‘The Universe is full of magical things, patiently waiting for our wits to grow sharper’ – Eden Phillpots.
Music is a unique experience for all of us. Unless one’s hearing in impaired, anybody can listen to it and appreciate its beauty. Though, like noise, music also stems from the same source, namely, sound, it stands tall apart and distinguishes itself by virtue of its being organized and pleasing.
Unlike noise, music is formed of a connected series of sounds (tones) of a definite pitch and pattern that the brain could process into something beautiful and meaningful.
Music: The Salient Features
Though music may appear simple, it is actually bewildering as one starts enquiring about it. While it is recognized and appreciated, it is not amenable to our understanding. Thus, we find certain inherent and in-built contradictions in music: local but trans-local, focused but blurred, intense but expansive, particular but universal, stable but volatile. These contradictions do provide a fertile ground for the philosopher in us, so that we could interpret it the way we feel or experience it.
Hegel, would find that music – unlike any other art forms – has no independent existence in space. It cannot therefore be ‘objective’ in that sense.
Frank Zappa, the American rock musician would equate music in performance as a type of sculpture, in which ‘the air in the performance is sculpted into something.’
Claude Levi-Strauss, the French anthropologist, would refer to music as a language with the contrary attributes of being at once intelligible and untranslatable. He acknowledges that the listener experiences a fundamental rhythm within himself – a concept propagated in Nada Yoga and lost – in the dark abyss of time!
According to Roger Scruton, the acousmatic realm is separated from the physical world by an impassable metaphysical barrier and that the phenomenal space and phenomenal time of music are matched by the phenomenal causality that orders the musical work.
Music is essentially our own experience, thoughts and wisdom. It exhibits certain immediacy, as it touches our soul straight. No preamble and no beating about the bush. It has a direct relevance to us. The ebbs and flows in music is akin to the ups and downs, we have encountered in the bivouac of life!
The beauty about music is its utility value: it lends us as an inexhaustible source of strength, through a continuous assertion as we will discuss in the coming paragraphs.
Music : The ‘Building Blocks’
Focusing our mind on the content of the sound would reveal to us how music is woven around an aesthetically sounding pitch with its dynamic notes that move through an ascending and descending scale, lifting our mind along with wherever it goes, while its rhythms unconsciously make us nod our head and move our body and limbs.
Pitch
Pitch, which refers to the location of a sound in a tonal scale, gets classified into high or low, depending upon the speed of vibrations from the sound source. The present day standard of the ‘concert pitch’ as agreed upon in international conferences held in 1939 and 1960 is that in which the A directly above the middle C has 440 (double) vibrations per second (440 Hz), which makes the middle C 261.6 Hz. While the western system insists on a machine-like accuracy here, the Indian classical system, on the other hand, is more accommodative. Raga, often referred to as the ‘miracle of microtones’ uses quarter tones to bring out the subtle emotional ‘colours’ that make the raga system unique in the world of music.
Note
Note in music refers to a single sound of a given musical pitch and duration. Americans call it ‘tone’. The frequency in a note is the number reflecting the rate of vibrations per second.
Rhythm
Rhythm, often described as the ‘essence of music’, regulates the flow of a melody and is an answer to the seeming demand of the human ears for the perceptible presence of a unit of time (the beat). As it refers to the time aspect of music, it is quite distinct from the aspect of pitch. A rhythm includes the effects of accent, beats, grouping of notes into beats, grouping of measures into phrases etc. All these aspects are judiciously treated in music. Even in the ‘free rhythm’ of the plainsong and alapanas such demands could be felt.
From the very ancient days of Shamans, the therapeutic role of notes and rhythms is well-known to our ancestors. While slow rhythms that repeat again and again as in lullabies are long recognized to render peace and tranquility, faster and variable rhythms are associated with activity.
Neurologists have noticed that musical beats @ 60 bpm (beats per minute) are conducive in maintaining a healthy rhythmic pattern in the body, which includes pulse rate, breathing cycle, baro-receptor feedback loop, blood flow etc. It is interesting to note here that most of the ethnic and traditional songs prevailing all over the world are based on such rhythmic patterns. It is also established now that slow-paced iterative melodies – as we find in the religious music like Gregorian chants, bhajans, kirtans etc. – are conductive to heart and pave way towards rest and relaxation, as against the fast-paced and progressive ones, which activate the listener.
Agogic
A term, derived from the Greek word, agoge, which means melody, ‘agogic’ is an adjective indicating a variety of accentuation demanded by the nature of a particular musical phrase, rather than by the regular metric pulse in music. In a wider sense however, the word ‘agogic’ covers everything connected with ‘expression’ in music (eg., accelerando, accentuation, pause, rallentando, rubato etc.)
Melody and Harmony
A melody is a series of tones, one following the other, sometimes smoothly, sometimes brusquely. It can be compared to a beautiful necklace made of pearls. When this necklace is one-stringed, we call it a ‘monophony’, a common feature in all our ancient musical forms, and ‘polyphony’, when the necklace is multi-stringed or ‘vertical’ – a feature that came to occupy in the Western schools, after the 13th century. The simultaneous sounding (or blend) of notes, giving what is known as ‘vertical’ music, as distinguished from a single, melodic line, is often referred to as ‘harmony’. Here, a pattern of melodies is usually woven around a principle melody. ‘Chords’, a combination of three or more notes has also come to stay, promising a most pleasing musical experience.
In a reaction to harmony, Joanne Crandall, the author of Self-Transformation Through Music, has this to say: “No natural law, based on acoustic or physics or the planet could determine harmony; it’s our minds, conditioned by our cultural and personal preferences, could make that decision.”
Pattern in Music
In the widest sense, a ‘pattern’ may be defined as a structure (for instance, melodic, rhythmic or harmonic), with given properties of prominence in a given set of musical material. For instance, a melodic pattern designates a phrase or fragment which is repeated – with or without variations – throughout a music oeuvre. The traditional recognition of pattern in music has in recent years, given rise to substantial body of research in computational modeling and simulation, revolving around the musical pattern.
While one branch of research concerns computational approach to music analysis, in which the notions of pattern, repetition and similarity are taken into account, yet another concerns the designs of music – generating algorithms and systems, where predefined or learned patterns are used as seed material in the generative process.
Musical Intelligence
Musical intelligence allows a listener or a performer to discern or interpret the nuances of meaning hidden in various musical ingredients viz., pitch, note, loudness (amplitude), texture, timbre (tone colour), rhythm, melodies, metrics, harmony, pattern, agogic etc. and their almost infinite arrangements – inclusion and exclusions, permutations and combinations and their play with pauses or silence. It also allows them to create such metrically arranged pitched sequences as a means of communication with themselves or with others.
Singing notes, adhering to a pitch all demand the activation and involvement of mind and intellect. Music is thus a training ground towards exercising the mind.
The Music – Mind Nexus
Every bit of our musical experience presupposes the mind’s presence or involvement. Mind influences music; in turn, the mind gets influenced by it! As music and mind exhibit identical polarity or pattern, it is considered analogous to the human psyche. It is a deeply felt reflection of one’s inner core of existence, where all of life’s disappointments, regrets and traumas – accumulated over the years are encrusted. While referring to them, music performs magic: the pain becomes pleasurable; agony, ecstatic and melancholy, sweet.
The Impact of Music on Mind
There is a certain fluidity about music, which melts away stubbornness and rigidity underlying not only in the physical moments of the limbs, but also in the mental process of thinking and feeling. It is this inherent fluidity in music that has gone into the making of the Sanskrit term for intonation, nada, which literally means ‘to flow’. This flow of music, opinions Copland, forces us to use our imagination. He is also of the view that this could be the reason for its being in a ‘continual state of becoming’.
The musical process, when synchronized with the mental process, promises an elevated state of consciousness, which the modern day neurologists term as ‘alpha’ and ‘theta’ brain wave patterns. This is a state of harmony, a state of inner silence, of causeless love and limitless joy. It is also referred to as the healing state, started to be the consciousness level, which is stated to be direct communion with the universal consciousness.
A music workshop conducted by this author in march 2001 at India Habitat Centre at New Delhi has demonstrated that the ‘first reaction’ to a musical form – irrespective of its origin or region, viz, Western Classical, Carnatic or Hindustani – is one and the same on a mixed audience belonging to different ethnic and cultural backgrounds. A powerful melody that stirs emotion such as Tchaikovsky’s Slawischer Marsch (Op. 31) has similar impact on listeners, irrespective of their ethnicity or region. The author was inferred that while the initial or the first reaction of the audience to a melody is influenced by his cultural upbringing, his tastes and preferences, his likes and dislikes. Regional bias for a particular ‘rule’ of music (for example, ‘raga purity’ and ‘tala clarity’ as in Indian classical music) comes in the way of appreciating Western Classical music and other regional music by an inveterate Indian Classical upbringing.
Music, Mind and the Meaning
Through the sound per se, does not owe an explanation to anyone. It is the mind that is chronically engaged in the search of its sense or meaning.
A musical composition usually reflects an expression of a theme processed in the composer’s mind. Here the composer communicates his resolutions – and not reasons. His expression may be down-to-earth (eg., folk music) or sophisticated (eg., classical music) but it does motivate the listener to listen.
Western symphonies have revolutionized our sound perception by bringing numerous instruments of varying timber and texture and making them play almost simultaneously and blending the sound – almost like blending their wines! Their distinct styles of communication is the greatest contribution to the world of music. Marches, war-torn landscapes, day-breaks, tender, romantic feelings – all find their niche in the chef – d’oeuvres of great masters like Bach, Beethoven, Bizet, Brahms, Chopin, Debussy, De Falla, Greig, Handel, Liadov, Mendelssohn, Mozart, Saint-Saens, Strauss, Tchaikovsky, Vivaldi, Wagner and a host of others. How can we forget the magic of Beethoven’s Fifth Symphony in C minor, exposing us to our own internal conflicts, while helping to resolve them with his progression? And Tchaikovsky’s scene from the Swan Lake that makes up jump out of our bed and move towards the music? And Vivaldi’s depiction of summer in the Four Seasons that trigger the fireballs from the violas and violins? And Strauss’ Blue Danube that flows with a majesty unsurpassed? And Greig’s Peer Gynt Suite that ushers in the glory of yet another morning before us?
Music that Triggers the Psychic Process
Lehtonen (1986) had referred to musical experience as one of the best ways of activating the psychic processes.
The ancient systems such as shamanism, religious chants, African drumming rhythms, the Nada Yoga practices involving concentration on sound vibration etc, have in fact, for long, employed profitably for altering the levels of consciousness, towards what is called a ‘healing state’ which promotes relaxation and rest.
The tone, full of harmonics and semitones, emanating from the Himalayan singing bowl promise a rich aural experience, capable of altering one’s consciousness level, when concentrated upon. Unfolding harmonics emanating from the bowl can be visualized as the opening of a lotus in the hope of witnessing yet another glorious day on this planet!
The frequencies of notes are also found to contribute towards such a healing state of consciousness. The music relationship called the major sixth in which the frequencies of the notes are in the ratio of 8.5, is widely considered to have a powerful healing trait. The visual equivalent of this, according to Olivea Dewhurst-Maddock, is called the golden mean or divine proportion, often represented by a rectangle, whose width compared to length is in the same proportion as the length to the sum total of the width and length expressed algebraically as a:b:b:c, which means in effect; ‘the smaller is to the larger, as the larger is to the whole.’
The major sixth ratio also reflects a fascinating range of numbers (Fibonacci sequence) wherein each number in the sequence is the sum total of two preceding numbers as in: 1, 1, 2, 3, 5, 8, 13, 21, and so on. This sequence is found to be of great significance in nature – apparently in unrelated spheres from geometry and genetics – as revealed in the natural growth pattern in plants, snails shells besides the patterns we find in all forms of art and architecture.
Soothing versus Rousing Music
The wavelengths of sounds, perceptible to human vocal range determine the nature and quality of the sound. For example, sounds in the lower octaves bring in peace, whereas the ones at higher octaves, usher in chaos or tension. As far as the beats and rhythms are concerned, normal beats (60 to 80 beats per minute) are found to be soothing. It is noteworthy that this pace is like that of a normal human heart beat. While rhythms and beats slower than that of an average human heart beat (72 beats per minutes) is reported to build up a sense of suspense, faster rhythms can raise the heart rate and excite the whole body.
Pulse rate and respiration are influenced by harmonious (consonant) and discordant (dissonant) notes and different intervals between such notes. The increase in intensity and pitch of musical notes can increase muscular energy.
Lullaby again is very much akin to meditative music. It is soft, smooth and slow paced. And repetitive too. There is no drama or suspense in its structure that we come across, particularly in the baroque music.
Music, as the Mood-Enhancer
Music affects our mood in various ways. It draws our attention, and affects our temperaments. It may agitate or relax us. When one feels down and out, it is the music that injects hope and sunshine in our lives. This perhaps, must have made Friedrich Nietzche to pass that glorious remark: “Without music, life would be a mistake!”
Music, as a Series of Tension and its Resolution
Music infuses freshness and flexibility to the rigidity in thinking and behavior. The same way the muscles get stressed and made flexible and functional with the help of physiotherapy, music acts on the mind, making it agile and adaptable. Muscles and mind – both respond positively to a pretty long series of tension and relaxation, that exercises them, tones them up and makes them agile and adaptable.
In the words of Igor Stravinsky (1973), music is a series of tensions which try to find relaxation.
For instance, for a keen observer, any music would indicate a constant pattern of tension and resolution, which is in-built in all musical works, be it a bhajan or baroque. As an illustration let’s take the first line in the famous bhajan popularized by Mahatma Gandhi, Hare Rama Hare Rama which can be perceived by causing tension. Now the following second line resolves the tension so created by the first line. Rama Rama Hare Hare…. which is like an answer to the question posed in the first line.
All forms of music – be it folk or classical, ethnic or sophisticated – reveal such characteristics, which can be experienced by us in various ways: as assertion and its accommodation, question and its answer, dispute and its settlement and so on and so forth.
This question-answer pattern or the tension-resolution pattern is universal to all musical forms around the globe. Even the breathing routine we undergo involves this tension-resolution pattern. As we breathe in, we draw oxygen, which causes tension within us, as we breathe out we are relieved of it as the air is emptied from the system. Scientists believe that the tension built and the resultant resolution that follows in a music gets translated into an electrical code of pulse in the brain.
Conversely, nature’s rhythm has been found to be akin to those found in music. Particularly, in terms of timing (tala), intensify (or amplitude), synchronicity, contrast in frequency (eg., vadi, anuvadi and samvadi types of swaras), patterning etc, there is a remarkable similarity between the two types of rhythms.
Dr. Gordon Shaw, a neurologist and his associates have discovered that specific firing patterns in brain cells resemble the musical work of baroque, New Age and Eastern Music.
How do such contrasts get built into melodies? It is the simple manipulation in tonal frequencies like for example, the usage of the expression ‘eh?’ in the spoken language – that creates an effect of tension or question. A guitarist or a sitarist can simply stress a string in the fret to produce such an effect , while adhering to the same tone or else he has various other options, which are plenty, in the form of the presence of other notes or swaras to meddle with!
It is interesting to note here that, very much like our muscles, which respond to repetition of constant tension and relaxation in workouts, the mind also responds to music, which through its mechanism of tension and resolution is capable of moulding it to become toned – up and flexible to adequately withstand the pressures from around.
Music in the Human Body
Though nature has thrown open a treasure house of rhythms and melodies in and around us, we seem to be mostly unaware of them due to our pre–occupation as the modern–day hunter–gatherer!
Our body and mind are blessed with healthy resonance and rhythms, without which we would have been dead and gone. It is the disharmony in them which is the major cause for all our ailments – both physiological and psychological. Being consciously aware of this harmony should go a long way in enjoying good health. Musicians are aware – through unconsciously – of the body rhythms when they sing or when they evolve a beat pattern. Music thus connects us to our rhythms and also with the world around, which follow the same pattern. The body recognizes and responds to the pulse of the music in no time.
While the enjoyment of the Present could get affected by both the overshadowing Past and the uncertainties of the unattained Future, it is those hidden or unexpected moments that could reveal the Truth.
Music: Some Therapeutic Applications
The Physical Impact of Sounds
The influence of sounds in making patterns – intricate geometric figures and shapes was the subject of study, ‘cymatics’, by Hans Jenny, a Swiss engineer. It was observed by him that by changing pitch, the harmonics of the tone and the material that is vibrating, infinite forms and shapes could be derived, which confirms the role of sound waves on cells, tissues and organs as well.
Based on such findings, a therapy system has been developed in recent years to medically address certain conditions such as arthritis, rheumatism, back pain, post–operative healing, sport injuries, bone fracture and muscular injuries. Besides pain reduction, these attempts are reported to help in improving one’s mobility.
Music for the Emotional Well–Being
Communication of feeling through musical expression is a technique which dates back to the days of appearance of man on the planet. Lullaby sung by the mother, drums used by the tribesmen, songs sung by the boatman or the labourers, flute of a lover – are all laced with various nuances of feelings: despair, ecstasy, love, pain, passion, romance, wonder and what not. Music assumes its significance, especially where the verbal expression is inadequate to convey.
Music has tremendous potential as a powerful tool to open up new possibilities for those who have suppressed emotions that cause great harm to the human personality leading to severe behavioral problems. As emotions represent the ‘outgoing’ feelings, when music is combined, there is every chance of its outward movement, thus clearing the congestion and inhibition that block one’s emotional well–being. Music ranges from the subtle varieties to violent ones. It is curious to observe how we ourselves respond when a gentle Mozart sonata is played as compared to that of a violent violin of Vivaldi (Four Seasons).
Music and the Human Behavior
It is not unknown to science that music is capable of affecting one’s behavior. It is the predictability of such an impact, which had provided a ground for its therapeutic application as we saw in infants. Neurologists have now experimentally confirmed that certain brain cells in the right hemisphere of the brain readily respond to melodies rather than to language.
Are sound patterns recognized innately, or are they learned? There are scientific reports, which are path breaking. In one of the recent articles in Psychology Today (Oct 2000, pg. 28), it is reported that while music’s complex representation in the brain makes it difficult to study, a fundamental aspect of music perception is recognition of a melody in different keys; each note’s meaning depends heavily on its context. In one study, animals were exposed to three simple melodies with the same middle tone. Almost every neuron responded differently to that middle tone in the different contexts. Neurons learn to prioritize some sounds. When a tone becomes important, because it signals food for instance, the cell’s response to that tone increases. This finding has revolutionized our understanding about the brain organization. Learning is not a ‘higher’ brain function but one that occurs in the sensory system themselves. Thus it can be safely concluded that our musical experience is capable of shaping our brain and behavior patterns and thereby , our very future here or elsewhere.
Time, Space and Music
According to Kant, Time and Space are not concepts, as they do not have a plurality of instances. They are considered as ‘forms of intuition’, imposing a pre-conceptual order on our experience. In other words, every object of experience is placed in Time. One can never think of experiencing a sensation or perceiving an object without experiencing those things, as belonging to a chronological order of before and after. To experience something as objective, one must place himself in a space, as spatial relation counts. It is interesting to note that music presents us with nature, not of Space but of Time.
Timing between tones and timing due to tonal variations i.e., change in frequencies as in gamaka or graces, or in texture (‘micro-intervals’) and tension in timing and its resolution enable the living in, now experience in music, which in turn, marginalizes the mind thereby relieving stress or painful feelings.
Timing in music is found to affect the levels of brain wave patterns. Depending on the frequency of beats, one could achieve alpha or beta levels or brain wave activities.
Low-pitched, slow-paced musical pieces are found to be conducive in the formation of alpha-level brain wave patterns leading to relaxation, whereas the high-pitched, fast paced musical pieces increase alertness of mind by inducing beta level brain wave patterns.
Nature’s rhythms echo musical rhythms in terms of timing, intensity, synchronicity, frequency contrast, patterning etc.
Results of modern chronobiology and chronomedicine lead us to believe that the human organism doesn’t only have a space structure but also has a highly sophisticated time design which is built up from numerous rhythmical time structures.
Music and its Humanizing Role
It is established beyond doubt that music imparts certain healthy mental and emotional patterns to its listeners, which stems from its own organization and pattern. Such a pattern is akin to what we find in Nature. Through entrainment of synchronization, music could lend a smooth, yet powerful vent for expression to the inexpressible, thereby relieving the individual from the harsh realities and dilemmas that he encounters in his life. People who are marginalized and live in sub–human conditions may find themselves assertive and self–confident, thanks to music.
For the aged and the infirm, for the infants and the disabled, there cannot be a better supportive, not only to the human foetus but also to the premature infants for healthy development.
The ancient system of Raga Chikitsa refers to the application of raga to fight diseases of the body, mind and spirit. Innumerable scientific publications, in recent years, especially from a multi– disciplinary body of musicologists and psychologists have established beyond an iota of doubt the need for including the musical diet in our everyday living.
Terry Woodford, a producer of ‘baby-go-to-sleep’ tapes claims that a randomized, researcher-blind, placebo pilot study, conducted in the Indiana University School of Nursing has scientifically evaluated that in the newborn nursery test, 94% of infants have been successfully put to sleep with neither a bottle or pacifier. Explanation given by Woodford is that it is the basic principle involved in relaxation, which has a tendency to put the listener to sleep. In this experiment, instead of drums, Woodford had employed the sound of a real human heart beat to produce the basic rhythm.
Neuromusicology
The therapeutic mechanism of music, although recognized for long, was not understood in science till recently. Though lauded in our legends and myths, we seemed to be still loitering in the early and controversial stage of this quest. It is now, hearting to note that the recent decades have witnessed an explosion of scientific information on musical impact on mind and body, thanks to the giant strides made in neuroimaging techniques, creating thus a new branch of science coming to be referred to as ‘neuromusicology’. Though we are still at the very beginning of this quest and much additional research remains to be carried out to understand the prophylactic and therapeutic mechanism hidden in music, our direction is now clear. In the morning years, one could hope that the music can shed its image as a ‘quack’ medicine, and occupy the pride of place as a contemporary medicine that goes hand in hand with other medical branches such as anesthesia, geriatrics, physiotherapy, psychotherapy, rehabilitation, surgery, etc.
Though music makes no promise, its importance as a companion for the sick, lonely and marginalized is well recognized. It facilitates a healthy and fruitful dialogue, especially when you have no one to care for you or even to talk to you! A healthy and positive attitude towards existence and life is guaranteed to anyone who cares to listen to it. It becomes a dependable strength behind you, when you feel helpless, depressed and dejected. It is the moral booster as it rejuvenates the mind, brings in sunshine and brilliance. Aaron Copland’s words, in this regard, should be written on gold: “The greatest moments of human spirit may be deduced from the greatest moments in music!”
References :
Crandall, J. 2001 – Self-Transformation through Music, New Delhi, New Age Books.
Goynor, M.L. 2002 – The Healing Power of Sound, Boston: Shambala.
Gregory, Richard L. (ed.) 1998: The Oxford Companion to the Mind, Oxford University Press, 303-308, 499-505.
Kennedy, M. 1996 – Concise Dictionary of Music, New York, Oxford.
Mendis, I. D. 2002 – ‘If Music Heals, then Play On’ (An interview T.V. Sairam) ‘News Time’ Hyderabad, Aug. 4.
Ruparel, H. 2002 – ‘Music Heals, Play On’ (In conversation with T.V. Sairam) ‘Heritage Healing’ Sept. Issue, Page 32-33.
Sairam, T.V 2002 – ‘Therapeutic Music’ Indian Customs and Excise 2nd Bumper Issue, New Delhi, Pg 5-8.
Siaram, T.V. 2002 – “Power of Music’ U Magazine, New Delhi, November Pg. 5965.
Sairam T.V. 2002 – ‘Music : Celestial Notes, Healing Rhythms’ “Heritage Healing” Chennai, Sept. Issue Pg. 13-20.
Sairam T.V. 2002 – ‘Healing Ragas: 4th Workshop in the series of ‘The Yoga and Music’ ‘Heritage Healing’, Chennai, Aug. Issue, Pg. 9-10.
Sairam T.V. 2002 – ‘Music – The Best Music’ ‘Dignity Dialogue’ Mumbai Sept. Issue – Pg.31- 33.
Sairam T.V 2002 – ‘Therapeutic Music’. In Music Symposium 2002 – Music Therapy, Mumbai, Sri Shanmukhananda Fine Arts & Sangeetha Sabha, Pg 38.
Scruton, Roger 1997 – The Aesthetics of Music, Oxford.
This article was published in Shanmukha, April 2003 – Pages 5- 17
Edited by Geeta Shreedar, Feb 24, 2021