An email to Nicholas

Dear Nicholas,

Thank you for your previous two letters. I’m sorry I was so slow getting back to you after the first one, that you had to write another.

I didn’t know Canon meant essentially the same things as Round. I’m sure I must have been told, but I never got what it meant or cared. I only really appreciated rounds at all in actually singing them with people at Kentwell (the Tudor recreation thing I do).

Amusingly, I look up the most complex round I know (it isn’t instant to learn, as the note of “well” sounds off, so you have to teach it to drunk people carefully), which is the original “cat is in the well”. It’s called Ding Dong Bell in Ravenscroft’s Pammelia. Where, so I just now amusingly founded, headed “Canons in the unison”.

While trying to find out what exactly round means just now, I came across what glees were originally, and glee clubs. I really wish they still existed!

The ground bass is clearly an important reason that I like Pachelbel‘s Canon. And it doesn’t vary in volume. Oh, and there are hardly any instruments – I think adding any more is basically a waste of time for me, as I’ll fail to pick them out.

Moving on to your second letter… It started to irk me right at the beginning – only at the end did you give me an easy way to articulate why. I wasn’t moved by Williams musical version of Christina Rossetti’s poem. Worse, I wasn’t even moved by the poem itself!

Doing as you say and describing my emotional reactions the first time I heard it…

The voice was irritating, overly oscillating such that I couldn’t pick out the words. It actually managed to make the poem harder to understand. There were some uplifting bits musical in the middle, but the tedium of the vocal parts overruled that.

As for the poem, my! It glazes my eyes over, making me simply not want to read it. It is full of metaphors that have no meaning to me. To such an extent that I’d have to force myself to read it as whipped homework to get anywhere further with it at all.

I am going to take your advice, to not try to “understand” music, and not do so :)

I agree with you that over analysis and understanding can defeat the joy of music. What it can do though, is breakdown practical barriers. I’d like a music recommendation service which could say “don’t bother Francis with Wagner, basically nobody with your low volume range of hearing ever ends up liking it particularly”.

For people who are good at music, and/or who have fallen deeply into one genre pool they can’t see out, these barriers are as fleas to a giant. To those in old people’s homes, or whose voices have just broken, or even who are deaf, and have had music torn for them often unknowingly… They are so important!

To slightly shift subject, I just got back from Bearded Theory. Three relevant musical observations from it:

  • To our surprise, we loved the ambient tent, at the right moments. Not being about love or sex was such a relief, the wilful suspension of the primate social, abandoned for rhythm, the raw dance. e.g. The Orb.
  • Revived acts, from The Stranglers to UB40, were just irritating. They had the odd song you knew, but they weren’t the same as when they were young, and if you didn’t like them already, you weren’t going to by seeing them live. This alone makes it worth supporting new acts, despite the cornucopia of amazing historic music we have at a click now. (Ironic, that contradicted by me liking for the first time ancient The Orb above!).
  • It’s fun playing the Ukelele and/or singing (or Kazooing along). Beardy Keef did a jam, managing to get half the famous musicians on site to turn up too. My strumming sucked, and I couldn’t instantly remember chord patterns after the first verse (they were unlabelled on the second)… But still, that Uke, it brings down barriers. Easier than a recorder or a piano to learn to that important stage of “have fun with” by far.
  • The Monster Ceilidh Band are great.

So yeah, I don’t need sophisticated analysis of music. (Although the part of me that wants to understand consciousness, and suspects music is a vital hack on our brains that will reveal a lot about them, is curious.)

Instead, I want analysis so people can have fun, without being put off by usability barriers that there are gorgeous ways round.

But there is a danger that we become distracted by such intellectual diversions in a similar way that one might become fixated by the form of a Sonnet while missing its meaning

It works both ways. To return to Dr LJ’s Tweet… Is everyone, even just in England, actually hearing Beethoven’s 9th? What’s the most efficient way to make that possible, in the cases where they would like it but just don’t have a way of getting to it?

Coincidentally I was at Bearded Theory with a music therapist (there are very relevant links to papers and things on the News and Downloads page!). Singing war solidarity songs to people with dementia… Makes sense to me.

And alas you need research, like in the paper Dr LJ linked to, to stand a chance at knowing how much to spend on nursing and how much on music.

Best wishes,

Francis

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