Showing posts with label Ancient Audio. Show all posts
Showing posts with label Ancient Audio. Show all posts
Saturday, September 01, 2012
Branded @ Birth™
Regardless of one's cultural background, primary language or education, some people believe babies call their mother ‘MA’ (or some version thereof) not because they’re taught do so, but because they’re programmed to do so.
This theory stipulates that just as humans are born with certain physical body parts, we're also born with a bit of a pre-birth cognitive fodder called ‘Archetypes’.
In Jungian psychology an archetype is described as “a collectively inherited unconscious idea, pattern of thought, image, etc., universally present in individual psyches.” (Dictionary.com)
There are many fascinating aspects about this, if it is true, not the least of which is the implication that we are all Branded @ Birth, and then start from the very beginning of our lives branding every single thing around us (as products of our reality, our culture, even our imagination).
If this is indeed the case, then archetypes presuppose culture and are neurobiological in origin. We might then say that archetypes exist within the black box of consciousness as pre-programmed urges to express certain behaviors. These primal urges first take form as intuitive actions that are then instagrammed as symbols intended to represent the action or capture the meaning of these urges. That is, rendering symbols is the manner by which one documents an impression, applies a cognitive filter to it, and then shares it with others.
If every urge represents a fundamental need or desire, then every symbol is essentially a command. And these commands once produced and distributed/transmitted/communicated –put into action as it were– exhibit memetic potential.
Perhaps this potential is even the result of archetypal recognition by those receiving the transmission. But the additional result of this eternal loop is a complicated matrix of understandings and conventions we call culture. And one might also say that the reverse engineering of all this resulting symbolic data is what we now call semiotics. This could all be academic, or it could be navel gazing, but I still find it all very fascinating to consider; the mind reels.
What is the zeitgeist anyway?
We might think of zeitgeist as a series of trends, but by my calculus it's semiotics in motion; an archetypal tsunami; symbolic data moving culture the same way a strong current moves a floating object. –But equally influenced by an undercurrent of ideas and prior actions that collectively effect the NOW as they move beneath the visible surface of society, and in this way capably move highly ingrained and even resistant convictions great distances over many years, even decades, centuries and millennia.
Of course, if we define archetypes simply as pre-birth patterning, then animals are also endowed with them, and we can suppose that any instinctual activity has at its source archetypal data. It may not be enough to ask if the dog's bark is worse than his bite, but also inquire what does either bark or bite mean?
In any event, the notion of archetype supposes we arrive into the world if with not a song, then with an elemental sound already formed in our heads (or the urge to produce a sound), and that is the sound of our mother’s name –at least the name by which we will call her. Again we are branded at birth, imprinted by a distinguishing mark that identifies us as no less than a product of our Mother.
By the way, some people also believe we do actually arrive into the world with a song in our heads. It's called 'The Ur-song' and you can hear what it sounds like by playing the following video (the melody here is played straight; it is also often heard with a swing):
Incidentally, because the vocalized ‘ma’ signification precedes graphic representation, I like to think of it less as an archetype than as an ‘Archetone’.
I also think it might be true that ‘ma’ doesn't bear any archetypal or pre-natal psychological origin, but that it ehibits universal usage simply because nursing mothers interpret ‘SMA’ –the sound of lips un-puckering from a kiss or breast– as an attempt to communicate. (And by extension, ‘DA’, the sound of one opening one’s mouth when one’s tongue has been stuck to the roof of it).
Once believing their baby has begun speaking, parents might then reward a child with further affection. And by this action they thereby reinforce a lip-smack as as an appropriate designation for a god like being by an utterly helpless moppet.
It’s not quite as romantic an etymology as being in possession of an ancient archetype, but who’s to say it’s wrong?
Whatever the mechanics, 'ma’ becomes a meme, and eventually ma becomes mama becomes mom becomes mother, and this is how mommy goes viral.
If you have any interest in memetics (the study of cultural transmission), one can’t help but ask if ‘Ma’ is the smallest unit of cultural transmission exhibited in early childhood development?
–Or is there something smaller than 'ma' to be found; something that lies between archetypal urge and symbolic utterance? I believe that there is, and that thing is the actual sound of the baby’s natural and not-quite-yet semantic cry.
Although, I’m not really sure that such a cry can't be designated as non memetic because I've heard one baby set off a dozen other babies, as if they were all part of a single coddled swarm.
The fact is, any human behavior can trigger an action which once repeated becomes a pattern, and then, at that point –at the point of Pattern Manifestation– it finally assumes the potential to be transmitted along a memetic distribution system.
Or rather, it exhibits the power to trigger replication from one host to another: you, me and mommy, too.
It’s as if the archetype once given voice as an archetone, the entire process resembles nothing so much as a musical Ouroboros –the mythical image of a serpent eating its own tale, and thus forming an eternal circle.
Tuesday, January 23, 2007
Time and The New York Times
In Natalie Angier’s January 23rd article, Making Sense of Time, Earthbound and Otherwise (©2007 New York Times, Science), she writes:
"The long and short of the universe is just that, almost exclusively long and short, with the hyperclipped quantum clickings of the atom on one end and the chasmic lollygags and foot drags of the greater cosmos on the other."
Human rhythms she reminds us, are bound by the simple coincidence that we are born on a tilted planet, one which takes 24 hours to make one revolution around itself, and 365 revolutions to turn around the sun.
So, it appears the rhythm of life falls into place like a jazz fan tapping his foot to a cosmic pulse.
"Every cell of the human body pulses to a circadian beat, sucking in glucose, squirting out hormones, building up fresh proteins and breaking down stale ones, all in predictable swells and troughs throughout the day,” Angier continues, "–a rhythmicity that may help explain why we love music but still does not explain the lingering popularity of Bachman-Turner Overdrive."
I picture aliens on Mercury taking a week off from work every eighty-eight days, in order to celebrate the Winter Solstice with gifts, and sing in a New Year.
"The long and short of the universe is just that, almost exclusively long and short, with the hyperclipped quantum clickings of the atom on one end and the chasmic lollygags and foot drags of the greater cosmos on the other."
Human rhythms she reminds us, are bound by the simple coincidence that we are born on a tilted planet, one which takes 24 hours to make one revolution around itself, and 365 revolutions to turn around the sun.
So, it appears the rhythm of life falls into place like a jazz fan tapping his foot to a cosmic pulse.
"Every cell of the human body pulses to a circadian beat, sucking in glucose, squirting out hormones, building up fresh proteins and breaking down stale ones, all in predictable swells and troughs throughout the day,” Angier continues, "–a rhythmicity that may help explain why we love music but still does not explain the lingering popularity of Bachman-Turner Overdrive."
I picture aliens on Mercury taking a week off from work every eighty-eight days, in order to celebrate the Winter Solstice with gifts, and sing in a New Year.
Labels:
Ancient Audio,
Time
Monday, January 22, 2007
Ancient Audio Free With Every Brain
In Same Old Song, but With a Different Meaning (© Copyright The Washington Post Company, Monday, January 22, 2007; Page A08), Washington Post Staff Writer Shankar Vedantam discusses the impact music has on brain behavior. The question isn’t if music stimulates brain behavior, but rather how."For neuroscientists," Sherpe writes, "the power of music poses a puzzle." He then reports how McGill scientist Robert Zatorre found that music "activated very ancient parts of the brain."
Meanwhile, two decades prior, in 1984, in The Secret Power of Music, David Tame wrote:
"…science is beginning to suspect that matter is all composed of one fundamental something, and that the frequencies or rhythms of this something determine the specific nature of each object and atom."
Sound, it seems is everything; and it certainly is if we are to believe the quantum notion that every bit of composed reality is a vibrating element of a wide electromagnetic spectrum, which we are only capable of seeing and hearing but a nano-sized slice of.
It almost begs the question, is sound particles or waves? Of course, we know the answer is waves. However, we might also suggest and imagine (if only as a thought exercise) that any transmission that communicates meaning is actually composed of micro sized particles of symbolic data
Carl Jung hypothesized that humans are born, not just with their physical body parts, but that our brains inherently contain what he called the collective consciousness. The collective consciousness, he suggested, was composed of "the residues of ancestral life… (whose) origins can only be explained from assuming them to be deposits of the constantly repeated experiences of humanity."
So then why shouldn’t we who are aural centric also suppose then that some of these ancient deposits inlude archetypal sounds that endow us with the building blocks of music and the (metaphorically) sub atomic sonic particles that make all audible means of communication possible?
And might such sub atomic particles, the substance of archetypes, be made manifest as signs, and thus be subject to analysis and potential manipulation by capable semioticians, wielding a craft one might call 'Sonic Semiotics?
Independent of any prior use of the term, I arrive at this phrase simply because of what I perceived as limitations on the scope of analysis presented by traditional music semiology. That is to say, I arrive at this analysis as not just a composer or musicologist might, but from the position of someone involved with commercial audio production, one who often produces music as a means not simply to enhance dramatic action or otherwise entertain and promote a story experience, but as someone commissioned to use sound in order to fulfill a marketing objective (and deliver a message, if you will).
So, when I say 'Sonic Semiotics', I mean the analysis of any sound unit, not just musical sounds, in order to determine the inherent symbolic 'message' that a given sound might serve as a carrier for, and whether that message is culturally born while other transmissions affect us a certain way because of a bio musical code or archetype that is possibly part of our DNA.
For instance: Audible emissions such as a GIGGLE, the tonal properties identifiable with a cry for HELP (in any language), the spoken word 'MA' or 'MAMA'; and non human audio such as the rumble of thunder or the rustle of wind through long grass, even the revving engine of a Harley Davidson; or a wail –be it produced by a grief stricken mourner or the SIREN call of law enforcement– these things all absolutely possess inherent symbolic properties.
Although, I have also considered that perhaps the emission 'Ma' is simply the sound a baby makes as he pulls his lips away from his mother's bosom. And the proud mother thinks the kid has actually said something, and then repeats it often enough that it eventually becomes his name for her. Maybe? Anyway, moving along–
Certainly, the diversity of species is great, but is there any animal whose GROWL does not induce fear?
This is not to diminish the power of symbolic sounds that can be found in much music, but rather to suggest that my search for inherent semiotic properties of sound are found in much smaller units than musicologists generally identify. I think more of what is today called music semiology can more accurately be described as Sonic or 'Music Memetics', if we allow that a meme, in the broadest sense of the term, "is any thought or behavior that can be passed from one person to another by learning or imitation".
I think this definition lends itself to the consideration of motif sized musical expressions with greater exactitude than 'semiotics'. Whereas to my mind, semiotics more accurately describes expression via symbol, that which the motif serves as a memetic carrier for.
Labels:
Ancient Audio,
Music Memetics,
Sonic Semiotics
Friday, February 01, 2002
The Ur-Song
Carl Jung believed that we are born, not just with our physical bodies, but also with a collective consciousness. He suggested this collective consciousness was composed of “the residues of ancestral life… (whose) origins can only be explained from assuming them to be deposits of the constantly repeated experiences of humanity.”
How else to explain, for instance, universally accepted sounds, terms, symbols, etc– for ‘Mother’?
Along these same lines there are those who believe that part of this collective consciousness includes or contains what has been called an ‘Ur-Song’, that is: A basic, fundamental and universal sequence of notes, forming a melody; and so named because of the Mesopotamian City of Ur, regarded as the first civilization.
Some academics think of melodies as symbols, and indeed a motif can heighten dramatic intent via deft symbolic use. So, it's not a great leap to consider that that this Ur-Song while itself not literally a symbol –not a graphic one, anyway– is nevertheless equivalent to a symbol, –or in fact it is a musical or sonic symbol– and therefore worthy of semiotic analysis.
FYI: Semiotics, is the study of sign processes, or signification and communication, signs and symbols, both individually and grouped into sign systems. (Wikipedia)
So what does the Ur-song sound like you ask? There are several theories, with one being that it is simply a descending minor third. Sometimes I’m inclined to think that it is the bass line from Pachelbel’s Canon, –the sequence having become so ubiquitous that I now recognize its integration into many pop compositions (do sol la mi fa do fa sol). However, most of the articles I’ve read indicate that the Ur-Song is more probably sung as: ‘sol sol mi la sol mi’. But you probably know it better as 'nyah nyah nyah nyah nyah nyah' or 'Na-nana-nah-na nah nah', a common children's taunt sung upon said to be sung upon the universal melody.
Indeed, it’s heard on every playground around the world. Of course, the lyrics and exact rhythm change depending on the culture and language, but the tune is always the same.
In his book, The Secret Power of Music, David Tame describes this phenomenon:
“…in all lands, children from the age of eighteen months to two and a half years have been found to spontaneously sing melodic fragments with the intervals of second, minor third, and major third.”
Even Leonard Bernstein described a belief in the legitimacy of the Ur-song.
As it happens, I’m also a true believer:
When I was two years old –and living in San Juan de Marcos, Peru– my parents recall this incident: Upon seeing a motorcyclist having troubles with his bike, I spontaneously sang out, “Ha ha ha la moto”, and the words were carried upon the following melody: ‘sol sol mi la sol mi’ –what else but the Ur-song!
* * *
Click on any link below to read the entire Mystic Audio Series:
1. Glossolalia: Speaking In Tongues
2. The Ur-Song
3. Theta Waves, Mantras & The Lord's Prayer
4. Atomic Rhythms
5. Thai Drum Samples For Sesame Workshop
How else to explain, for instance, universally accepted sounds, terms, symbols, etc– for ‘Mother’?
Along these same lines there are those who believe that part of this collective consciousness includes or contains what has been called an ‘Ur-Song’, that is: A basic, fundamental and universal sequence of notes, forming a melody; and so named because of the Mesopotamian City of Ur, regarded as the first civilization.
Some academics think of melodies as symbols, and indeed a motif can heighten dramatic intent via deft symbolic use. So, it's not a great leap to consider that that this Ur-Song while itself not literally a symbol –not a graphic one, anyway– is nevertheless equivalent to a symbol, –or in fact it is a musical or sonic symbol– and therefore worthy of semiotic analysis.
FYI: Semiotics, is the study of sign processes, or signification and communication, signs and symbols, both individually and grouped into sign systems. (Wikipedia)
So what does the Ur-song sound like you ask? There are several theories, with one being that it is simply a descending minor third. Sometimes I’m inclined to think that it is the bass line from Pachelbel’s Canon, –the sequence having become so ubiquitous that I now recognize its integration into many pop compositions (do sol la mi fa do fa sol). However, most of the articles I’ve read indicate that the Ur-Song is more probably sung as: ‘sol sol mi la sol mi’. But you probably know it better as 'nyah nyah nyah nyah nyah nyah' or 'Na-nana-nah-na nah nah', a common children's taunt sung upon said to be sung upon the universal melody.
Indeed, it’s heard on every playground around the world. Of course, the lyrics and exact rhythm change depending on the culture and language, but the tune is always the same.
In his book, The Secret Power of Music, David Tame describes this phenomenon:
“…in all lands, children from the age of eighteen months to two and a half years have been found to spontaneously sing melodic fragments with the intervals of second, minor third, and major third.”
Even Leonard Bernstein described a belief in the legitimacy of the Ur-song.
As it happens, I’m also a true believer:
When I was two years old –and living in San Juan de Marcos, Peru– my parents recall this incident: Upon seeing a motorcyclist having troubles with his bike, I spontaneously sang out, “Ha ha ha la moto”, and the words were carried upon the following melody: ‘sol sol mi la sol mi’ –what else but the Ur-song!
* * *
Click on any link below to read the entire Mystic Audio Series:
1. Glossolalia: Speaking In Tongues
2. The Ur-Song
3. Theta Waves, Mantras & The Lord's Prayer
4. Atomic Rhythms
5. Thai Drum Samples For Sesame Workshop
Labels:
Ancient Audio,
Sonic Semiotics,
Ur Song
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