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…where the slow deep centuries of earth are undoing and remaking themselves. [Linda Hogan]

January 5, 2019

I think of the creative experience as being a place of magic, a window into the infinite and unknowable. One must approach it with due reverence, it does not want to be known.

There is a story about a university music class being taken on a field trip to a North Indian Classical music concert. The promoter peeked out and saw a bunch of noisy students laughing and acting distracted. This was worrisome for him, not the way a concert should begin in his world. This concern for the performer made him think about improving the situation. He walked out onto the stage and said, “ I am going to teach you a chant, which is a very Indian thing to do”. He taught the chant to them and kept them going for a few minutes. He noticed they were becoming less distracted. They kept chanting for a few more minutes, until he figured them all to be in the correct mental space to receive music. At this point he thanked them for learning something new and introduced the performer. The recital was a great success for all involved.

I find it impossible to say what makes three notes musical and three others not. There is a power in one set that is not in the other. Where this power comes from is a mystery, it could be memory, associations, rhythms, or even logic. From those three notes you try to build something longer and longer until there isa moment of beauty that wasn’t there before. The skills we acquire help us to build, but not to define beauty. It is one of those things that does not want to be known. There are people who seem to access this place with ease, while for others it takes significant effort.

valencia street colour graffiti 2I teach in a music department at a university in Toronto and students there will be tested at the end of everyyear. Tested to make sure they have learned, and developed some instrumental or vocal skills. These deadlines are important; many of us do our best work when there is an endpoint approaching. There are some strange things that happen in these exams: students are asked to skip repeats, and are asked to stop one piece and start the next at unpredictable intervals. It seems as though the examiner is deliberately creating obstacles for the performer, obstacles that must be surmounted in a limited time. In this situation we lose the reverence for music. Instead of calling this music, we could simply provide the requisite kind of challenges and time limits, offering prizes for the fastest and loudest. It might be a more honest way to label the experience.

Music takes place over time and can stop the sense of time passing. I think of jazz swing and the river of rhythm, or players vamping out on a song because they are saying goodbye to a beautiful experience. I remember the swoon of experiencing Jesu Joy of Our Desiring for the first time. At its best, music stops the feeling of time passing, but we cannot be in a hurry to arrest the movement of time.

The bigger question for me is whether we vanquish art by creating an anxious mental space. Does a young person develop poise and confidence by being stopped and cut off? Examiners are usually more experienced and one would hope that they are good at negotiating the sacred space of music. I’d like to think that the path to the musical experience is full of wonder and joy. Words are the domain of writers and storytellers, so we must in the words of Charles Seeger, music about music. Modeling best practices, inducing good performance and guiding our youth to that magical window.

Nasrudin had been listening and reading about the world around him: famine, the plague, and brigands robbing traders. He found this all so disturbing that he gave up reading and wore ear plugs from then on.

 

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