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#1 | ||
Cryptic Aura
Join Date: May 2002
Posts: 5,991
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"A Speculative History of the Music of Arda", Steven Linden
As there are now at least two of us who have not contributed to the book (Legate and myself) who have copies of Music in Middle-earth, it is perhaps not too hasty of me to start a thread for discussion. I've chosen "A Speculative History of Music in Middle-earth" by Stephen Linden as the ur-paper.
I have long admired this paper since first reading it online and my admiration has increased as I've perused it in book form. It seems to me to be one of the few early articles on Tolkien's music that is based upon a logical extrapolation of hints and details given in The Silmarillion, The Lord of the Rings, and The Hobbit rather than upon an emotive response to Middle-earth culture . While there is nothing wrong with an emotive response, Linden's method is one which provides many avenues for thought and analysis rather than simple opinion. It is, as well, a method particularly well-known to many Downers. Quote:
Linden begins by examining the tendency of many to equate the music of Middle-earth with that of the European Medieval Ages. But Middle earth is, as he says, far more ancient than the Dark or Middle Ages and he tries to place a particular musical development, the rise of polyphony, within that long span. And in good fashion he immediately finds a problem. Quote:
I won't spoil the fun of other Downers by examining some of his examples--I'm sure there will be others more knowledgable about music than me who will want to provide their own particular take on the possibilities which Linden uncovers. His speculations, though, are "irresistably tempting."
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I’ll sing his roots off. I’ll sing a wind up and blow leaf and branch away. Last edited by Bęthberry; 02-07-2010 at 01:29 PM. |
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#2 |
Ghost Prince of Cardolan
Join Date: Oct 2008
Location: Lonely Isle
Posts: 706
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Thanks for starting this first thread on an article from Music, Bęthberry!
Like her, I came across Steven Linden's article online; and it's nice to see it in book form, something I thought would suit it, when I finished reading it the first time. Mr. Linden bases his speculative history of what music in Arda was like from the source materials in Tolkien's works, something I respect. He also has the humility to admit the fundamental difficulty he and anyone else like him faces: Middle-earth is our Earth, but not our Medieval earth. Middle-earth is supposed to be ancient. It seems more than a little strange, then, that its music should be the sort of music that is peculiar to the Dark Ages and Middle Ages. Of particular note is the matter of polyphony, or contrapuntal music. In the real world, polyphony was not really developed until the latter half of the Middle Ages; yet there does seem to be polyphony in Middle-earth....The musical situation in Middle-earth appears to be something of roughly the thirteenth or fourteenth century. (p. 76) When I read this, I smiled; because it is a musical equivalent of the hobbits, in a supposedly 'medieval' Middle-earth, having such nineteenth-century items as umbrellas and aneroid barometers. ![]() Like Bęthberry, I liked his possible explanation for this problem, that music in Middle-earth was declining, and his speculation as to what that meant for the evolution of musical styles in Arda, which I'm going to let other readers find out for themselves. ![]() One thing I particularly liked in his speculation was what the dwarves of Belegost in the Battle of Unnumbered Tears in the First Age might have sung when they took away the body of their dead lord, Azaghâl: Then the dwarves raised up the body of Azaghâl and bore it away; and with slow steps they walked behind singing a dirge in deep voices, as it were a funeral pomp in their country, and gave no heed more to their foes; and none dared to stay them. (The Silmarillion, Chapter 20, p. 233.) He speculates that the 'dirge', which 'must have been quite chilling', was probably a melody similar to those of the Elves, though undoubtedly lacking in certain Elvish subtleties; perhaps it was in a mode peculiar to the Dwarves. It seems likely to have been monophonic: a great unison chanting by deep Dwarvish voices. It would have sounded roughly like Gregorian chant, but undoubtedly deeper, and probably with more use of formal repetitive figures. (p. 85) If any attempt is made to try and write such music I would love to know. After all, it's not any kind of music that can so scare Morgoth's foulest minions! ![]() I agree completely with his conclusion here: While there is a great deal of music about Middle-earth, there have been very few attempts at writing the music of Middle-earth - that is, the sort of music that was actually heard in Middle-earth....Perhaps, then, it is time for someone to have a try at writing the "real" music of Middle-earth. (p. 89) I would certainly support any person or group who tries to do this. Last edited by Faramir Jones; 02-07-2010 at 04:18 PM. Reason: I got the tense wrong, and was asked to make other changes |
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#3 |
Princess of Skwerlz
Join Date: Jan 2002
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This article is the one that impressed me so much that I thought it should appear in print, thereby giving birth to the idea of this book. Linden postulates one possible theory of musical history in Arda; others may choose to establish a different one, but they'll have to work hard to give it as solid a foundation as this one! The idea that the evolution of musical complexity is reversed from that of our own earth's music history is fascinating, and the textual evidence from Tolkien's Mythology supports it very well.
Linden looks closely at various musical styles in the Ages of Arda and compares the dynamics of their development with the Great Music of creation, suggesting as well different styles for various peoples, races, and groups. Though a basic knowledge of musical history is helpful in understanding this chapter, the author has included a brief glossary of musical terms at the end to aid those less familiar with them. Since we tend to enjoy speculative discussions here on the Downs, I'm sure many of you will enjoy reading this essay!
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'Mercy!' cried Gandalf. 'If the giving of information is to be the cure of your inquisitiveness, I shall spend all the rest of my days in answering you. What more do you want to know?' 'The whole history of Middle-earth...' |
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#4 |
Flame of the Ainulindalë
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I haven't read the article yet (needs to do that) but one question comes to mind - well many questions, but let's start with one...
![]() Had Linden any opinion or argument about music in the ME in comparison to different musical cultures of the real world or is it just based on western musical tradition? So is it just the reversal of western musical history brought by applying the myth of the fall from paradise? Paraphrasing the worn-out maxim: the Westerners are the geniuses of harmony, the Middle-easterners are masters of melody and the Indians the gurus of rhythm... and the histories of the music of these cultures vary and take different paths - not to talk of the variety of musical cultures in Africa, far-east...
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Upon the hearth the fire is red Beneath the roof there is a bed; But not yet weary are our feet... |
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#5 | |||
Cryptic Aura
Join Date: May 2002
Posts: 5,991
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I’ll sing his roots off. I’ll sing a wind up and blow leaf and branch away. |
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#6 | |
Flame of the Ainulindalë
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My question came initially from the fact that I myself have always thought the music of the ME being more like the music of our real world with all its different traditions and colours. So we're once again face to face with the question of interpretation: should we try to understand the author and his intentions or should we make the most out of it (or should we try to find the hidden "Truth" concealed from the author and us)? But in this case it comes with a twist as it's not a straightforward question like "is the story and romance of Aragorn and Arwen an allegory of Jesus Christ?", or "did Tolkien have a green agenda?", but a general question concerning things in the world he created but gave not too many hints into what he thought of them - or whether he had thought of them in the first place. Like what was the first thing Gollum saw when he awoke on the fourth day coming back from Mordor? Or how the haradians brought up their children and what kind of games they played? ![]()
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Upon the hearth the fire is red Beneath the roof there is a bed; But not yet weary are our feet... |
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#7 | ||
Late Istar
Join Date: Mar 2001
Posts: 2,224
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Of course, resting an argument on inferences about Tolkien's thoughts and intentions invites all manner of (the dreaded) canonicity issues. As a matter of fact, when it comes to canonicity I'm a Text (rathern than Author or Reader) person, so I am myself a bit uncomfortable with that argument. I do think a weaker argument to the same effect can be made from the texts themselves; to wit, all of the instruments mentioned (as far as I can recall) are western instruments (fiddles, viols, clarinets, flutes, harps, etc.) I grant that 'flute' and 'harp' can refer to a variety of non-western instruments beside the western varieties; moreover, we are probably not to understand these instruments to be identical to their modern counterparts. Rather, names like 'clarinet' are translations of the original, Elvish or Westron, names for instruments that no longer exist. But this does, at least, suggest that those instruments resembled western instruments more than they did those of any other culture. I confess this argument is not a supremely forceful one; and one could construct a history of music in Middle-earth that is not so firmly based on European music. But taken together with such things as Tolkien's Gregorian chant version of 'Namarie', his English folk song version of Sam's troll song, and the generally European character of Middle-earth in general, I at least am convinced that its music resembled western music more than it did any other modern tradition. I should perhaps say 'the music of the Elves and Edain' - for I do think it would be quite in keeping with the spirit of Middle-earth if the Easterlings and the Haradrim, for instance, had rather non-western music. Last edited by Aiwendil; 01-25-2013 at 12:50 PM. |
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#8 | |
Princess of Skwerlz
Join Date: Jan 2002
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Nog, perhaps a quote from another chapter of this book answers your question on the music (whether Western tradition or not):
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*cross-posted with Aiwendil, who said it all more eloquently - and with instruments as proof!!
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'Mercy!' cried Gandalf. 'If the giving of information is to be the cure of your inquisitiveness, I shall spend all the rest of my days in answering you. What more do you want to know?' 'The whole history of Middle-earth...' |
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Flame of the Ainulindalë
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Wow. I for one didn't know we have the author here... Well great! (And added reason to get my hands on the text)
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What I've been thinking just by myself is that the edain (and the hobbits) shared the Western tonality - with the major and minor scales, 7/12-note system etc. - but that other "races" might have something of their own. I know it is a sham to say that the Haradians would have something like music of the sub-Saharan Africa and the Easterlings might have Far-Eastern music. It may be unimaginative or shallow but might fit also Tolkien's world-view? So the enigma becomes the music of the elves - and the great prize, the music of the Ainur! The latter could be interpreted in the Pythagorean / Platonic / Hellenistic / Boethian fashion as to be "music of the spheres" not audible to human ear but of which the music we can play and hear is a vibration or reverbation of. I think Tolkien must have been aware of these theories from antiquity as the whole of creation in the Ainulindalë seems to echo that metaphysical understanding of music as the organizing-principle of reality. But what about the music of the elves? To me it has always been more of a mystical thing... I would hate to think it along the lines of the corpus of the Western "classical music", or the Western tonality.
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#10 |
Princess of Skwerlz
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The one piece of music we have that came directly from Tolkien is his melody for Galadriel's "Namarië", which is in the western tradition, but certainly not "classical" - it is Gregorian chant. However, like language, this is our "translation", and the original could have been considerably more exotic. Perhaps some Asian influence could be imagined for Elven music.
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'Mercy!' cried Gandalf. 'If the giving of information is to be the cure of your inquisitiveness, I shall spend all the rest of my days in answering you. What more do you want to know?' 'The whole history of Middle-earth...' |
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#11 |
Late Istar
Join Date: Mar 2001
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Nogrod - I think I more or less agree with you. I certainly don't think that the music of the Elves (or even the Edain or Hobbits) should sound exactly like western music of any variety. I just think that if one is going to take aspects of music of the real world as starting points and try to extrapolate to Middle-earth, western music is the place to start.
It's interesting you mention tuning systems, as this is a topic that has long held a certain fascination for me, though I mention it only briefly in the essay. I have thought that perhaps the Elves would have a system with more than 12 tones, but likely one of which the 12 tone system is a subset. Perhaps when humans sought to imitate Elvish music, they could not quite grasp the subtleties of the Elvish system and ended up with the 12 tone scale. I also rather wonder what system(s) of intonation they used (equal temperament, just intonation, etc.). I imagine Maglor probably wrote a treatise or two laying out the mathematics of the various systems. |
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#12 | |
Cryptic Aura
Join Date: May 2002
Posts: 5,991
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But I'm not telling. Have to suss it out for yourself. I will only say that they aren't the spambots. ![]()
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I’ll sing his roots off. I’ll sing a wind up and blow leaf and branch away. |
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#13 | |
Curmudgeonly Wordwraith
Join Date: Jun 2007
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And your little sister's immaculate virginity wings away on the bony shoulders of a young horse named George who stole surreptitiously into her geography revision. Last edited by Morthoron; 02-09-2010 at 09:30 AM. |
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#14 |
Stormdancer of Doom
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"Have you ever been called home by the clear ringing of silver trumpets?"
"I have seen the great essay.... long ago." "One day we will go there...." |
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#15 |
Stormdancer of Doom
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Somewhere in Tolkien-- I think it was the conversation between Finrod and Andreth-- I came across a reference to the Final Music. And ever since then, this has always reminded me of that:
"Mortals join the mighty chorus Which the Morning Stars began Father -love is reigning o'er us Brother love joins man to man."
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...down to the water to see the elves dance and sing upon the midsummer's eve. |
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A Voice That Gainsayeth
Join Date: Nov 2006
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Let me also express my delight with the chapter, I must add that I really like the explanation of the decline of the music, which makes good sense related to the portrayal of Arda as we have it.
There might be much more that I could write (and in general, I find it difficult to be able to post feedback to all things I found interesting in the book), but for now let me focus only on one thing which was mentioned on this thread, and which did was not covered very much (for simple reasons: lack of source material) covered in the chapter - the Dwarven music. Quote:
Even otherwise, I could imagine the Dwarven songs a bit more like this - and I think I have been always thinking about them as similar to for example the Russian and Orthodox chorals, resp. similar with usually everything only monophonic. As for the music they played at Bag End, however, I wonder if it would be also different than this - but maybe not as much.
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"Should the story say 'he ate bread,' the dramatic producer can only show 'a piece of bread' according to his taste or fancy, but the hearer of the story will think of bread in general and picture it in some form of his own." -On Fairy-Stories |
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#17 | |
Ghost Prince of Cardolan
Join Date: Oct 2008
Location: Lonely Isle
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I was interested in the anthem you referred to here, Legate:
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