Music and the Mind. Anthony Storr

context of contemporary Western culture, this is puzzling. Many people assume that the arts are luxuries rather than necessities, and that words or pictures are the only means by which influence can be exerted on the human mind. Those who do not appreciate music think that it has no significance other than providing ephemeral pleasure. They consider it a gloss upon the surface of life; a harmless indulgence rather than a necessity. This, no doubt, is why our present politicians seldom accord music a prominent place in their plans for education. Today, when education is becoming increasingly utilitarian, directed toward obtaining gainful employment rather than toward enriching personal experience, music is likely to be treated as an ‘extra’ in the school curriculum which only affluent parents can afford, and which need not be provided for pupils who are not obviously ‘musical’ by nature. The idea that music is so powerful that it can actually affect both individuals and the state for good or ill has disappeared. In a culture dominated by the visual and the verbal, the significance of music is perplexing, and is therefore underestimated. Both musicians and lovers of music who are not professionally trained know that great music brings us more than sensuous pleasure, although sensuous pleasure is certainly part of musical experience. Yet what it brings is hard to define. This book is an exploratory search; an attempt to discover what it is about music that so profoundly affects us, and why it is such an important part of our culture.

CHAPTER I ORIGINS AND COLLECTIVE FUNCTIONS

      Music is so naturally united with us that we cannot be free from it even if we so desired.

      BOETHIUS¹

      No culture so far discovered lacks music. Making music appears to be one of the fundamental activities of mankind; as characteristically human as drawing and painting. The survival of Palaeolithic cave-paintings bears witness to the antiquity of this form of art; and some of these paintings depict people dancing. Flutes made of bone found in these caves suggest that they danced to some form of music. But, because music itself only survives when the invention of a system of notation has made a written record possible, or else when a living member of a culture recreates the sounds and rhythms which have been handed down to him by his forebears, we have no information about prehistoric music. We are therefore accustomed to regarding drawing and painting as integral parts of the life of early man, but less inclined to think of music in the same way. However, music, or musical sounds of some variety, are so interwoven with human life that they probably played a greater part in prehistory than can ever be determined.

      When biologists consider complex human activities such as the arts, they tend to assume that their compelling qualities are derivations of basic drives. If any given activity can be seen to aid survival or facilitate adaptation to the environment, or to be derived from behaviour which does so, it ‘makes sense’ in biological terms. For example, the art of painting may originate from the human need to comprehend the external world through vision; an achievement which makes it possible to act upon the environment or influence it in ways which promote survival. The Palaeolithic artists who drew and painted animals on the walls of their caves were using their artistic skills for practical reasons. Drawing is a form of abstraction which may be compared with the formation of verbal concepts. It enables the draughtsman to study an object in its absence; to experiment with various images of it, and thus, at least in phantasy, to exert power over it. These artists were magicians, who painted and drew animals in order to exercise magical charms upon them. By capturing the image of the animal, early humans probably felt that they could partially control it. Since the act of drawing sharpens the perceptions of the artist by making him pay detailed attention to the forms he is trying to depict, the Palaeolithic painter did in reality learn to know his prey more accurately, and therefore increased his chances of being successful in the hunt. The art historian Herbert Read wrote:

      Far from being an expenditure of surplus energy, as earlier theories have supposed, art, at the dawn of human culture, was a key to survival, a sharpening of the faculties essential to the struggle for existence. Art, in my opinion, has remained a key to survival.²

      The art of literature probably derived from that of the primitive story-teller. He was not merely providing entertainment, but passing down to his listeners a tradition of who they were, where they had come from, and what their lives signified. By making sense and order out of his listeners’ existence, he was enhancing their feeling of personal worth in the scheme of things and therefore increasing their capacity to deal effectively with the social tasks and relationships which made up their lives. The myths of a society usually embody its traditional values and moral norms. Repetition of these myths therefore reinforces the coherence and unity of the society, as well as giving each individual a sense of meaning and purpose. Both painting and literature can be understood as having developed from activities which, originally, were adaptively useful.

      But what use is music? Music can certainly be regarded as a form of communication between people; but what it communicates is not obvious. Music is not usually representational: it does not sharpen our perception of the external world, nor, allowing for some notable exceptions,^*does it generally imitate it. Nor is music propositional: it does not put forward theories about the world or convey information in the same way as does language.

      There are two conventional ways in which one can approach the problem of the significance of music in human life. One is to examine its origins. Music today is highly developed, complex, various and sophisticated. If we could understand how it began, perhaps we could better understand its fundamental meaning. The second way is to examine how music has actually been used. What functions has music served in different societies throughout history?

      There is no general agreement about the origins of music. Music has only tenuous links with the world of nature. Nature is full of sound, and some of nature’s sounds, such as running water, may give us considerable pleasure. A survey of sound preferences amongst people in New Zealand, Canada, Jamaica and Switzerland revealed that none disliked the sounds of brooks, rivers and waterfalls, and that a high proportion enjoyed them.³ But nature’s sounds, with the exception of bird-song and some other calls between animals, are irregular noises rather than the sustained notes of definable pitch which go to form music. This is why the sounds of which Western music is composed are referred to as ‘tones’: they are separable units with constant auditory waveforms which can be repeated and reproduced.

      Although science can define the differences between tones in terms of pitch, loudness, timbre, and waveform, it cannot portray the relation between tones which constitutes music. Whilst there is still considerable dispute concerning the origins, purpose, and significance of music, there is general agreement that it is only remotely related to the sounds and rhythms of the natural world. Absence of external association makes music unique amongst the arts; but since music is closely linked with human emotions, it cannot be regarded as no more than a disembodied system of relationships between sounds. Music has often been compared with mathematics; but, as G. H. Hardy pointed out, ‘Music can be used to stimulate mass emotion, while mathematics cannot.’⁴

      If music were merely a series of artificial constructs comparable with decorative visual patterns, it would induce a mild aesthetic pleasure, but nothing more. Yet music can penetrate the core of our physical being. It can make us weep, or give us intense pleasure. Music, like being in love, can temporarily transform our whole existence. But the links between the art of music and the reality of human emotions are difficult to define; so difficult that, as we shall see, many distinguished musicians have abandoned any attempt to do so, and have tried to persuade us that musical works consist of disembodied patterns of sound which have no connection with other forms of human experience.

      Can music be related to the sounds made by other species? The most obviously ‘musical’ of such sounds are those found in bird-song. Birds employ both noises and tones in their singing; but the proportion of definable tones is often high enough for some people to rate some bird-songs as ‘music’. Bird-song has a number of different functions. By locating the singer, it both advertises a territory as desirable, and also acts as a warning to rivals. Birds in search of a mate sing more vigorously than those who are already mated, thus supporting Darwin’s notion that song was originally a sexual invitation.