening: a result when disgust or hate drains away our capacity for clear-headed thinking.

Time gives us a better perspective. It allows us to better anticipate how our responses will be judged. Most importantly, it helps us break the spiral of wounding responses that pile on top of each other.

 

Postcard 2 e1623335161759

Terror at the 32nd Bar

After all, life is a matter of timing, in both big and small ways.

Any musician who is playing music from a score knows the challenges represented by long breaks between passages. Counting beats and measures to make an entrance at exactly the right spot should not be too difficult. Memory of a piece and the natural logic of where an entrance should happen can help. But a new piece is a challenge, especially if it requires infrequent but aggressive entrances. Mahler is a good example of a composer who could change moods on a dime, leaving brass and percussion players the worry of getting their entrances right.

This challenge of entering at the right moment can be the case with any instrument or singer, but it is especially true of percussion parts in newer works. Percussionists can easily break out in a sweat anticipating the double forte cymbal crash that must sound on, say, the second beat after a break of 32 measures. Guess wrong and you will be on your own aural island set adrift from the rest of the orchestra.  And entering too late isn’t much better: about as welcome a play’s onstage telephone that fails to ring on cue.

The musical rule is inviolable: If a composer wants a cymbal crash on the second beat, it will not do to hear it anywhere else. An alert conductor may help by providing a cue. But they can also save their worst Halloween face for the wayward player who misses their moment. And it gets even worse for the cymbal player, who is usually standing on a riser in the back of the orchestra, clearly visible to those even in the cheap seats out front.

I’ve lived through my share of these moments, especially in high school.  There’s nothing like the random clatter of an errant percussionist to screw up the mood other players have worked so hard to create.

In the scheme of things this is a small problem, even if there are 1000 listeners who are witnesses. With this kind of mistake no one needs medical assistance.  But a good sense of timing matters in both big and small ways. As Shakespeare noted, life is a series of exits and entrances. We may often wonder if we made our moves at the right time as we pass through a series of personal milestones–from choosing friends to life partners to jobs.  A decision of “if” is often matched by an equally important “when.”

I thought of all of this recently watching not a percussionist, but one of the world’s great organists playing his way through the stunning final section of Camille Saint-Saëns “Organ Symphony.” The virtuoso Daniel Roth, was playing one of the world’s great instruments in the church of SaintSulpice in Paris. The final pages require the organ to enter over a barely audible passage from the orchestra. He comes in in full attack mode with a C major chord, thundering against a hushed section that builds in the last few pages. The thirty-two-foot Contrabombard pipes in this famous Cavaillé-Coll organ are like sonic canons. The can’t be let lose too soon.

In a fascinating You Tube video we see this master with two assistants carefully counting out the measures and beats to enter, retreat and reenter. The timing had to be perfect: made more tricky because–as the video demonstrates–Roth can see the conductor of the orchestra only on a video monitor. The audio also suggests that he is some distance from the musicians and audience in the nave.

It’s all adds up to a short masterclass in one of the many facets of the musician’s art, magnified in this amazing piece.