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.

Ich möchte, dass die Luft aller Kulturen so frei wie möglich um mein Haus weht – Mahatma Gandhi

Mahatma Gandhi – Briefmarkenserie aus Indien

In vielen Ländern der Welt herrschen heute Wut, Hass, Kampf, Erniedrigung von Minderheiten und Zuwanderern, Handelskriege und bewaffne- te Auseinandersetzungen. Können wir heute, siebzig Jahren nach seiner Ermordung, noch etwas von Mahatma Gandhi lernen?

Den vollständigen Beitrag von Asit Datta finden Sie in MEINE WELT 2|2019: Gandhis Lehren für eine gewaltfreie Zukunft >>

Gandhi schrieb: „Keine Kultur kann überleben, wenn sie danach strebt, exklusiv zu sein“ und: „Ich möchte, dass die Luft aller Kulturen so frei wie möglich um mein Haus weht.“

Ein höchst lesenswerter Artikel des Hochschullehrers Asit Datta (Gründungsmitglieds der Organisation „German Watch“) nimmt diese weiterhin aktuellen Anliegen Gandhis unter die Lupe:
Säkularismus: Bei Toleranz mag die unbegründete Annahme mitschwingen, andere Glaubensrichtungen seien der eigenen unterlegen, und Respekt lässt auf gönnerhaftes Verhalten schließen, während Ahimsa uns lehrt, den anderen dieselbe Achtung entgegenzubringen, wie wir sie unserer eigenen entgegenbringen.
Ökonomische Ungleichheit, denn ohne eine andere Form der Verteilung des Vermögens und Einkommens zwischen Arm und Reich ist ein Frieden nicht erreichbar – weder auf nationaler und noch auf internationaler Ebene.
Kultur: Gandhi schrieb: „Keine Kultur kann überleben, wenn sie danach strebt, exklusiv zu sein“ und: „Ich möchte, dass die Luft aller Kulturen so frei wie möglich um mein Haus weht.“ Wenn man diese Lehren in aller Welt beherzigen würde, gäbe es heute keine rechtsnationalen Parteien mehr.

A message for all seasons: Rabindranath Tagore on “the beauty of the flower”

By plucking her petals, you do not gather the beauty of the flower.  – Rabindrath Tagore

Rabindranath Tagore Sketched by Dutch artist Martin Monickendam on the occasion of a lecture tour in September 1920 © Stadsarchief Amsterdam
Rabindranath Tagore Sketched by Dutch artist Martin Monickendam on the occasion of a lecture tour in September 1920 © Stadsarchief Amsterdam

From Beauty Quotes and Sayings – quotegarden.com

More on and by Rabindranath Tagore >>

Listen to Tagore: Unlocking Cages: Sunil Khilnani tells the story of the Bengali writer and thinker Rabindranath Tagore: https://bbc.in/1KVh4Cf >>
The acclaimed BBC 4 podcast series titled Incarnations: India in 50 Lives has also been published in book form (Allen Lane).

“I was moved by how many of these lives pose challenges to the Indian present,” he writes, “and remind us of future possibilities that are in danger of being closed off.”1

  1. Sunil Khilnani quoted in a review by William Dalrymple in The Guardian, 14 March 2016[]

Interaction between children, parents and medical staff with insight into different cultures

Music in hospital supports children’s social education to the extent that the musical activities can help the child to develop aspects of their ‘human capital’ (Karkou & Glasman, 2004: 170) through the promotion of adaptability, creativity and social skills. Music also offers possibilities for collaboration and interaction between children, parents and medical staff, as well as giving insight into different cultures. This is often the case when children/parents from different countries or different social backgrounds have to share a room for long  periods of time. Music sessions in these cases often facilitate communication through the exchange of songs or simply by lightening the atmosphere in the room, fostering casual conversations between parents, or between parents and nurses, that, for a brief time perhaps, are not focused on the children’s illness.  […]

Music in this context can be successfully employed to support social interactions between different people involved in the process of music-making. Experiencing a successful participation in musical activities facilitates an increased sense of community, of belonging to a group, embracing patients, carers and musicians (Karkou & Glasman, 2004). This sense of community has been fostered officially by the hospital management who have recently expanded the music scheme to other wards across the hospital. The management have institutionalised the music provision through systematic financing and the designation of key personnel with responsibilities for ensuring the music programme. Musicians are now perceived as part of the paramedical staff and the ‘institutionalisation’ of the programme has made collaboration between musicians and nurses easier and more effective.  […]

For Lave and Wenger (1991: 116), learning ‘is never simply a matter of the transmission of knowledge or the acquisition of skill . . . it is a reciprocal relationship between persons and practices’. In a community of practice, members are brought together by joining in common activities and by what they have learned through their mutual engagement in these activities. In this respect, a community of practice involves shared practice. […]

Conclusion

The provision of music in a hospital context embraces a multiplicity of potential and actual experiences for all the participants, whether adult or child, patient or carer. Its multifaceted character relates both to the nature of musical sound and also to its human processing, whether as initiator, participant or ‘audience’. The power of music as a form of emotional  symbolisation is reflected in the organisation of its sounds, such as its tone colours, contours, intensities and rhythms unfolding over time. The selected music’s impact (physiological, psychological, social, educational) is likely to be enhanced by the physical action, the communication behaviours, of the live performers, who have to remain sensitive throughout to the subtle nuances of response from the ‘audience’ (patients, parents, hospital staff) in a moment-by-moment monitoring of performance effectiveness towards the intended outcome. This is a symbiotic process in the course of which performers, patients and other members of the (often participant) audience ‘share’ a musical experience and perhaps are all changed by it in some way.  


https://www.researchgate.net/publication/231743662_Music_in_a_hospital_setting_a_multifaceted_experience

Abstract
The article offers an explanation of the effects of music on children within a hospital setting and points up the multifaceted nature of this experience. The nature of the client group allows the musical experience to work on many different levels, such as modifying the child’s perception of pain and reducing stress, whilst at the same time having an integral educational element that supports musical development. The evidence base is drawn from an extensive review of the music/medicine literature, interfaced with the first author’s experience over many years as a participant musician in a paediatric oncology ward.

Source: Costanza Preti & Graham Frederick Welch in”Music in a hospital setting: a multifaceted experience”, November 2004 British Journal of Music Education 21(03):329 – 345

On the responsibility to share one’s legacy: “My music is never isolated” – Aruna Sairam

The Sangita Kalanidhi is a happy validation of Sairam’s life and struggles, but “it also entails an important responsibility — to record, document, and share,” she points out.

This year’s Sangita Kalanidhi awardee says the freedom to create helped her channel her life into art | Read the full interview (The Hindu, 5 October 2018) >>

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