I have often felt a little envious of my professional musician friends. Not for the obvious reasons (getting to play in a band and get paid for it, or the accompanying status/sex-appeal), but because they had such a direct line to an audience's emotions. Writers can certainly influence a reader's emotions, but only by engaging the person's mind, first. The words have to be processed intellectually before they can be understood and felt emotionally. It's a quiet, thoughtful impact, even when it happens. A far cry from having an entire audience jump to its feet, almost involuntarily, and start moving in response to the rhythm, harmony, and energy issuing forth from the stage.
A brilliant orator might bring an audience to its feet, but the response would be to an idea, even if the idea was emotionally expressed. And the crowd would know what it was cheering about. Ask someone why a piece of music moves them, and they will probably find it harder to explain. For music speaks to a place deep inside of us that feels more than thinks; that knows resonance without questioning the details; that can hear and be comforted by the outpouring of heartbreak and survival in a blues ballad without even knowing the words.
But some researchers suspect that music and words may be more closely linked than I ever would have thought. So closely linked, in fact, that the study of music may actually be able to help ameliorate the language deficits of children with dyslexia.
How is that possible? The exact mechanism of the process isn't clear yet, but researchers at Harvard University have apparently seen a correlation between early-childhood music training and "enhanced motor and auditory skills, as well as improvements in verbal ability and non-verbal reasoning," And that correlation, they say, is even more pronounced in children with dyslexia. Gottfried Schlaug, one of the researchers, told the Acoustical Society of America that the results "suggest that a music intervention that strengthens the basic auditory music perception skills of children with dyslexia may also remediate some of their language deficits."
Those results are also supported by another paper being presented at the Acoustical Society of America meeting next week. Dr. Laurel Trainor and colleagues at McMaster University in West Hamilton, Ontario, have conducted several studies of children to gauge the impact of musical training. In one study, they compared two groups of children: one who were starting music lessons, and one who were doing other activities, like sports. They tested the electrical activity in the children's brains for a year and found that while both groups changed as the children developed, the children taking music lessons changed more ... especially in the areas "related to attentional processing."
"This is significant," Trainor wrote, "because it suggests a mechanism whereby music lessons could affect other cognitive processes, such as language and mathematical skills."
Now granted, music lessons involve a more focused learning process than simply sitting back and enjoying a collection of sounds. But there may also be a link between language and the evolution of music itself--which might help explain the ability of music to impact language processing.
A while back, I read a piece by Natalie Angier in the Science Times about the evolution of both language and the human ear. It appears that eight genes involved in shaping our ears underwent significant change over the past 40,000 years, and that our ability to distinguish and use a complex language evolved along with our more refined auditory infrastructure. "Moreover," she says,
"the avidity with which our auditory sense seeks to organize ambient noise into a meaningful acoustical pattern--a likely consequence of our dependence on language--could help explain our distinctly human musicality."
And a love of music is, apparently, a uniquely human trait. Other mammals, Angier notes, do not really appreciate music, despite the prevalent myth about music's power to soothe the wild beast. "If you give monkeys a choice between music and silence, they choose silence pretty strongly," reported Dr. Josh McDermott of the Center for Neural Science at NYU.
A similar thought was put forward in an article last December in The Economist on the evolution of music. It explored various theories about why we like and react to music, from sexual selection to group and community bonding. The sexual selection theorists believe that expertise in music evolved because it provided a courting advantage, similar to a peacock's colorful tail--which would certainly seem to be true in terms of musicians' ability to get dates after performances, at least in the rock and roll world. Music may also have evolved as a way to bring groups together as a community.
But according to Dr. Steven Pinker, a language theorist at Harvard, our appreciation for music may have evolved as a side-effect of our focus on sounds--a focus necessary to develop a complex language. As the article put it, just as a body that's designed to seek sugar and fat for survival finds itself enthusiastic about cheesecake, even though cheesecake itself isn't required for survival, "a brain devoted to turning sound into meaning is tickled by an oversupply of tone, melody and rhythm." So in the course of learning to distinguish nuances of difference in tone, sound and shape of vowels, consonants, and complex verb forms, we may have developed a delighted appreciation for all sounds and tones.
But even if all those correlations and theories are true, they still don't fully explain why music resonates so directly and brings forth such a range of emotions in people. Why do particular musical sounds move us so? The sounds in a word--even a really good word like "inexplicable"-- don't have the same effect. Researchers are looking into that one, too. But perhaps it's because we have been surrounded by sound far longer than we have known words: Our mothers' heartbeats and swishing blood and fluid even before we were born. The singing of birds, rain on a tin roof, the creaking of a porch swing, or the rustling of leaves by a gurgling brook. The cry of another child, the terrifying crack of lightning, or the scary howl of an animal nearby.
In the end, maybe the reason we respond to music more viscerally than language is simply because music was actually the first language we ever learned ... before thought, before words, when emotion was all we knew.
Note: I will be offline for the next week finishing a book project, returning November 3rd.
More on the F-16 and Cessna crash, and whether the collision of a military and a civilian aircraft was also a collision of cultures
Early this month an Air Force F-16, under the command of an experienced Air Force pilot, rammed into a small-civilian Cessna 150 propeller plane, not far from Charleston, South Carolina. The Air Force pilot ejected to safety; both people aboard the Cessna were killed.
The next three paragraphs are background for the pointed and interesting reader-messages I am about to quote. If you’re already up to speed with previous installments (one, two, three), you can skip ahead to the messages. They highlight an aspect of the modern military-civilian divide I had not considered before this episode.
In an original item on the crash, I noted some of the perils civilians could face when flying near designated military areas—even though this crash happened in ordinary uncontrolled airspace. That is, it occurred when neither plane was within a Military Operations Area (MOA), where civilian pilots are warned about risks from high-speed military aircraft, nor inside the controlled “Class C” airspace that surrounds Charleston’s airport. (Medium-sized commercial airports like Charleston’s typically are ringed by Class C airspace, so the controllers can sequence in the airline, cargo, civilian, military, and other traffic headed toward their runways. The very busiest airports, like LAX or JFK, are surrounded by larger zones of Class B airspace for their more complex traffic-control jobs. In case you’re wondering, Class A airspace is the realm above 18,000 feet where most jet travel occurs.)
A newly discovered artifact buried with one of Jamestown’s most prominent leaders suggests he could have been a crypto-Catholic.
After 400 years in the Virginia dirt, the box came out of the ground looking like it had been plucked from the ocean. A tiny silver brick, now encrusted with a green patina and rough as sandpaper. Buried beneath it was a human skeleton. The remains would later be identified as those of Captain Gabriel Archer, one of the most prominent leaders at Jamestown, the first permanent English colony in America. But it was the box, which appeared to be an ancient Catholic reliquary, that had archaeologists bewildered and astonished.
“One of the major surprises was the discovery of this mysterious small silver box,” said James Horn, the president of the Jamestown Rediscovery Foundation. “I have to say, we’re still trying to figure this out. You have the very strange situation of a Catholic reliquary being found with the leader of the first Protestant church in the country.”
The paper of record’s inaccurate reporting on a nonexistent criminal investigation was a failure that should entail more serious consequences.
I have read The New York Times since I was a teenager as the newspaper to be trusted, the paper of record, the definitive account. But the huge embarrassment over the story claiming a criminal investigation of Hillary Clinton for her emails—leading the webpage, prominent on the front page, before being corrected in the usual, cringeworthy fashion of journalists who stonewall any alleged errors and then downplay the real ones—is a direct challenge to its fundamental credibility. And the paper’s response since the initial huge error was uncovered has not been adequate or acceptable.
This is not some minor mistake. Stories, once published, take on a life of their own. If they reinforce existing views or stereotypes, they fit perfectly into Mark Twain’s observation, “A lie can travel halfway around the world while the truth is putting on its shoes.” (Or perhaps Twain never said it, in which case the ubiquity of that attribution serves to validate the point.) And a distorted and inaccurate story about a prominent political figure running for president is especially damaging and unconscionable.
The new version of Apple’s signature media software is a mess. What are people with large MP3 libraries to do?
When the developer Erik Kemp designed the first metadata system for MP3s in 1996, he provided only three options for attaching text to the music. Every audio file could be labeled with only an artist, song name, and album title.
Kemp’s system has since been augmented and improved upon, but never replaced. Which makes sense: Like the web itself, his schema was shipped, good enough,and an improvement on the vacuum which preceded it. Those three big tags, as they’re called, work well with pop and rock written between 1960 and 1995. This didn’t prevent rampant mislabeling in the early days of the web, though, as anyone who remembers Napster can tell you. His system stumbles even more, though, when it needs to capture hip hop’s tradition of guest MCs or jazz’s vibrant culture of studio musicianship.
Has the Obama administration’s pursuit of new beginnings blinded it to enduring enmities?
“The president said many times he’s willing to step out of the rut of history.” In this way Ben Rhodes of the White House, who over the years has broken new ground in the grandiosity of presidential apologetics, described the courage of Barack Obama in concluding the Joint Comprehensive Plan of Action with the Islamic Republic of Iran, otherwise known as the Iran deal. Once again Rhodes has, perhaps inadvertently, exposed the president’s premises more clearly than the president likes to do. The rut of history: It is a phrase worth pondering. It expresses a deep scorn for the past, a zeal for newness and rupture, an arrogance about old struggles and old accomplishments, a hastiness with inherited precedents and circumstances, a superstition about the magical powers of the present. It expresses also a generational view of history, which, like the view of history in terms of decades and centuries, is one of the shallowest views of all.
Orr: “Sometimes a thing happens. Splits your life. There’s a before and after. I got like five of them at this point.”
This was Frank offering a pep talk to the son of his murdered former henchman Stan in tonight’s episode. (More on this in a moment.) But it’s also a line that captures this season of True Detective so perfectly that it almost seems like a form of subliminal self-critique.
Remember when Ray got shot in episode two and appeared to be dead but came back with a renewed sense of purpose and stopped drinking. No? That’s okay. Neither does the show: It was essentially forgotten after the subsequent episode. Remember when half a dozen (or more) Vinci cops were killed in a bloody shootout along with dozen(s?) of civilians? No? Fine: True Detective’s left that behind, too. Unless I missed it, there was not a single mention of this nationally historic bloodbath tonight.
The agreement doesn’t guarantee that Tehran will never produce nuclear weapons—because no agreement could do so.
A week ago I volunteered my way into an Atlantic debate on the merits of the Iran nuclear agreement. The long version of the post is here; the summary is that the administration has both specific facts and longer-term historic patterns on its side in recommending the deal.
On the factual front, I argued that opponents had not then (and have not now) met President Obama’s challenge to propose a better real-world alternative to the negotiated terms. Better means one that would make it less attractive for Iran to pursue a bomb, over a longer period of time. Real world means not the standard “Obama should have been tougher” carping but a specific demand that the other countries on “our” side, notably including Russia and China, would have joined in insisting on, and that the Iranians would have accepted.
Even with the overwhelming recent New York cover story, the women pay a price for speaking out.
Who still defends Bill Cosby? After newly unsealed depositions revealed that the comedian admitted to acquiring sedatives to give to women he wanted to have sex with, his longstanding backer Whoopi Goldberg recanted her support for the man accused of dozens of rapes over the years. The singer Jill Scott, too, said she was wrong when she suspected a media conspiracy against him. And if Cosby’s former costars, including Phylicia Rashad, still believe him to be the target of an illegitimate smear campaign, they haven’t spoken up to say so in a while. Cosby’s lawyer is currently making the rounds in the media to say his deposition has been misconstrued—but that argument, even if believed, doesn’t refute the idea that he used drugs to take advantage of women.
U.S. officials are turning to Russia for help with Iran and Syria, even as the Ukrainian conflict persists.
If you believe all the talk out there lately, Vladimir Putin is not only duplicitous and hypocritical—the Russian president’s also been pretty damn busy recently. Busy cutting secret deals with the same Europeans and Americans he has been vilifying for years. And if you believe the rumors, the Europeans and Americans have also been busy selling out Ukraine to the Russians.
Not that any of this would be unusual or particularly surprising. Cynicism, duplicity, and hypocrisy are often the reserve currencies of politics, where interests tend to trump values.
There have long been suspicions that the United States and Europe might give Ukraine up in exchange for Russia’s support in securing a deal to curb Iran’s nuclear program. Additionally, Washington has been seeking Moscow’s backing in securing a managed, orderly, and negotiated exit for Syrian leader Bashar al-Assad, which would go a long way toward ending the conflict in that country.