Drop in a Pond

In my view, the highest level at which we may justifiably organize classical music is by composer. Some organize classical music by period (Baroque, Classical, Romantic, etc.), but this method is known to be imperfect - the periods overlap, some composers belong to multiple periods, and, for these and other reasons, some composers and works are hard to categorize. And when something is hard to categorize, it sometimes is undervalued. The same type of problem arises when attempting to organize classical music by form (symphony, concerto, tone poem, etc.).

We can avoid all of this potential confusion and injustice while sacrificing little, for knowing the period of some music offers only a small amount of information, anyway. On the other hand, organizing music by composer seems like a natural thing to do. This is because while there is no definitive entity to which we can tie all of the music corresponding to a particular period or form, all of the music composed by a particular composer springs from a common creative center.

This is why I began by listing composers. They are the organizational entry point into the world of classical music. At the other extreme, there is, not the work, but the single performance or recording, the experience of actually listening to classical music. Listening to some performance or recording and finding it enjoyable is the step a person takes when first entering the physical world of classical music. Depending on the person and the performance or recording, that step might be small or it might be long. It might compel the listener to seek other performances or recordings of the same work, by the same composer, of the same form, or by other related composers. Or it might compel the listener to explore the entire world of classical music.

The image that comes to mind is one of a drop of water falling into a pond. If the drop is heavy and forceful enough, the ripples will travel broadly across the pond's surface.