Every artwork, if it is effective, has universal qualities, because as human beings we all share certain universal qualities.
Every artwork also has specific contexts, which can only be fully understood by those familiar with that particular context, be it cultural, of social construct, or other particulars.
I'm interested in 'sacred' music which conveys the sense of the sacred in a universal manner, not dependent on particulars such as dogma, text, or religion.
For example, someone might respond in an emotional way to an old Baptist hymn, while another person might see it as normal, undistinguished music, with no 'sacred' effect.
This would be an example of particular context. A Baptist is more likely to sense the sacred than would a non-religious person, or someone outside this context. Even within this context, the person might be skeptical or have a 'raised eyebrow' sarcastic reaction, seeing the hymn as 'hokey' or old-fashioned.
But even such a skeptic might have a different reaction if the hymn were heard in the context of an Ives piece, or if accompanied by film footage of an actual church service.
So, the 'sacred' quality of music does not lie totally within the realm of either the music (the composer's intent, and the music's content) or with the listener. Music is a 'mapping' of experience from composer (represented by the music) to listener.
Thus, it is our task to identify or define those characteristics in the music itself, and those qualities and requirements within listeners, which are 'universal' enough to be defined as constants of sacred music.
If one were to make such a shopping-list of 'universals,' what would those constant universals be?
Here is my list of general characteristics. Some of these qualities might be more effective in certain cultures than others, but still contain enough 'universal' quality to be approachable by any human.
The experience of the sacred is often tied to isolation and solitude, when the mind can be quieted and calmed, and reflective thought begins to kick in. Therefore, in this context, sacred music should ideally reinforce this quietude and reflection.
1. It could be even and smooth, and not be overly rhythmic or driving. Sustained notes could be more effective than short notes.
2. It would not have distracting harmonic movement. It might be more drone-like, and focus on a single tonic.
3. Since human voices are comforting, sacred music might be vocal more often than not.
4. As in rosary meditation and chanting, sacred music could be repetitious, as a way of focusing the mind. This repetition might take the form of rhythmic drumming, as in the Moroccan trance music of Joujouka. This repetition could be repeated pitch-figures, or repeated chanting.
This music would not disturb house-cats. (ha ha)
Every artwork also has specific contexts, which can only be fully understood by those familiar with that particular context, be it cultural, of social construct, or other particulars.
I'm interested in 'sacred' music which conveys the sense of the sacred in a universal manner, not dependent on particulars such as dogma, text, or religion.
For example, someone might respond in an emotional way to an old Baptist hymn, while another person might see it as normal, undistinguished music, with no 'sacred' effect.
This would be an example of particular context. A Baptist is more likely to sense the sacred than would a non-religious person, or someone outside this context. Even within this context, the person might be skeptical or have a 'raised eyebrow' sarcastic reaction, seeing the hymn as 'hokey' or old-fashioned.
But even such a skeptic might have a different reaction if the hymn were heard in the context of an Ives piece, or if accompanied by film footage of an actual church service.
So, the 'sacred' quality of music does not lie totally within the realm of either the music (the composer's intent, and the music's content) or with the listener. Music is a 'mapping' of experience from composer (represented by the music) to listener.
Thus, it is our task to identify or define those characteristics in the music itself, and those qualities and requirements within listeners, which are 'universal' enough to be defined as constants of sacred music.
If one were to make such a shopping-list of 'universals,' what would those constant universals be?
Here is my list of general characteristics. Some of these qualities might be more effective in certain cultures than others, but still contain enough 'universal' quality to be approachable by any human.
The experience of the sacred is often tied to isolation and solitude, when the mind can be quieted and calmed, and reflective thought begins to kick in. Therefore, in this context, sacred music should ideally reinforce this quietude and reflection.
1. It could be even and smooth, and not be overly rhythmic or driving. Sustained notes could be more effective than short notes.
2. It would not have distracting harmonic movement. It might be more drone-like, and focus on a single tonic.
3. Since human voices are comforting, sacred music might be vocal more often than not.
4. As in rosary meditation and chanting, sacred music could be repetitious, as a way of focusing the mind. This repetition might take the form of rhythmic drumming, as in the Moroccan trance music of Joujouka. This repetition could be repeated pitch-figures, or repeated chanting.
This music would not disturb house-cats. (ha ha)