Music and the Mind. Anthony Storr

Чтение книги онлайн.

СКАЧАТЬ their initial unity had been disrupted and their independence from each other had been established.

      Rousseau may well have been right in thinking that there was no distinct speech apart from song at the beginning of history. The psychoanalyst Anton Ehrenzweig, himself an accomplished musician, wrote:

      It is not unreasonable to speculate that speech and music have descended from a common origin in a primitive language which was neither speaking nor singing, but something of both. Later this primeval language would have split into different branches; music would have retained the articulation mainly by pitch (scale) and duration (rhythm), while language chose the articulation mainly by tone colour (vowels and consonants). Language moreover happened to become the vehicle of rational thought and so underwent further influences. Music has become a symbolic language of the unconscious mind whose symbolism we shall never be able to fathom.²⁸

      If song and speech were initially more closely linked, and then became separated, it is understandable that the differences in their functions became accentuated. One can imagine that, as prose became less metaphorical, less anthropomorphic, more objective, and more precise, people would use this kind of speech for conveying information and expounding ideas, whilst reserving poetic and musical communication for religious and other rituals. However, even the speech used by scientists and mathematicians to explain and convey their ideas is never entirely devoid of varieties of tone, emphasis, and pitch. If this were the case it would be so monotonous that no one would listen to it.

      Today, we are accustomed to listening to instrumental music which has no necessary connection with the human voice or with public ceremonies. We have also developed language to the point at which it can be used for scientific description or for conceptual thought without prosody, metaphor, or the expression of subjective feeling. Seen from the perspective of history, these changes are recent. I think that they are also connected. If we consider together the ideas of Vico, Rousseau, and Blacking, we can perceive that language and music were originally more closely joined, and that it makes sense to think of music as deriving from a subjective, emotional need for communication with other human beings which is prior to the need for conveying objective information or exchanging ideas.

      Ethnomusicologists generally emphasize the collective importance of music in the cultures they study. There are a number of cultures which, like that of ancient Greece, do not distinguish music as a separate activity from those which it invariably accompanies. Singing, dancing, the recitation of poetry, and religious chant are so inseparably linked with music that there is no word for music as such. Indeed, it may be difficult for the observer to determine whether a particular activity includes music or does not. Ceremonial speech may, as in the case of Greek poetry, include rhythmic and melodic patterns which are so much part of it that words and music cannot really be differentiated.

      The origins of music may be lost in obscurity but, from its earliest beginnings, it seems to have played an essential part in social interaction. Music habitually accompanies religious and other ceremonies. Some anthropologists have speculated that vocal music may have begun as a special way of communicating with the supernatural; a way which shared many of the features of ordinary speech, but which was also distinctive.²⁹

      Stravinsky would have agreed with this suggestion. In his Charles Eliot Norton lectures delivered at Harvard in 1939–40 he unequivocally affirms that ‘the profound meaning of music and its essential aim … is to promote a communion, a union of man with his fellow man and with the Supreme Being.’³⁰

      In pre-literate societies the arts are usually intimately connected with rituals and ceremonies which are dissociated from the routines of ordinary day-to-day living. As Ellen Dissanayake has cogently observed, the arts are concerned with ‘making special’; that is, with underlining and rendering ritualized forms of behaviour.³¹ In ritual, words are used metaphorically and symbolically and often reunited with music, which still further charges them with meaning. Raymond Firth, the anthropologist who wrote with such insight about Tikopia and other Pacific communities, states

      Even songs, as a rule, are not composed simply to be listened to for pleasure. They have work to do, to serve as funeral dirges, as accompaniments to dancing, or to serenade a lover.³²

      Pre-literate societies have very little idea of the individual as a separate entity. They regard the individual as indissolubly part of the family, and the family as part of the larger society. Ritual and aesthetic activities are integral parts of social existence, not superstructures or luxuries which only the rich can afford. Amongst the Venda of the Northern Transvaal, music plays an important part in initiation ceremonies, work, dancing, religious worship, political protest – in fact in every collective activity. Especially important is tshikona, the national dance. This music can only be produced when

      twenty or more men blow differently tuned pipes with a precision that depends on holding one’s own part as well as blending with others, and at least four women play different drums in polyrhythmic harmony.³³

      This description disposes of the notion that the music of rural African societies is less developed or less complex than our own: it is simply different. Tshikona is highly valued. It raises the spirits of everyone who participates. Blacking thinks this is because its performance generates the highest degree of individuality in the largest possible community; a combination of opposites rarely achieved. Playing in a modern Western orchestra or singing in a large choir may be enjoyable and uplifting, but neither activity provides much scope for individuality.

      Music contributes both to the continuity and the stability of a culture whether pre-literate or not. That ardent collector of folksongs, Béla Bartók, deploring the changes brought about by the First World War and realizing that the type of music produced by a particular culture is inseparable from the nature of that culture, wrote:

      I had the great privilege to be a close observer of an as yet homogeneous, but unfortunately rapidly disappearing social structure, expressing itself in music.³⁴

      The triumph of the West and the case of modern communication have caused the disappearance of different musics, as they have also diminished the number of spoken languages.

      John A. Sloboda, a psychologist at the University of Keele, argues that pre-literate cultures may have even more need of music than our own.

      Society requires organization for its survival. In our own society we have many complex artefacts which help us to externalize and objectify the organizations we need and value. Primitive cultures have few artefacts, and the organization of the society must be expressed to a greater extent through transient actions and the way people interact with each other. Music, perhaps, provides a unique mnemonic framework within which humans can express, by the temporal organization of sound and gesture, the structure of their knowledge and of social relations. Songs and rhythmically organized poems and sayings form the major repository of knowledge in non-literate cultures. This seems to be because such organized sequences are much easier to remember than the type of prose which literate societies use in books.³⁵

      Johann Gottfried Herder, supposedly the father of European nationalism, had made a similar observation in the eighteenth century.

      All unpolished peoples sing and act; they sing about what they do and thus sing histories. Their songs are the archives of their people, the treasury of their science and religion.³⁶

      The music of the Australian aboriginals remained free from outside influences, and unknown to the West, until the arrival of the British two centuries ago.

      Since all their knowledge, beliefs, and customs, upon whose strict preservation through exact ritual observance the constant renewal of nature (and hence their own survival) was held to depend, were enshrined in and transmitted by their sacred song-cycles, СКАЧАТЬ