I am reading a book. A book about music and the brain. And psychology and neuro-science stuff. It's called "This is Your Brain on Music".
So far I have read the introduction and I like these two bits:
"Whenever humans come together for any reason,
music is there: weddings, funerals, graduation from college, men marching off to war, stadium sporting events, a night on the town, prayers, a romantic dinner, mothers rocking infants to sleep, and college students studying with music as a background. Even more so in
nonindustrialised cultures than in modern Western societies, music is and was part of
the fabric of everyday life. Only relatively recently in our own culture, five hundred years or so ago, did a
distinction arise that cut society in two, forming separate classes of music performers and music listeners. Throughout most of the world and for most of human history, music making was as natural an activity as breathing and walking, and
everyone participated. Concert halls, dedicated to the performance of music, arose only in the last several centuries."
"Why do people seem to get stuck in their musical tastes as they grow older and
cease experimenting with new music?"
* * *
Lots of things the author is bringing up are things I've had moments of wondering about.
Just last night I was talking to Billy, and he was describing how sometimes at the Welsh Dragon bar (which has a lot of Brits and travellers) lots of people turn up and sing songs together. Songs that he has never heard before, but which most people at the bar seem to join in for, a
Capella. It's something that's missing in modern kiwi culture.
And I've been noticing for years that I hardly ever 'discover' new bands that I like. I've forgotten how to do it.... or I just don't like anything new.... or my brain is full up with things I already like. Not sure.
For many a year, up until I was at university, my dad was pretty 'hip' with the music and liked new artists that were coming out, like Ben Harper and
Bjork. But now he's quite content with his old stuff and makes funny faces if I play him something new. Ever since he evolved to liking jazz.
I hope somewhere in the book I can find a justification for my
SingStar obsession that makes it sound cultured and evolutionarily advanced.
The examples the author uses to explain timbre or rhythm or pitch are from music that I know, like Buddy Holly and the Beatles and Paula Abdul (he raves about the musical complexity of 'Straight Up'). And I never realised that the 'ABC Song' had the same melody as 'Twinkle Twinkle Little Star'. Not consciously, anyhow.
I look forward to reading more!