«In cielo c’è una danza»
(Van der Leeuw)
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1. Introduzione: crisi delle rappresentazioni e nuova dinamica musicale
Ha ancora senso parlare del rapporto musica ed esperienza religiosa sulla scia, ad esempio, del rapporto che vi vede iscritto R. Otto, quando considera la musica in stretta analogia con il sentimento religioso? C’è ancora un connubio vincolante tra il suono, la musica, il linguaggio Music and the sense we have of God, the Absolute incommensurable, what is unspeakable? In the crisis of contemporary representations of post-modern world it seems that culture is no longer able to create systems of meaning, the mousiké, the harmony of our living world was shattered and it seems to be inexorably waned in parallel with the collapse that has product of all symbolic systems and established classics. There are no more likely to say. Every speech is ridiculous to advertise before, every word is too much even before it was delivered. A sort of instinctive rejection precedes and accompanies every speech that still intends to convey the world. The speech, communication is increasingly reduced to technical information by means of the market, according to unilinear, is devoid of any symbolic content. The world as a whole is no longer speakable and each symbol is suspect when it means' between-look "the horizon of significance in places where we, mortal men, inhabitants of the earth. In this "wasteland" - to use the words of Eliot - the music seems devoted to a destiny of death. 'The music is over. " The music is in a state of collapse and decay like the environment. The collapse of the symbols of classical referents does not allow any output security. There is a mortifying flattening of all cultural products intended as a simple consumer products, there un'irrilevanza of everything around us is proportional to reification, objectification of the world took place gradually from positivism where the cultural industry has not served to give absolute copying, photocopying, recording, double, multiple commodifying everything, including the same work of art. The modern downgraded the symbols and the transcendence has crushed down by reducing the religious discourse to discourse ethics, and assigning a task to music only formal and empty. The rationale, scope razioide (ratioides Gebiet) - as lo chiamerebbe Musil – ama la musica soltanto come sintassi e come struttura grammaticale. Per esso la musica è soltanto un codice e le note musicali una alterazione strutturale di movenze in vista di un riequilibrio. Il formalismo contemporaneo è fondamentale per comprendere e dissolvere la musica nelle sue strutture diacritiche nella stessa misura in cui esso si fa complice dello svuotamento simbolico col trasformare ogni componente simbolica in struttura semiotica. Così il mondo si presente sempre più simile al gioco della scatole cinesi. L’una dentro l’altra fino al vuoto. E la vita diventa davvero «una lotta contro il Nulla», come osservava G. Marcel. Nel mondo giapponese questa indicazione del vuoto è ancora più illusoria and mocking: the package of the boxes it looks very elegant, refined, perfect. In a sense, is still able to delay the discovery of the object and to create curiosity and so finally the contrast between the luxury envelope that encloses the object becomes insignificant rending and cruel. But not all. It should also see some positive aspects that are beginning to appear on the horizon. Today we are moving towards something new, you return to a new form of light. There seems to be a yearning for something more original, it seems that you are looking for a fresh start and that you try other avenues. You try to forget it again and not speakable, as well il senso stesso della realtà. Non si tratta della «nostalgia del totalmente altro» di cui parlava Horkheimer; è una nostalgia più umile, che nasce dall’humus, dalla terra che noi siamo. È il desiderio di essere noi stessi semplicemente, sinceramente. È la necessità di sopravvivere ricominciando daccapo. In un mondo in cui regna sempre più la citazione, il gioco dell’arte combinatoria, la simulazione, l’affabulazione e ultimamente il nulla, si sente il bisogno di leggere ciò che non è mai stato scritto, di recuperare una lingua originaria, quella delle viscere della terra, proveniente forse dalle stelle o dalle danze: forse è il bisogno più semplice e immediato di ritornare soltanto spontaneity to reach a new spiritual landscape that our language is unable to discover behind the chatter that now dominates and consumes all reality. incipit And in this new musical language resists or at least the Japanese Bunraku, as the scene of the dolls, to the need to express - not least - our emotions, our impulses, fears, trauma. It seems that an incipient reorganization of some positive orientation takes place in the name of the musical language, a language that does not say and does not name things, but evokes only, announced almost flying above them. If there is a crisis of objectivity and subjectivity, also, in this fall of two references - beyond poverty expressive symbols -, it seems that the only aspect of our functioning as a way to understand and embrace the world and the aesthetic-musical that has its most immediate level in religious mysticism called to rise from the ashes of positivism and scientism. So there is a way towards that which is hidden and what is possible, there is a need to "look-in 'to the world through the liminal and the sub-liminal, through the ecstasy, the dream, dream world, the virtual, the paranormal, the unreal. In this tension where the ultimate wish is that the unreal become the real true music assigned to the task of escape all'insipienza the principle of non-contradiction and to make a work of 'disconnection' of chains of cause and effect to make us actually feel the power we have to imagine different from what we are . which brings us back to the "mystical" religion and return later to coincide with a sense of primitive music, you are returned to the aesthetic, as a "wake-up call" of the need to recover the pre-verbal, just as Bunraku in Japan, after the different musical languages \u200b\u200band beyond them. We need to give form to emotions not to talk, since we no longer believe the logic of ideas. And if the religion of today is essentially emotional, it seems that there is a need to recover "emotional music", music discontinuous, encrypted, subject to a work of self-irony which, if meanings are still talking, is also prepared to confess their multiple meanings in prostitution and dissonant. The religious sense then remains closely linked to the musical event, but one other state are subject to wear and fibrillation where necessary to rethink the original link that unites the two ways of feeling not to lose the archetypes themselves a report immemorial and pre-categorical.
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2. The original mix of music and sacred
Schneider discovers some very significant steps to understand the plot of the original and sacred music from ancient Upanishads. He notes, for example, that the Chandogya Up. speaks to the fact that "the world was created by the syllable OM, which is the essence of the Saman (chant) and the breath. But beyond that original sound, reminiscent of that primordial sound that gave rise to the big bang and that was discovered in 1965 still present in astral space by scientists at Princeton, Chandogya lists the different stages that mark the progressive materialization of the world from original music: the world is the essence music translated in poetic meter, the meter is the essence of language, language is the essence of man, man is the essence of plants, plants are the essence of water and the water is 'essence of the earth. " music and religious experience, therefore, do not appear separable in our understanding of the prehistory of the world, in that initial reality in which we started to become aware of the world and ourselves into a whole without distinction, no dichotomy, no burglaries, no mirrors. Ancient India for this is perhaps more than any other country that has loved the music, it was identified with it so far as to join closely and inseparably to the philosophical, religious, cosmological and music [1]. The mythology here is very rich. Prajapati, the god of the origins, the lord of creatures born from a concert of seventeen drums. According to the Hindu concept, the principle which gives rise to the worlds is a harmonic and rhythmic principle, symbolized by the rhythm of the drums. And Shiva as creator of the world, not uttering the world does not say something like fiat lux, but creates the world dancing [2]. They are the three famous dance steps with which Shiva measure the world. In a passage of Prados Stotra Shiva Shiva argues that while "dancing on the summit of Mount Kailasa, surrounded da tutti gli dèi. Sarasvati – dea delle arti e delle scienze – suona il vina (strumento a corda con la cassa a forma di barca), Indra (dio del cielo) suona il flauto, Brahma (il creatore) tiene i cimbali e segna il tempo, Laksmi (la Fortuna) intona una canzone, Vishnu suona il tamburo. Tutti gli dèi li circondano... Tutti gli abitanti dei tre mondi si radunano per vedere la danza e per ascoltare la musica dell’orchestra divina nell’ora del crepuscolo». La musica per sua natura non soltanto ha a che fare con il rituale e la religione, ma è vimuktida, cioè «portatrice di salvezza» e libera dal ciclo delle reincarnazioni: è una parte importante del mondo religioso Il Rigveda for example we report the seven rsi, legendary poets whose song became the father of the first dawn. The gods love the music, but they make music, musicians and Shiva would have expressly said and exclaimed: "I like most music instruments and voices of a thousand baths and prayer" [3]. Moreover we know that the god Krishna is always presented as the greatest flute player and so is still represented his image all over the Hindu world. The same distinction oldest of the Vedas deals with the so-called Samaveda that is nothing but the musical transcription of the Rigveda. So we can say that the religious ritual from its very beginning so the music had provided a binding to the same rite that there were Vedic hymns that did not have a melody or a melodic recitation appropriate for the worship of deities. The precentor called Udgatar singing, with his associates, using the musical part of their Samaveda [4] was the old rule of the religious world. China also gives us the coordinates of early music in relationship to the sacred to the extent that he loved the music and broke it immensely put into relation with the rituals and the whole religious life according to the concordance and the parallels that appear to us drugs. Of course here we can only hint at the whole Chinese world order, and find harmony in which all true positive human and religious activities. All the world order is modulated in ancient China on the pentatonic scale indicated by the intervals kung (ago), shang (G), Chueh (la), chih (do) and yu (re). This scale was then implemented every month so that the music is always in harmony with the fundamental sound of nature, which varied from month to month. But the theory of musical encounter between nature and society when religion is in the Li Chi, where the music is nothing but the substance of harmonic relationships that must reign between heaven and earth. For this reason, the ancient kings made music an instrument of order and good government. Indeed, when the five sounds are altered, the categories encroach into each other and this is called "insolence." Se le cose stanno così, in meno di un giorno può sopraggiungere la perdita del regno[5]. Dunque la musica era correlata all’ordine ad ogni livello: ordine cosmico, ordine stagionale, ordine astrofisico e soprattutto ordine sociale. A loro volta queste armonie particolari erano cooptate nel grande concerto dell’armonia universale che si faceva carico allora e sovranamente del significato religioso in senso pieno. In maniera più prossima a noi, mi piace accennare appena alla musica rituale e liturgica del mondo tibetano. I buddhisti tibetani ritengono che la musica prepari la mente all’illuminazione spirituale e danno molto risalto al suono in rapporto al rituale e alla meditazione. Il mondo si trasforma e si unifica attraverso sound, a sound that may consist of a 'monotone' low, visceral, but which expresses the intensity of the experience and is a reflection of the original vision, not contaminated, not marred by everything from the chaotic scattering of our living in the midst of things as objects. Sitting cross-legged in a row, in their colorful clothes, Tibetan monks still sing their songs and sing hymns and almost in a gesture of supreme and sovereign freedom from the world, forgetting the signs and penetrating beyond the maya, the veil that we hides the true reality, the Maya as an index for each classification, propagation, as the embodiment of all worldly epiphenomena.
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3. Suono e sensi. La musica sciamanica come religione «totale»
Forse il più grande antropologo che prestò attenzione alla musica ai nostri tempi è stato Lévi-Strauss, secondo il quale c’è un legame stretto tra musica e mito – potremmo omologare il mito al «mondo religioso» –, in quanto sono tutti e due strumenti per «dimenticare il tempo». La musica, ancora per Lévi-Strauss, è il mistero supremo delle scienze dell’uomo. Questo appare significativo anche se in fondo si tratta di uno sguardo gettato dall’esterno al senso che la musica ha in rapporto all’uomo e all’esperienza religiosa. In fact, "forget time" also means "transcend time" enter into a mystical-religious dimension satisfying. And what does all this if you do not return original integrity, walk towards the lost paradise? A historical and anthropological level today is being constantly consolidated the idea, indication of Kirby, the first religious experience of mankind is not due at the time of sacrifice, but rather dance, drumming and all ' experience of ritual trance. There seems to be able to recover the original mix between music and religious experience. It is not difficult to imagine that this experience is that their del mondo sciamanico e che storicamente sembra collocarsi a livello dell’antica religione bon del Tibet possa essere davvero catalogata come l’originario pre-categoriale di ogni nostra esperienza religiosa nella misura in cui è un’esperienza di totalità, crea un psico-dramma coinvolgente, unisce tutti i codici comunicativi e permettendo di conseguenza un intreccio globale, una Gestalt senza smagliature. Non è un caso infatti che nel mondo sciamanico si ritrovino in unità tutto ciò che altrove è in qualche modo più o meno disgiunto, disarticolato, dislocato o distribuito in tempi diversi. Lo sciamano, infatti, quando si è travestito con apposite maschere prendendo posto all’interno dell’ambito rituale which is in charge, began to beat his drum making sounds and rhythms that are religious and that involve the body, mind, spirit, creating a total performance, which carves out space as an axis mundi and condenses the time, world visible and the invisible world. Certainly not beating the air, but it creates a sound originating summons all his strength and positive spirit protectors while his songs are accompanied with movements, shouting, imitating the voices of different sounds in the world. The gods of heaven, earth, animal and plant kingdoms are summoned to be part of world, of that harmony that heals and returns to reality in its original transparency. In the final played every experience on the staff of the universe and all harmony comes from the fusion of horizons of meaning are nothing more all-encompassing that the transcription truest religious experience itself. It is a totally unique and indissoluble musical moment where time and religious mix and mingle. But this is also true for many people in the ethnographic present today on planet earth. can be considered such as the relationships between people in the music easy to culture and the religious world at the Zuni Pueblo corresponding with the dance Cachin, the Soshoni with the famous dance of the sun's own almost all the Plains Indians while in America we remember especially the Latin Karina with their beautiful mythology mythical background music. The Zuni Pueblo, lovers of music and dance as you show, contain two groups of dancers and musicians in the form: the gods disguise themselves, the so-called Cachin and then the priests Cachin (koko). The gods are supernatural beings, dancing, happy, living in the bottom of a large lake, far away. They, however, listen to music and dance, they prefer to go back to Zuni. Impersonate, therefore, through the mask means giving them the joy that most want: to be able to come and listen to music and dancing at Zuni. And so a man when wears the mask of the god, at that moment becomes the god himself, it must assume its full role in the divine and must enjoy the music and dance as they please the gods. Cachin The dancers make their appearance in two major series of performances: dances in the winter after the winter solstice. These dances are held in rooms or kivas of the rituals. The performance, however, likely to be greater with the rain dance - dance summer - which are held outdoors, in the village square. Of course, all these dances are connected with offerings and prayers and lead to dramatic involvement of the entire population, which aims to bring these great events in the world of ritual and music through all the elements of nature, understood according to a 'sacred geography' which includes in addition to the four cardinal points also up and down (the zenith and the nadir in accordance with the Zuni cosmology. There is thus a fusion of ritual and music in a highly contemplative vision of the world and the nature of which corresponds to a strong religious emotion. As for the sun dance, I mean only - among the many possible examples - the dance of the sun at the Shoshone State of Wyoming (USA) recently described by the great ethnologist Ake Hultkranz and Voget [6]. The dances take place during July and August and the reason for this is that the world of dance released in recent months is a circle: in other words is the dance itself. "All we know - tells the story - we learned the dance of the sun" [7]. Here we are seeing a very significant circularity between music, ritual and religious experience, so that the time is religious music and dance, story-telling is the daughter of legendary music and in turn the dance tells the religious sense. It confirms the thesis that the ritual comes before myth. The sun dance is dance for four consecutive days, almost without interruption, according to a specific provision of the sacred space and is located in the central point of reference. It takes into account the large open space, the place to be given to the actors, the chorus, the elderly, it sets out in detail the provision of fire and the place and orientation of the audience. There will be breaks only for eating something and sleep for several hours, while the dance - so it goes, repetitive and sometimes hectic - seems inexorably destined to trance dancers, as well as being - according to tradition - a great act of thanksgiving to sun and nature. For Karina from Venezuela each original sound is the origin of a particular species of animal, wara. For this time each species has its own sound, has its own language. But there is more: in mythology karina the sound was originally only one language is a crushing and undue integrity of sound and music of origins. The knowledge that comes from words into reality is therefore based on the "death" sound in all its symbolic richness. After the disintegration now accomplished in the language of the sound was broken as a consequence, the original meaning. Now you can return to the integrity of meaning only through the power of imagination. In this context of collapse of the unity of meaning is only the dance in its variety of codes and exchanges of Gestalten offers true hermeneutics of life and allows you to recover the original languages \u200b\u200bas well. The dance, as well as the sounds can recover the primordial sound and therefore the unity of sense. It is in this sense that the great composer Schönberg, seeing this new possibility after the various mortifications of the language, trying to extend his hand or read the happy musical elements of music through non-performing components, facial expressions, colors, through gestures, want to create "a choir of eyes" and a "crescendo of lights." Now in this way is also to say that true knowledge is far from knowledge through words, signs, the logic of connections. True knowledge is quite unconscious, sub-liminal, peripheral retrospectively recorded in a continuous biofeedback with the surrounding nature. Only through sound and music, according to Karina from Venezuela, you have the true perception of life in its fullness [8].
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4. Sound, languages \u200b\u200band meanings. A meditation from semantics music
Music in ethnology, etnomusica seems to undermine our Western vision of the music itself. But what it shows us the music at ethnomusical? All of our living world and the sense of anything found in the details, in individual things, in the here and there, in the elsewhere. Now it seems possible to say that the religious sense is just that. It is the totality of meaning tout court, without any inferences, deductions, inductions, specifications. The sound and music and religion, it can then also be the "nonsense" in our western conception, or rather is the way almost exhausted "through the senses" rather than rationally. Perhaps you're right J. Cage and his Wittgenstein and Zen Buddhism. From this point of view, the word is a stereotype produced outside of any magic, any enthusiasm, imagination, as if it were something natural, casual speech that believes in the superiority sense and ambition to their consistency and instead is part of the void. "I consider music as unable to express something like a feeling, an attitude or state of mind, a natural scene, etc.. The term has never been an inherent property of music, "Stravinsky wrote. It was the conception of music without the "sound" of life. In the world of Zen, for example, repeats the same thing for the word, and usually for language. Originally necessary to make a simple observation: If you lose touch with the original is lost is the true meaning of music and both the religious sense.
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5. Music and religious experience over the meanings
Our Western world - with little dignity to be given to the world - requires that every thing has a name and "moisten" any sense of reality as a religion that wants to impose authoritarian baptism to ' population. Basically, the objects of our language if not what are the "baptized" in law or converted by the sense of law and the meaning attributed to them? The effect is not regarded as a disgrace. Now it seems so for music, for etnomusica, that poetry still further, can waive the legein, to put together on the basis of reason, may waive the connection for a more immediate relationship "contemplation" of the world, as, for example, in a Japanese haiku. The Japanese haiku is a type of condensation of experience not readily accessible to our Western world because they do not care to build bridges of respect, but it creates simple and immediate reflections in such examples as:
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"How many people passed
through the rain of autumn
On the bridge of Seta .
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Oppure:
« Vengo attraverso il sentiero di montagna.
Ah! che meraviglia!
Una violetta! ».
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Descrittivismo? Impressionismo? Espressionismo? La vita è musica: ha la sua trasparenza e non ha bisogno di niente altro.
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6. Conclusione. La musica e la religione vicine a un senso più originario, quasi a un non senso
Abbiamo bisogno ancora del senso delle parole per vivere? Non ci basta il senso della vita? C’è an immediate sense, not logical, not a reflection, not yet made the subject of the criteria of truth or falsehood, perhaps this is the original but quite unconsciously, to which we move. In this place or better in this "non-place 'music and religious experience and meet again in an original way. It is the apophatic theology that must prevail around us into insignificance. It is the music "naked" which must come back, reduced to the original sound, the nada: no sound and at the same time.
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Aldo Natale Terrin, professor of history of religions and cultural anthropology at the Catholic University Milan and the University of Urbino.
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[1] According to the reading that makes Schneider. See M. Schneider, The historical bases of musical symbolism in 'religious knowledge' 3 (1969), 267-302.
[2] See a. Coomaraswamy, The Dance of Shiva, Bombay 1988 (4), 67.
[3] See Mahabharata, ch. 36, 27 cit. by C. Sachs, op.cit., 153.
[4] See for a detailed analysis A. Bake, Music India, cit., In particular 224.
[5] For these observations, see M. Schneider, primitive music, cit., 91-92.
[6] Cfr. A. HULTKRANZ, Native Religions of North America, Harper and Row, New York 1987; F.W. VOGET, The Shoshoni Crow Sun Dance, Norman Okla. Uni., klahoma 1984.
[7] op.cit., 68.
[8] Cfr. L. E. Sullivan, Sound and Senses. Toward a Hermeneutics of Performance, in «History of Religions’ 26(1986), 1-33.
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