Music and the Mind. Anthony Storr

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СКАЧАТЬ theory is that music developed from the lalling of infants. All infants babble, even if they are born deaf or blind. During the first year of life, babbling includes tones as well as approximations to words: the precursors of music and language cannot be separated. According to the Harvard psychologist Howard Gardner, who has conducted research into the musical development of small children:

      The first melodic fragments produced by children around the age of a year or fifteen months have no strong musical identity. Their undulating patterns, going up and down over a very brief interval or ambitus, are more reminiscent of waves than of particular pitch attacks. Indeed, a quantum leap, in an almost literal sense, occurs at about the age of a year and a half, when for the first time children can intentionally produce discrete pitches. It is as if diffuse babbling had been supplanted by stressed words.¹³

      During the next year, children make habitual use of discrete pitches, chiefly using seconds, minor thirds, and major thirds. By the age of two or two and a half, children are beginning to notice and learn songs sung by others. Révész is quite sure that the lalling melodies produced by children in their second year are already conditioned by songs which they have picked up from the environment or by other music to which they have been exposed.¹⁴ If lalling melodies are in fact dependent upon musical input from the environment, it is obviously inadmissible to suggest that music itself developed from infant lalling.

      Ellen Dissanayake, who teaches at the New School for Social Research in New York and who has lived in Sri Lanka, Nigeria, and Papua New Guinea, persuasively argues that music originated in the ritualized verbal exchanges which go on between mothers and babies during the first year of life. In this type of interchange, the most important components of language are those which are concerned with emotional expressiveness rather than with conveying factual information. Metre, rhythm, pitch, volume, lengthening of vowel sounds, tone of voice, and other variables are all characteristic of a type of utterance which has much in common with poetry. She writes:

      No matter how important lexico-grammatical meaning eventually becomes, the human brain is first organized or programmed to respond to emotional/intonational aspects of the human voice.¹⁵

      Since infants in the womb react both to unstructured noise and to music with movements which their mothers can feel, it seems likely that auditory perception prompts the baby’s first realization that there is something beyond itself to which it is nevertheless related. After birth, vocal interchange between mother and infant continues to reinforce mutual attachment, although vision soon becomes equally important. The crooning, cooing tones and rhythms which most mothers use when addressing babies are initially more significant in cementing the relationship between them than the words which accompany these vocalizations. This type of communication continues throughout childhood. If, for example, I play with a child of eighteen months who can only utter a few words, we can communicate in all kinds of ways which require no words at all. It is probable that both of us will make noises: we will chuckle, grunt, and make the kinds of sounds which accompany chasing and hiding games. We may establish, at least for the time being, a relationship which is quite intimate, but nothing which passes between us needs to be expressed in words. Moreover, although relationships between adults usually involve verbal interchange, they do not always do so. We can establish relationships with people who do not speak the same language, and our closest physical relationships need not make use of words, although they usually do so. Many people regard physical intimacy with another person as impossible to verbalize, as deeper than anything which words can convey.

      Linguistic analysts distinguish prosodic features of speech from syntactic: stress, pitch, volume, emphasis, and any other features conveying emotional significance, as opposed to grammatical structure or literal meaning. There are many similarities between prosodic communication and music. Infants respond to the rhythm, pitch, intensity, and timbre of the mother’s voice; all of which are part of music.

      Such elements are manifestly important in poetry, but they can also be in prose. As a modern example, we can consider James Joyce’s experiments with the sound of words which are particularly evident in his later works.

      But even in his earliest stories the meaning of a word did not necessarily depend on the object it denoted but on the sonority and intonation of the speaker’s voice; for even then Joyce addressed the listener rather than the reader.¹⁶

      It will be recalled that Joyce had an excellent voice and considered becoming a professional singer. He described using the technical resources of music in writing the Sirens chapter of Ulysses. Joyce portrays Molly Bloom as comprehending the hurdy-gurdy boy without understanding a word of his language.

      One popular Victorian notion was that music gradually developed from adult speech through a separation of the prosodic elements from the syntactic. William Pole wrote in The Philosophy of Music:

      The earliest forms of music probably arose out of the natural inflections of the voice in speaking. It would be very easy to sustain the sound of the voice on one particular note, and to follow this by another sustained note at a higher or lower pitch. This, however rude, would constitute music.

      We may further easily conceive that several persons might be led to join in a rude chant of this kind. If one acted as leader, others, guided by the natural instinct of their ears, would imitate him, and thus we might get a combined unison song.¹⁷

      Dr Pole’s original lectures, on which his book is based, were given in 1877, and bear the impress of their time, with frequent references to savages, barbarians, and the like. Although The Philosophy of Music is still useful, Pole shows little appreciation of the fact that music amongst pre-literate peoples might be as complex as our own. Twenty years earlier, in 1857, Herbert Spencer had advanced a similar theory of the origins of music, which was published in Fraser’s Magazine.^*† Spencer noted that when speech became emotional the sounds produced spanned a greater tonal range and thus came closer to music. He therefore proposed that the sounds of excited speech became gradually uncoupled from the words which accompanied them, and so came to exist as separate sound entities, forming a ‘language’ of their own.

      Darwin came to an opposite conclusion. He supposed that music preceded speech and arose as an elaboration of mating calls. He observed that male animals which possess a vocal apparatus generally use their voices most when under the influence of sexual feelings. A sound which was originally used to attract the attention of a potential mate might gradually be modified, elaborated, and intensified.

      The suspicion does not appear improbable that the progenitors of man, either the males or the females, or both sexes, before they had acquired the power of expressing their mutual love in articulate language, endeavoured to charm each other with musical notes and rhythm. The impassioned orator, bard, or musician, when with his various tones and cadences he excites the strongest emotions in his hearers, little suspects that he uses the same means by which, at an extremely remote period, his half-human ancestors aroused each other’s ardent passions during their mutual courtship and rivalry.¹⁸

      Géza Révész reproduced another theory of the origin of music, which was first advanced by Carl Stumpf, although Révész makes no direct acknowledgement to this earlier author. It is based on the perception that the singing voice has greater carrying power than the speaking voice. Early man, Révész supposes, when wishing to communicate with his fellows at a distance, discovered that he could do so more effectively by using a singing voice rather than a speaking voice. Révész affirms that giving vent to loud, resounding signals produces pleasure, and remembers his own delight in making his voice ring out into wide open spaces. He assumes that such calls can pass over into song quite easily. In other words, he tries to derive all music from the yodel.

      It is true that musical sounds are used by pre-literate people for communication СКАЧАТЬ