Superb work, Ted. Many thanks. A lot of this chimes with the Yoruba musical traditions which manifest in Afro-Cuban music, particularly in the regla de ocha and the attendant use of the drum as a conveyor of divine force.
"That which can't be counted doesn't count" is the unspoken dogma that dominates the modern world. But Einstein cautioned, “Everything that can be counted does not necessarily count; everything that counts cannot necessarily be counted.”
I commend you for not being ashamed to use the words "magical" and "mystical." I see bringing these words back into mainstream discourse as essential to human thriving going forward. When Nietzsche pronounced "God is dead," he pronounced the death of the story of God as the overriding unifying myth of Western civilization. This myth was replaced by the myth of science, technology, and progress. Now we've reached a stage where science is dead as that unifying myth. Not in the sense that science is bad or invalid, but that we are seeing the limits of what it can see and do for us. I would point first and foremost to increases in mental illness and deaths of despair - despite astounding scientific and technological progress - as empirical evidence supporting the "science is dead" proposition.
The story of God was the thesis; the story of science the antithesis. The next phase must be the synthesis. I think your writing here advances this ball down the field in this respect. This is important work. Nicely done!
How much is this all affected by orality vis. literacy in a society?
Jewish mysticism emerges from a literate culture based in the written word (like Ezekiel, the only prophet who was also a priest). The Merkabah folks would have memorized huge swaths of text from many individual scrolls,‘plus the Hebrew canon of Bible and rabbinics. Are such heroic mysticisms different depending on literacy in a culture?
Is the mystic/musician/magician always esoteric? The story always seems to involve a priestly execution of precise rituals, requiring great insider/secret knowledge.
It’s true that Jews didn’t study Ezekiel until later in life - same with Kabbalah. This is because of the anti normative pull of mysticism - one has to be very rooted in the religion to do it and not go “off the path.” Is this always the destiny of mysticism? Is the hero’s journey always against ethical or social norms?
Note: This is why Hasidism had vociferous opponents when it emerged in the 18th century -- the critics didn’t disagree with Kabbalah, they just thought it wasn’t for the masses and would cause them to abandon religious practices/morals.
Thank you for this, especially the 8 points. This is affirming as I continue what feels like a spiritual journey through music. The democratization of our quests and the belief in ourselves as heroes both individually and collectively has the power to evoke change. But, there will be many perils and plenty of resistance--internally and externally.
What about the Sumerians, which pre-date "Judeo-Christian". They had a system of scales, and used chords and thirds, among other bits of knowledge. They played lyres, harps, and lutes, and they later used drums and wind instruments.
Very beautiful Ted. For me, my horses four hooves were my chariot. My sweet gelding was the song of heaven on earth. He allowed me to visit places I would never have experienced. He allowed me to transcend my mundane life.
Thank you, Mr. Gioia, for publishing this book on Substack for us all to read. It's truly a delight to read, as it beautifully honors the realms of music, philosophy, and writing.
I'd like to contribute to discussion on this chapter by mentioning the significance of one of the most sacred of Hindu texts called the Bhagavad Gita, meaning the Song by God. The Gita presents a story where the hero prince Arjuna engages in a conversation with his guide and charioteer Krishna. It begins with the context of the "righteous war."
It is fascinating to observe how the themes of song and chariot intertwine across cultures, spanning the expanse of time and religious traditions.
In Kurt Vonnegut's Cat's Cradle, The Book of Bokonon is a series of calypso songs, and the central ritual involves 2 people reaching ecstasy by rubbing the soles of their feet together.
It's pretty clear Vonnegut was making fun of many aspects of religion with Bokononism, but I also think he knew something was up.
This is so many kinds of wonderful, especially the bits about songs transcending the dry minutiae used to describe them and about the dogma-ecstasy dichotomy.
I think Joseph Campbell would appreciate the hero part as well...
As someone trying to teach music theory to songwriters, I witness first-hand the distrust towards rules and numbers in relation to sacred notions of inspiration and genius.
And yet, I can’t help but wonder if, paradoxically, going through the numbers (even if they are purely descriptive) is not part of that ordeal which may in the end magically transport one to the next level of understanding - or at least to that next song.
Superb work, Ted. Many thanks. A lot of this chimes with the Yoruba musical traditions which manifest in Afro-Cuban music, particularly in the regla de ocha and the attendant use of the drum as a conveyor of divine force.
"That which can't be counted doesn't count" is the unspoken dogma that dominates the modern world. But Einstein cautioned, “Everything that can be counted does not necessarily count; everything that counts cannot necessarily be counted.”
I commend you for not being ashamed to use the words "magical" and "mystical." I see bringing these words back into mainstream discourse as essential to human thriving going forward. When Nietzsche pronounced "God is dead," he pronounced the death of the story of God as the overriding unifying myth of Western civilization. This myth was replaced by the myth of science, technology, and progress. Now we've reached a stage where science is dead as that unifying myth. Not in the sense that science is bad or invalid, but that we are seeing the limits of what it can see and do for us. I would point first and foremost to increases in mental illness and deaths of despair - despite astounding scientific and technological progress - as empirical evidence supporting the "science is dead" proposition.
The story of God was the thesis; the story of science the antithesis. The next phase must be the synthesis. I think your writing here advances this ball down the field in this respect. This is important work. Nicely done!
Brilliant and insightful. Some questions:
How much is this all affected by orality vis. literacy in a society?
Jewish mysticism emerges from a literate culture based in the written word (like Ezekiel, the only prophet who was also a priest). The Merkabah folks would have memorized huge swaths of text from many individual scrolls,‘plus the Hebrew canon of Bible and rabbinics. Are such heroic mysticisms different depending on literacy in a culture?
Is the mystic/musician/magician always esoteric? The story always seems to involve a priestly execution of precise rituals, requiring great insider/secret knowledge.
It’s true that Jews didn’t study Ezekiel until later in life - same with Kabbalah. This is because of the anti normative pull of mysticism - one has to be very rooted in the religion to do it and not go “off the path.” Is this always the destiny of mysticism? Is the hero’s journey always against ethical or social norms?
Note: This is why Hasidism had vociferous opponents when it emerged in the 18th century -- the critics didn’t disagree with Kabbalah, they just thought it wasn’t for the masses and would cause them to abandon religious practices/morals.
Thank you for this, especially the 8 points. This is affirming as I continue what feels like a spiritual journey through music. The democratization of our quests and the belief in ourselves as heroes both individually and collectively has the power to evoke change. But, there will be many perils and plenty of resistance--internally and externally.
What about the Sumerians, which pre-date "Judeo-Christian". They had a system of scales, and used chords and thirds, among other bits of knowledge. They played lyres, harps, and lutes, and they later used drums and wind instruments.
Hoofbeats propelled chariots. Some current meditation mp3s contain droning hums combined with beats.
Also, the cultures that produced handprints on cave walls could also have had chanters before vocalized words.
Nice symbolic insight with the chariots there
Ptolemy was the first to study entrainment? Can you explain that a bit?
Very beautiful Ted. For me, my horses four hooves were my chariot. My sweet gelding was the song of heaven on earth. He allowed me to visit places I would never have experienced. He allowed me to transcend my mundane life.
Can’t wait for whole book!
Amazing Ted. Thank you.
Those ancient raves were off the chain!
The concept of going on a journey and coming back with a song sounds a lot like "icaros" which shamans learn by taking ayahuasca.
No doubt they were trippin' balls.
🎸So looking forward to this installment 🎸
Thank you, Mr. Gioia, for publishing this book on Substack for us all to read. It's truly a delight to read, as it beautifully honors the realms of music, philosophy, and writing.
I'd like to contribute to discussion on this chapter by mentioning the significance of one of the most sacred of Hindu texts called the Bhagavad Gita, meaning the Song by God. The Gita presents a story where the hero prince Arjuna engages in a conversation with his guide and charioteer Krishna. It begins with the context of the "righteous war."
It is fascinating to observe how the themes of song and chariot intertwine across cultures, spanning the expanse of time and religious traditions.
In Kurt Vonnegut's Cat's Cradle, The Book of Bokonon is a series of calypso songs, and the central ritual involves 2 people reaching ecstasy by rubbing the soles of their feet together.
It's pretty clear Vonnegut was making fun of many aspects of religion with Bokononism, but I also think he knew something was up.
This is so many kinds of wonderful, especially the bits about songs transcending the dry minutiae used to describe them and about the dogma-ecstasy dichotomy.
I think Joseph Campbell would appreciate the hero part as well...
As someone trying to teach music theory to songwriters, I witness first-hand the distrust towards rules and numbers in relation to sacred notions of inspiration and genius.
And yet, I can’t help but wonder if, paradoxically, going through the numbers (even if they are purely descriptive) is not part of that ordeal which may in the end magically transport one to the next level of understanding - or at least to that next song.