(Followup blog on this topic)
Photo by Jacob W. Frank, from the National Park Service website of the recent
hydrothermal explosion in Yellowstone Park.
Absolutely nothing!*
Motown singer Edwin Starr and composer Norman Whitlock had it right!
But - did we listen?
***
A spoonful of sugar can help one's opinion or daunting facts that one must deliver to another person, go down more easily.
The sugar lyrics sung by Julie Andrews in "Mary Poppins" well illustrate the principle elucidated by renown former UC Berkeley linguist George Lakoff in his1980 book with co-author Mark Johnson, "Metaphors We Live By." He followed in 1991 with "Metaphor and War: The Metaphor System Used to Justify War in the Persian Gulf ." Both are about the critical nature of what words we choose to "frame" our message and thus influence our own and others' behaviors.
Eighteen years after Lakoff's first book, Deborah Tannen, another respected academic linguist, confirms the same principle in her amazingly perspicacious and predictive 1998 book "The Argument Culture." She focuses her attention on words of war.
This book is a "must read" for any one puzzling over how in 2024, 26 years after Tannen's book, we got to a seemingly intractable, excessively angry, vengeful society in this country and in others. I've long puzzled over that question.
Why didn't we listen to and learn from Starr, Lakoff, and Tannen?
War metaphors have become pervasive and ubiquitous in our present language. Then war creeps into the way we think about anything personal or political, and then into how we behave - unless we are vigilant and choose otherwise.
War metaphors feed into black and white thinking about "winning" and "losing." We become habituated to it and definitions of "decency" change. We see human relations as hierarchical, not to mention eternally competitive - and perversely exciting. We tend to divide and then label people and policies into immutable categories. That happens even when most things in life are complex and determined by a number of factors including sometimes things we can never see or know. As Paul M. Renfro, a Times online writer said in 2020, simplicity is "a poor framework through which to understand complex social problems such as poverty and public-health emergencies like the novel coronavirus or drug addiction."
Fight, flight, freeze, or fawn are not the only responses to conflict or stress. A research study I've read (I believe by Dr. Carol Gilligan in her book, "A Different Voice") showed that in stressful or dangerous situations, women but not men, often choose a fifth option when their sympathetic nervous system kicks in: that of cooperation and negotiation. Women try to deescalate and keep the peace while they search for a way to find a "win-win" solution." (Think about the benefits of making our militarized police force 50% women. I've promoted that in letters to our Police Commission and Police Chief a number of times and hope you will do the same, too. Speaking of... how about electing our first ever female President?**)
War language is certainly not all about one political party or the other; witness President Biden's "bullseye" language and now Presidential candidate Harris' "fight" language (of course she was a prosecutor!). We don't need to repeat Trump's never-ending war language of "I'm the only one who will fight and win for you," followed by words urging destruction and vengeance, evidenced by his astounding statement in 2016 that he could "...stand in the middle of Fifth Avenue and shoot somebody, and I wouldn't lose any voters, OK?" nor his words issued shortly after Covid broke out when he declared himself a "wartime President."
"Real war" (as the Time's writer declares in 2020) no longer "remains distant and abstract for the overwhelming majority of Americans" (witness the events of and language used during January 6).
But to my point: do "framing" problems exist in the music world, and why is that important?
The first answer deals with character and likely behavior that words reveal, the second with what we as a society lose, and the third with what we perpetuate by our unthinking choices of war words.
THE NATURE OF INDIVIDUAL CHARACTER AND WHAT ONE WILL LIKELY DO
Framing matters because words reveal the nature of our character, what we value, and thus, what we are likely to say and then do - and how we will treat others.
When we have that information, we can predict behavior and then ultimately determine whether or not to work for that business or person, or partner with or choose and stay with this or that lover or friend (see my former blog about a San Diego orchestra leader in 2014 who intentionally or unconsciously promoted a punitive approach regarding musicians in need of help with anxiety. Would anxious musicians doing their best want to work with such a person?).
As I was reading Tannen's book, serendipitously Bruce, a composer-pianist friend, referred me to David Lang's exploration of "tiny and evaporative sounds" in his "The Whisper Opera." It's instructive to listen carefully to Lang's explanatory words and not just to his music. It clearly reveals what he values and how he perceives of and feels about music, and then the kind of music he composes.
Bruce called my attention to Lang so that I would have more of an informed decision about what is considered "modern" in music. It's a topic he knows I like to lightly stay in touch with, even though I lean heavily toward Romantic Era music and often find "modern" compositions boring or distressingly a-melodious and jangling. Politics brings me enough of that kind of feeling today, and I certainly don't need more!
Still and all, I adore creativity and adventuring, so I nearly always check out a number of musical pieces that are totally new to me.
What struck me most was the militarist language that in 2013 Lang used to promote and explain his new work. He values small performance venues because "you can see the people struggle, you can see music that's too hard to be played." He says that in live performances you "actually see the people fight. In a lot of my music I've tried to make pieces that make people fight, that struggle so that you see that human element of someone trying to overcome something."
I value small performance venues because I see people exult.
I remember one distinct pleasure that gobsmacked me at a recent Groupmuse ensemble Schubert concert held in a small San Francisco cafe. I was within 7 to 10 feet of the musicians when I clearly noticed the violinist's lyrical and balletic body movements reflecting the tempo. (When in a massive symphony hall have I seen that?) Then I thrilled to watch her break into a beatific smile when she reached a particular part that she obviously relished. I smiled with her and felt wonder in sharing the beauty of that gorgeous passage! This experience personalized and enhanced the music for me. What could be better in music? Watching someone frown and fall down? I don't think so!
About Lang's discussion of his new opera, Bruce noted that:
"I was also struck by his almost sadistic use of the word “fight” to describe a foremost aspect of his composition: the spectators watching the musicians “fight” or “struggle” to perform the work. There are, believe it or not, composers who relish the idea that what they have composed is so difficult that the performer will really struggle to perform it. I remember an anecdote about a composer at UCB that a friend recounted: the composer was working on a composition. My friend heard him exclaim with giddy joy “Let’s see if they can play THAT!” He was so pleased that he had composed something that presented a real technical challenge." (I felt compelled to reply: "Who appointed him Challenger-in-Chief?"***)
Discussions about music are known to be conducted in words of war. Albeit from around 1998, it's yet noteworthy that Tannen cites the New York Times article commenting on a musical "debate" (why not "discussion" or "presentation"?). The writer titled their article as a "Showdown at Lincoln Center." They went on to cite jazz's "ideological war of the last several years leading to a "pitched battle" between John Lincoln Collier, the writer, and Wynton Marsalis, the trumpeter. He continued that Mr. Marsalis "demolished" Mr. Collier...but what made the debate unpleasant was the crowd's blood lust; humiliation, not elucidation, (as) the desired end."
Blood lust? Really? Crowds can no longer behave politely while musicians no longer calmly present diverse views on music?
From the speakers framing the issue in words of war, the crowd's reactions were inevitable - or the reverse? Sadly that night, it was again made evident that even in the music world we live with a lot of adult-adolescents who only value fight and destruction.
Not that war language in music started in 2013. Consider the band Wilco which lamented this “war” fetish in their 2001 song “War on War,” in which frontman Jeff Tweedy sings that, in such a conflict, “You’re gonna lose.” Check out the lyrics and I dare you not to quake in your boots.
WHAT SOCIETY LOSES BY WORDS OF WAR IN MUSIC
Tannen says there are destructive effects of war words on creativity: "Talent and effort are wasted refuting outlandish claims" and "creative people are discouraged from their pursuits by unfair criticism. "The culture of critique works stealthily, chipping away at the human spirit" says Tannen. Many of those who are unusually creative are also unusually sensitive; their sensitivity often drives their creativity." Consequently "the entire society loses their creative efforts." (Perhaps after all it is not A.I. that will ultimately kill all creativity, but war?)
I'm left to wonder why I frame a physical challenge regarding a piano piece I want to learn to play as a "struggle"? Why do I call my metronome "The General?" Why do I think of our new candidate for President, as a "Warrior Woman" as I recently called her? Could she possibly be framed as "Healer in Chief" or simply the "Vice President" or the "Candidate Elect"?
Why do I thus constrain my imagination and diminish hope when these days I need both in spades!
WHAT WE PERPETUATE BY ALL WORDS OF WAR
Animosity. More words of war. Repetition. More war. Ugly politics. Unfair criticism. Disrupted personal relations typified by shouting, anger, and failed communication. Gun violence. More gun violence. Depression. Suicide. War. More war.
Tannen says that military imagery "contributes to an atmosphere of animosity that spreads like a fever" and can lead sooner or later to death and true tragedy.
WHAT'S BEST?
I believe that music and musical performances are at their best when they uplift us. That is their highest purpose, even when music Illuminates the inevitable pathos and grief in life, because then music touches us most deeply, makes us know that we are human, and can provide solace.
I believe conductors, composers, music teachers, and musicians should inspire other musicians as well as we students to want to perform with all the excellence that we can muster, rather than call attention to those times when we fall on our faces, grimacing.
I'm left with my stronger-than-ever personal conviction that I should try my best to choose my words carefully. I believe that enjoying a bit of drama and excitement in life does not have to result in lusting after and supporting art, engagements, or friendships that trash others or seek blood battles to be "right." Drama can reside in seeking transfiguration, positive change, and learning in life and in music, as Tannen says.
Now I understand why I love so much Schoenberg's early romantic piece, "Transfigured Night." I hope you take 30 minutes in some quiet time to listen to it and read the composer's emotional story line which was inspired by a poem. It is beyond me in this short blog to do it full justice, but you will understand if you read and listen.
Because I am deeply in my bones a feminist-humanist first in this lifetime (who knows about the version of my energy or form in the next lifetime?), Schoenberg's composition above all others, reflects my soul, who I am, and what I stand for after all: empathy, identification, compassion, kind acts, self- determination for all, compromise, and unity.
I believe we should seek and promote joy in life
and not misery - or war.
Much as I eschew restrictive labels and simplistic thinking, our choice of words inevitably reflected in our behavior, is two fold:
(1) to stand in the darkness and wallow in it, or
(2) to stand in the light and promote it.
Nothing more or less than a “black or white” choice.
Absolutely nothing!
(Sung by Jackie Chan and Chris Tucker in my favorite version)
Just "Imagine" there's no hell!
"I hope some day you'll join us."
John Lennon
_____
*The Jackie Chan and Chris Tucker version of "War" with link just above.
**I wonder how many readers noted that the examples herein are all men? Could testosterone have anything to do with it? And yes, I searched for some examples involving women in the music world, but did not find any.
***For a look at a really dark composition that makes me wonder "why?", check out "Two Boys".
***
Please see followup blog on this topic.
LABELS (from Vol I Poetic Musings)
The problem with labels is that
They give rise to judgments at best,
And inherently they include
Hierarchies of bad and good,
Things anathema to me you might know,
But if you don't, then I'll show
That those things I just won't brook,
Or stop to consider or look.
It's freedom I value the most,
Less to me is nothing but toast.
For if I cannot live free
Then I surely cannot be me,
Nor can you, except in my mind
Where there you will surely find
The freedom to be fully you
And without fear, yourself fully show.
Don't be afraid to move boldly in truth,
To go there with boundaries set loose,
Brook anxiety and stress as they come
And prevail o'er distractions not fun.
The rewards I promise you are many,
Your travails so puny, if any,
And soar as you will in delight,
To the heavens you'll surely take flight.
THE BEST MEDICINE (from future volume)
What if life after all is exceedingly proletariat
and we’re all just mediocre at it?
And no matter with hairspray from Saks or CVS,
the winds of life still mess it?
What if we always dot our i’s, cross our t’s
say ‘please’ and ‘thank you’ like a lady,
and mom in real life or as she looks down
is pleased with how we play it,
Yet psychosis marches on, the community kind,
and war words only grow in their number,
so that angels lay down their heavenly harps
and slink off to eternal slumber?
There’s salvation for all when links form a chain,
while the winter’s bare branch takes deep rest,
then surely spring’s bloom in the days fullest sun
will respond to the medicine that's best!
###
Comments