“There’s More to the Song Than Meets the Ear” by Jay Babcock (Arthur, 2007)

There’s More To The Song Than Meets The Ear

by Jay Babcock

Posted Thu Nov 1, 2007 in Arthur’s blog on Yahoo

“You proved to the world what can happen with a little bit of love and understanding and SOUNDS.” – Jimi Hendrix at Woodstock at the peaceful three-day festival’s close

Following up the earlier post on the subject, a few more reflections on Radiohead’s In Rainbows end run around the existing music industry…

There’s a good case to be made that music is humanity’s oldest form of communication, its earliest artform. For the tens of thousands of years that homo sap has wandered the planet, always in groups, sitting round campfires every night, music has been present only when three things were present: performer, listener and peace. Outside of the solitary performer-listener—call him the Lone Whistler—music was necessarily a social, peaceful activity—an occasional but integral part of the sound of being alive in the world. It was something that even seemed trans-human, in that animals made sounds that sounded like music to us (birdsongs, doghowl choirs, etc). The songs could be old, or new, or both, but they only existed in one moment: the here-and-now. They grounded us with each other.

If this sounds too abstract, try this thought experiment. Imagine if machinery suddenly stopped working—the grid goes down, batteries don’t work, oil’s stopped up. We’re back in the Paleolithic. Where and when would you hear music? You’d only hear it in-person. That is the way we humans have successfully lived for 99% of our history on this planet. It turns out you really did have to be there. You wouldn’t encounter music otherwise.

Furthermore, in this scenario, which likely obtained across the 100,000 years of human history, and which is still present in some surviving first people cultures on Earth, music accompanied times of peace. Yes, there is music that accompanies combat or suffering—warsongs, field labor songs—but Music seems to be a quality of human culture that flows most and fullest and most pleasantly in peacefulness—in that existential moment of fundamental non-aggression between performer and listener. We break bread together, we smoke together, we reason together, we goof together, and we make music together.

For all of this time, then, there was more to music than meets the ear. But the communication technology manufacturing revolution of the last 150 years has changed everything. The transmission of sound across time (through recording playback machines) and space (through electric communication—telephone, radio, internet, etc.) is the new norm. It is the way music is experienced by most humans, most of the time. And with it comes a detachment from the here-and-now, a detachment from the act of music’s production itself, and of course some kind of detachment from other humans altogether. Music used to shorten the space between us. Today, most of the time, for most of us, music actually widens the gap.

Music is no longer an emblem of peace, something we pretty much only encounter when in peace with others. We now encounter it everywhere, all the time, as a disembodied fact. This lessens our incentive to be in peace with each other, and in peace with our environment—music is no longer one of the sweet rewards for having found a way to get along with each other. In food terms, we’ve traded organic sweets for industrial sugar. The result is the same: cavities. Society rots as we enjoy a second-hand lifestyle of cheap highs.

The coming end of the global music industry’s physical infrastructure, hastened by Radiohead’s recent selfish action, which will only make it even harder for our best musicians to do their work, needs to be seen in this moral, or at least historical, context. Does music as free, disembodied computer file close the gap between humans—and between humans and their environment—or does it further widen it? Does it bring Music any closer to the temple of peace? Doubtful. The so-called digital revolution is not just killing the music industry—it’s killing Music herself, by reducing and degrading our experiences with her, by removing almost all of the social, physical and analog aspects of music that have been so historically beneficial to human well-being. Her grace lost, her gifts abused and cheapened, Music does survive, here and there. But you’re less likely than ever to encounter her essence. What have we lost? Well, you’ll know when you feel it—and I bet you won’t be alone with your iPod when it happens.

Jay Babcock is editor/owner of Arthur Magazine.

Categories: Jay Babcock, Yahoo blog | Tags: , , | Leave a comment

About Jay Babcock

I am an independent writer and editor based in Tucson, Arizona. In 2023: I publish an email newsletter called LANDLINE = https://jaybabcock.substack.com Previously: I co-founded and edited Arthur Magazine (2002-2008, 2012-13) and curated the three Arthur music festival events (Arthurfest, ArthurBall, and Arthur Nights) (2005-6). Prior to that I was a district office staffer for Congressman Henry A. Waxman, a DJ at Silver Lake pirate radio station KBLT, a copy editor at Larry Flynt Publications, an editor at Mean magazine, and a freelance journalist contributing work to LAWeekly, Mojo, Los Angeles Times, Washington Post, Vibe, Rap Pages, Grand Royal and many other print and online outlets. An extended piece I wrote on Fela Kuti was selected for the Da Capo Best Music Writing 2000 anthology. In 2006, I was somehow listed in the Music section of Los Angeles Magazine's annual "Power" issue. In 2007-8, I produced a blog called "Nature Trumps," about the L.A. River. From 2010 to 2021, I lived in rural wilderness in Joshua Tree, Ca.

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