Rhythmic patterns and sound that came before sense

The mockingbird’s elusive complexity still sounds like a code waiting to be cracked. It may be harder to answer the question of what birds sing than why! Think of the power of mantras, Hindu incantations that on the surface are composed of nonsense syllables but when internalized lead the soul to higher spiritual states. So are the sounds still nonsense? The mantra’s power lies in the telling and repeating, not in any specific message conveyed by the arrangement of sounds.

Berkely philosopher Frits Staal realized that this kind of communication has something in common with the way we have come to understand bird song. It is not quite music, not quite language, but rather a structured string of sounds with a clear ritual purpose. Mantras are meant to be repeated by the chanter over and over, approaching endless repetition as the sound swirls inside the brain. You hypnotize yourself with the endless possibility in each abstract sound and the crystallization of the pattern.

Sanskrit is among the oldest languages, of all our Indo-European tongues. Now [Frits] Staal* says mantras, rhythms of sound that do not quite make sense, may lie at the roots of Sanskrit. Here’s an ancient song from the Vedas to be sung in the forest: Ayamayamayamayamayamayamauhova. Literally all it means is “thisonethisonethisonethisonethisonnnnnne …” You are supposed to sing it when you consecrate an altar out of doors. Staal believes such resonating, repeating measures of sound may be older than human language itself. It may have worked like this: Our ancestors chanted rhythmic patterns of sound long before we ever thought that sounds should signify specific things. Sound came before sense, before we had history, back in the time of birds. Language came out of ritual rather than the other way around.

Why birds sing : a journey through the mystery of bird song by David Rothenberg. New York: Basic Books ©2005, pp. 184-5.

https://www.worldcat.org/oclc/896845100

* Frits Staal. Ritual and mantras: rules without meaning. New York: Peter Lang, 1990, p. 305

https://www.worldcat.org/oclc/954122166

Other editions: Delhi: Motilal Banarsidass, 1996, 1993.

Video | Chor@Berlin 2017: Ode an die Nacht (Ausschnitt)

Chor@Berlin 2017: Ode an die Nacht (Ausschnitt) from Deutscher Chorverband on Vimeo.

Mit „Ode an die Nacht“ gelangte im Rahmen von Chor@Berlin am 24. Februar 2017 im Radialsystem V das letzte Werk von Harald Weiss’ „Darkness Project“ zur Uraufführung.

Kammerchor Berlin (Einstudierung: Stefan Rauh)
Concentus Neukölln – Ensemble der Musikschule Paul-Hindemith, Neukölln (Einstudierung: Thomas Hennig)
Berliner Mädchenchor (Einstudierung: Sabine Wüsthoff)

Indischer Gesang und Tambura: Manickam Yogeswaran
Blues-Gesang: Hanno Bruhn
Bajan: Mateja Zenzerovic
Klavier und Synthesizer: Peter Müller
Violine: Kinneret Sieradzki
Kontrabass: Guy Tuneh
Schlagzeug: Viorel Chiriacescu, Daniel Eichholz und Alexandros Giovanos
Elektro-akustische Vorproduktion: Harald Weiss
Stimme: Andrea Gubisch
Gesamtleitung: Thomas Hennig

Disputationes Salzburg

Indische Spiritualität in Kunst und Kultur

Herbert-Batliner-Europainstitut in Kooperation mit den Salzburger Festspielen im Rahmen der Ouverture spirituelle

Impulsreferate Montag, 20. Juli 2015, 15.00 – 18.00 Uhr
Gesprächsrunde 17:00 – 18:00 im Haus für Mozart

  • Heidrun Brückner: Mythologische Stoffe und hinduistische Epen auf der Bühne
  • Ludwig Pesch: Raum für Ideen? Zeit zum Spiel! Zum Sinn eines unbefangeneren Umgangs mit der „klassischen“ Musik Indien – Zusammenfassung >>
  • Michael von Brück: Sparsha – Indische Kunst und Kultur als religiöser Raum

Video | Vocalist Manickam Yogeswaran at the Global Music Academy in Berlin

Manickam Yogeswaram is teaching South Indian Carnatic singing at the Global Music Academy in Berlin.  Stop by or sign up here >>

Address Bergmannstr. 29 |  10961 Berlin | Germany | www.global-music-academy.net

More about Manickam Yogeswaram | Review >>

Yogeswaran’s music is steeped in the Temple traditions of South India.

He is a disciple of Padmabushan Sangitha Kalanidhi Sri T V Gopalakrishnan.

Yogeswaran performs worldwide: from traditional “Carnatic” formats (accompanied by violin, mirdangam, kanjira and tambura) to orchestras just as in musicals and in the context of Western contemporary music.

As noted by Indian and Western reviewers, his concerts are marked by a rear blend of creativity, virtuosity and high emotive quality.

He was the first ever Tamil voice in Hollywood.

More on https://www.facebook.com/manickam.yogeswaran >>