Illustrations of Universal Progress: A Series of DiscussionsSpencer, Herbert
Philosophy
Illustrations of Universal Progress: A Series of Discussions
Spencer, Herbert
Philosophy; Political science; Science
By those who have investigated the matter, this chanting is believed to
have been not what we call singing, but nearly allied to our recitative;
(far simpler indeed, if we may judge from the fact that the early Greek
lyre, which had but _four_ strings, was played in _unison_ with the voice,
which was therefore confined to four notes;) and as such, much less remote
from common speech than our own singing is. For recitative, or musical
recitation, is in all respects intermediate between speech and song. Its
average effects are not so _loud_ as those of song. Its tones are less
sonorous in _timbre_ than those of song. Commonly it diverges to a smaller
extent from the middle notes--uses notes neither so high nor so low in
_pitch_. The _intervals_ habitual to it are neither so wide nor so varied.
Its _rate of variation_ is not so rapid. And at the same time that its
primary _rhythm_ is less decided, it has none of that secondary rhythm
produced by recurrence of the same or parallel musical phrases, which is
one of the marked characteristics of song. Thus, then, we may not only
infer, from the evidence furnished by existing barbarous tribes, that the
vocal music of pre-historic times was emotional speech very slightly
exalted; but we see that the earliest vocal music of which we have any
account, differed much less from emotional speech than does the vocal music
of our days.
That recitative--beyond which, by the way, the Chinese and Hindoos seem
never to have advanced--grew naturally out of the modulations and cadences
of strong feeling, we have indeed still current evidence. There are even
now to be met with occasions on which strong feeling vents itself in this
form. Whoever has been present when a meeting of Quakers was addressed by
one of their preachers (whose practice it is to speak only under the
influence of religious emotion), must have been struck by the quite unusual
tones, like those of a subdued chant, in which the address was made. It is
clear, too, that the intoning used in some churches, is representative of
this same mental state; and has been adopted on account of the
instinctively felt congruity between it and the contrition, supplication,
or reverence verbally expressed.
* * * * *
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account