Music and the Mind. Anthony Storr

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СКАЧАТЬ need not detain us. We have all experienced them, and we are all aware that the condition of arousal can be exciting or distressing according to its intensity. The important point to recognize in this context is that, with a few exceptions, the physical state of arousal accompanying different emotional states is remarkably similar. Sexual arousal and aggressive arousal have in common fourteen physiological changes. The Kinsey team found that there were only four respects in which the physiology of anger differed from the physiology of sex. Although there are rather more physiological differences between the state of fear and the states of anger and sexual arousal, fear still shares nine of the same items of physiological change with the other two, including increase in pulse-rate, increase in blood-pressure, and increase in muscular tension.⁵

      It is easy to appreciate that we enjoy becoming sexually aroused; less easy to acknowledge that we like being frightened, and still less easy to accept that we may welcome the excitement of being angry. But many people enjoy the fear induced by ghost stories or horror films; and some will admit that ‘justified’ wrath against an enemy is exhilarating. The fact is that human beings are so constituted that they crave arousal just as much as they crave its opposite, sleep. Whilst we may deliberately and reasonably affirm that we want our morning newspaper to contain no accounts of disasters, there is no doubt that tragedy is stimulating, as the proprietors of the tabloids know only too well.

      One of Freud’s cardinal errors was to suppose that what human beings most wanted was a state of tranquillity following the discharge of all tensions. He treated powerful emotions as an intrusion, whether they were instigated by stimuli from without or caused by instinctual impulses from within. For Freud, the main function of the central nervous system was to see that the tensions caused by such emotions were discharged, either directly or indirectly, as soon as possible. He called this dominating feature of mental life the Nirvana principle. In Freud’s scheme, there is no place for ‘stimulus hunger’; that is, for the need which human beings have to seek out emotional and intellectual stimuli when they are placed in a monotonous environment or when they have been in a state of tranquillity for so long that they have become bored.⁶

      Freud died in 1939. If he had been alive in the 1950s and 1960s, he would have become aware of research into the effects of shielding human beings from as many incoming stimuli as possible. Although Nirvana-like bliss and relief from tension can sometimes be achieved by exposing people to short periods of voluntary isolation in the sound-proof, light-proof rooms already referred to, longer periods of solitary confinement usually lead to desperate efforts to find something stimulating which will relieve monotony. Human beings suffer from stimulus hunger as well as from stimulus overload; and those who have experienced months or years alone in prison cells find that doing mental arithmetic, recalling or writing poetry, or other mental activities, are absolutely necessary if they are not to sink into apathy or despair.⁷

      It seems obvious that one reason why people seek to listen to or to participate in music is because music causes arousal, which may be intense at times, but which is seldom unbearably so. When, in A la Recherche du temps perdu, Mme Verdurin protests at her husband’s suggestion that the pianist shall play a particular sonata in F sharp on the grounds that it will make her ill, we do not believe her, and Proust did not intend us to do so.

      ‘No, no, no, not my sonata!’ she screamed, ‘I don’t want to be made to cry until I get a cold in the head, and neuralgia all down my face, like last time. Thanks very much, I don’t intend to repeat that performance. You’re all so very kind and considerate, it’s easy to see that none of you will have to stay in bed for a week.’⁸

      Every concert-goer is familiar with the histrionic member of the audience who demonstrates his or her intense sensibilities by sighing, groaning, or clapping ecstatically; and who then looks around with rolling eyes to make sure that these antics have been noticed.

      This is not to deny that music can provoke intense, genuine emotional arousal, from ecstatic happiness to floods of tears. This does not happen with everyone. The unmusical person, as one would expect, is less physiologically aroused than the musical person. Even in people to whom music means a great deal, responses vary with their mood. One would not expect a depressed person to respond to music as vigorously as an elated person; although music has been known to break through the carapace of melancholy and enable the depressed person to regain access to the feelings from which he had been alienated.

      There is another aspect of arousal which is relevant to music. There is some measure of agreement about the nature of certain well-known musical works, whether they are jolly, uplifting, humorous, martial, impressive, and so on. No one calls Rossini’s overture to The Barber of Seville tragic; no one thinks of Beethoven’s Fifth Symphony as merely pretty. Roger Brown, one of the world’s experts on the development of language in children, has also studied reactions to music. His research has demonstrated that there is widespread consensus between listeners about the emotional content of different pieces of music even when these pieces are unknown to, or not identified by, the different listeners. That is, whether a piece of music is considered poignant, wistful, elegiac, boisterous, rustic and so on, does not depend upon previous knowledge of the piece in question, or upon identifying the context in which it was composed.⁹

      But it is simplistic and inaccurate to suppose that the emotions expressed in the music – sadness, joy, or whatever other emotion seems displayed – are necessarily those aroused in the listener. Peter Kivy, author of an influential, award-winning book on music, The Corded Shell, repeatedly affirms:

      We must separate entirely the claim that music can arouse emotion in us from the claim that music is sometimes sad or angry or fearful … a piece of music might move us (in part) because it is expressive of sadness, but it does not move us by making us sad.¹⁰

      Othello’s suicide is profoundly moving; but it does not make us feel suicidal. What moves us is the way in which Shakespeare (and Verdi) made sense out of tragedy by making it part of an artistic whole. As Nietzsche realized, even tragedy is an affirmation of life.

      In spite of Roger Brown’s demonstration that the general emotional tone of a piece of music will probably be similarly perceived by different listeners, there will always be disputes about specific details when criticism is carried further. This does not imply that one listener is more or less perceptive than the other. Both may have experienced arousal; and both will therefore agree that the music has had a powerful effect upon them. It is natural enough, given the varying backgrounds from which listeners come, and the very different life-experiences to which they have been exposed, that what they read or project into any given piece of music may also be rather different. What is interesting is that there is as much consensus as there appears to be.

      The idea that music causes a general state of arousal rather than specific emotions partly explains why it has been used to accompany such a wide variety of human activities, including marching, serenading, worship, marriages, funerals, and manual work. Music structures time. By imposing order, music ensures that the emotions aroused by a particular event peak at the same moment. It does not matter that the kind of emotions excited in different individuals may vary. What matters is the general state of arousal and its simultaneity. Because of its capacity to intensify crowd feeling, music has a power akin to that of the orator.

      Ellen Dissanayake, in the paper from which I quoted in the last chapter, believes that the importance of physical movement as a constituent of musical behaviour has been underestimated. She points out that children up to the age of four or five find it difficult to sing without moving their hands and feet. The close relationship between music and bodily movement is not confined to pre-literate societies. The composers Roger Sessions and Stravinsky have both stressed the connection with the body; and Stravinsky not only composed superb music for ballet, but also insisted that instrumentalists be visually perceived whilst playing. This may be one reason why so many musicians dislike recorded performance. They want to see the players’ movements as well as hear the sounds СКАЧАТЬ