MUSINGS ON MUSIC

[SANDRO43]

What follows is not specifically related to FSUW but, since my old TV set has decided to call it quits I have some time on my hands and decided occupy it by sharing a few thoughts I've been developing on music over the past several years, also considering that a number of fellow RWD members are involved, one way or the other, in it and might like to share their own thoughts, too .

Let me first state that I have no formal musical training (I am completely self-taught), which can be both an advantage and a disadvantage:
- Advantage: I can think on music from an 'out-of-the-box' perspective
- Disadvantage: my thoughts may sound like utter nonsense to the more musically educated

I should also add that my musings were mostly prompted by classical Western music, although they are also applicable to other forms, Western and otherwise, to some extent.

Music shares a number of characteristics with language which, as you probably know, is my other major lifetime interest, and I'll be using some linguistic terms in what follows.

Anyway, I shall start my musical musings with a bold opening statement:

Music is the most mysterious and unique of all human arts

Music's Mystery
Nobody has yet managed to explain satisfactorily why music can so affect us emotionally, even when just instrumental, i.e. not including words (lyrics) that may influence us on a 'rational' level. Neurophysiological studies show its effects on our brain:

Music, a universal art form that exists in every culture around the world, is integral to a number of social and courtship activities, and is closely associated with other creative behaviours such as dancing. Recently, neuroimaging studies have allowed researchers to investigate the neural correlates of music processing and perception in the brain. Notably, musical stimuli have been shown to activate specific pathways in several brain areas associated with emotional behaviours, such as the insular and cingulate cortex, hypothalamus, hippocampus, amygdala, and prefrontal cortex. In addition, neurochemical studies have suggested that several biochemical mediators, such as endorphins, endocannabinoids, dopamine and nitric oxide, may play a role in the musical experience.

http://www.ncbi.nlm.nih.gov/pubmed/17367577
which may explain HOW - but not WHY - the musical stimulation of our auditory nerves can evoke in us deep emotional responses. For a list of interesting books on the subject of Music and the Mind, see http://www.classical.net/music/books/mind.html.

Music's Uniqueness
Music does not share with other forms of art a number of features, since it is:

- Intrinsically relativistic
- Totally 'abstract'
- Simultaneously synchronic and diachronic
- Inexplicably, a signifiant sans signifié
- Basically inexpensive to produce
- Contradictorily requiring both variation AND repetition

I can expand on the above, and on the historical development of music, if there's any interest . Enough for now.

[BC]

Some form of music probably preceded language. Likely a 'beat' associated with work that led to reward.. like men smashing bones with rocks to get to the marrow.. 'smack smack crunch (sucking sound), smack smack crunch (sucking sound).

[SANDRO43]

Some form of music probably preceded language. Likely a 'beat' associated with work that led to reward.. like men smashing bones with rocks to get to the marrow.. 'smack smack crunch (sucking sound), smack smack crunch (sucking sound).

Possible, although I'd say that chopping flintstones is a more likely candidate (longer job that lends itself to a steadier beat) and the 2/4 of our heartbeat (TUM-tum, TUM-tum, ... as in discoes ) an even likelier candidate: after all, it's within us whatever we do.

This is rhythm, one of the 3 basic components of music, along with melody and harmony which probably developed MUCH later, in that order. The more primitive forms of music are VERY rhythm-based, witness for instance African music and its overseas transplants to the Americas, mostly  2/4-based (e.g. Brazilian samba, to cite just one major and well-known example).

[Lily]

Thanks for linking this thread to the other Sandro!

Now I'd introduce the little old book that I have in my home library. 'Music and Ear' (La Musique et L'Oreille).

It lists the following topics:

- reasons why the music was only uni-phonic and melodic till IX century;
- genre of records used at early times of by-phonie;quarte and quinte;
- beginn of tierce, sixte, accord parfait; dissonant harmony;
- accomodation; parallel of accomodations thourgh eye and ear;
- rythm of music; pulmonic and cardial origin;formation mechanism; relation of rythm of music and dance; reasons of their attractiveness to a human;
- rivality of melodism and symphonism;
- musical memory and audial refraction; mutual influence of tonalities and sonorities;influence of temperament; repetition and improvisation;
- proofs of the verbal influence of music;
- active and passive audition.

[SANDRO43]

Interesting.

- reasons why the music was only uni-phonic and melodic till IX century;

What does it say about the above - I assume a reference to Ambrosian and Gregorian chants (of Byzantine origin)? BTW, the actual term is monophonic or monodic .

Here's a well-known example of Gregorian chant, the Kyrie Eleison from the Missa Cum Jubilo:

[youtube=425,350]http://www.youtube.com/watch?v=9DYgRnLlkwg[/youtube]

Compare with a polyphonic Kyrie from many centuries later (Mozart's Requiem):

[youtube=425,350]http://www.youtube.com/watch?v=gi3ylfPBRl8&NR=1[/youtube]