You question the assertion that music without an audience is impossible and conclude that it isn't, because we can sing alone to please ourselves. However, if we're listening to ourselves sing, how can our listening NOT be considered the audience? It's the same as when we talk to ourselves.
Terrific piece, Ted. Thank you. I passed it on to my 17 yr old who loves the sounds of Esma Redzepova, Oum Kalthoum, and similar, as well as death metal etc. I'd suggest all contain a relationship to elements of keeping.
Excellent article and so worthwhile. It is like a steppingstone to deeper questioning and a richer appreciation of musical sound and the human experience.
I didn't realize there was a whole school of theory that held the audience is what makes the arts arts. Certain advantages to just being an ink-stained wretch out of academia.
I think that viewpoint is ridiculous though - Tommy Flanagan practicing at home wasn't real music? What about after-hours jam sessions in KC in the '30s - were those "real music"? Bach composed most of his music in his role as a music director at a local parish; since most worship music of the time was performed BY the audience, WAS there an audience - and, if not, does that mean Bach's music isn't real music?
And, yes, the participatory music of mourning and loss that you focus on here is very much music.
There were a few box sets in the '90s that focused on this aspect of using music to comfort the soul, and featured funeral music from around the world, from dozens of traditions. It was a fascinating, if not a relaxing listen.
So without saying as much, what you described is much the same as the ululation we hear from Africa, and the Middle East, including the Jewish Community. So really this is a longstanding, world wide tradition coming from many arguably different cultures, underscoring the universality of grief stricken lament. And later incorporation into modern styles of music - 20th and now 21st Centuries.
this can be seen in music all the way up to mordern hip hop now.. I recommend you listen to the first 20 seconds of “Carnival” by kanye west and tell me that isn’t the same as the wailing in the very first YouTube clip attached..
Interestingly, the Hebrew word for dirge or lamentation is pronounced "kee-nah." Its general meaning is a dirge or lament, especially as sung by Jewish professional mourning women. Specifically, it can refer to one of the many Hebrew elegies chanted traditionally on Tisha B'Av, a ritual day of mourning that commemorates the destruction of the first and second temples.
The trope used to chant the book of Lamentations on Tisha B'Av perhaps doesn't keen, but it sure is sad. Check it out...
This is fascinating, thanks. I'm not sure though about your association of virtually all "grunts" and "yelps" with high-pitch keening. I'm thinking specifically of James Brown and Sly Stone. Certainly they could scream in higher registers. But they also had great lower-pitched grunts that were part of their singular styles. Do you associate those with something other than keening?
You question the assertion that music without an audience is impossible and conclude that it isn't, because we can sing alone to please ourselves. However, if we're listening to ourselves sing, how can our listening NOT be considered the audience? It's the same as when we talk to ourselves.
Terrific piece, Ted. Thank you. I passed it on to my 17 yr old who loves the sounds of Esma Redzepova, Oum Kalthoum, and similar, as well as death metal etc. I'd suggest all contain a relationship to elements of keeping.
Excellent article and so worthwhile. It is like a steppingstone to deeper questioning and a richer appreciation of musical sound and the human experience.
I didn't realize there was a whole school of theory that held the audience is what makes the arts arts. Certain advantages to just being an ink-stained wretch out of academia.
I think that viewpoint is ridiculous though - Tommy Flanagan practicing at home wasn't real music? What about after-hours jam sessions in KC in the '30s - were those "real music"? Bach composed most of his music in his role as a music director at a local parish; since most worship music of the time was performed BY the audience, WAS there an audience - and, if not, does that mean Bach's music isn't real music?
And, yes, the participatory music of mourning and loss that you focus on here is very much music.
There were a few box sets in the '90s that focused on this aspect of using music to comfort the soul, and featured funeral music from around the world, from dozens of traditions. It was a fascinating, if not a relaxing listen.
So without saying as much, what you described is much the same as the ululation we hear from Africa, and the Middle East, including the Jewish Community. So really this is a longstanding, world wide tradition coming from many arguably different cultures, underscoring the universality of grief stricken lament. And later incorporation into modern styles of music - 20th and now 21st Centuries.
this can be seen in music all the way up to mordern hip hop now.. I recommend you listen to the first 20 seconds of “Carnival” by kanye west and tell me that isn’t the same as the wailing in the very first YouTube clip attached..
This article helped me listen to Bon Iver’s 2016 album “22, A Million”in a new way. Thanks for the thoughtful guidance!
Love this.
Interestingly, the Hebrew word for dirge or lamentation is pronounced "kee-nah." Its general meaning is a dirge or lament, especially as sung by Jewish professional mourning women. Specifically, it can refer to one of the many Hebrew elegies chanted traditionally on Tisha B'Av, a ritual day of mourning that commemorates the destruction of the first and second temples.
The trope used to chant the book of Lamentations on Tisha B'Av perhaps doesn't keen, but it sure is sad. Check it out...
https://www.youtube.com/watch?v=rFkwvVHtyMM
I think Patrick Leigh Fermor witnesses a dirge in his book Mani. I think there is comment on the meter included (from a local) as well!
Fascinating. I was reminded of a recording from Kosovo (I can't remember the source), in which which women were mourning their dead.
This is fascinating, thanks. I'm not sure though about your association of virtually all "grunts" and "yelps" with high-pitch keening. I'm thinking specifically of James Brown and Sly Stone. Certainly they could scream in higher registers. But they also had great lower-pitched grunts that were part of their singular styles. Do you associate those with something other than keening?