Acoustic Ecology

I was listening to CBC 2 radio this week and they played Canadian acoustic ecologist performance artist and composer R. Murray Schafer.

Who in the 1980's blew me away with his eight hour invocation of RA at the Ontario Science Centre. While I was not there, I got to hear it on CBC. Which of course I would not hear on private for profit radio.

Schafer shows that musick is magick and vis versa, that it is one of the key elements to ritual, and thus all music is sacred, even when it is profane.

If you like the minimalist and avante garde music of Edgar Varèse ,Phillip Glass, Terry Riley, or Steven Reich, you will love Schafer.

R. Murray Schafer has achieved an international reputation as a composer, an educator, environmentalist, scholar and visual artist. Born in Sarnia, Ontario, in 1933, he was raised in Toronto.

Schafer entered the Royal Conservatory of Music and the University of Toronto in 1952 to study with John Weinzweig. His casual contact with Marshall McLuhan on campus in that period could arguably be singled out as the most lasting influence on his development.
He went to Vienna in 1956. After two years he went to England, studying informally with composer Peter Racine Fricker. While in Britain Schafer supported himself by writing (resulting in a book, British Composers in Interview) and by the preparation of a performing edition of Ezra Pound's opera Le Testament (1920-1) broadcast by the BBC in 1961.

As the 'father of acoustic ecology' Schafer has been concerned about the damaging effects of noise on people, especially dwellers of the 'sonic sewers' of the city. His booklets The Book of Noise and The Voices of Tyranny are pleas for anti-noise legislation and urban soundscape improvements through reduction of potentially destructive sounds. Of the various publications Schafer released after his work with the World Soundscape Project, the most important is The Tuning of the World (1977) where he summarizes his soundscape research, philosophies, and theories. The concept, central to Schafer's thinking, has influenced his composing. The background rhythmic structure for String Quartet No. 2 ('Waves') is based on the intervals at which ocean waves crest; the graphic notation of No Longer Than Ten (10) Minutes was influenced by charts made of Vancouver traffic noise.

While Schafer's focus in the 1970s was his soundscape work, in the 1980s it was Patria, a 12-part cycle of musical/theatrical works begun in 1966. Schafer's dramatic works employ music and theatre in a manner which he calls the 'theatre of confluence' (a kind of Gesamtkunstwerk reflecting his urge to explore the relationships between the arts). Schafer has used ritual as a way of revitalizing contemporary theatre, several works transforming the theatre audience into participants. Patria 6: RA is a dusk-to-dawn ritual enacting the descent to the underworld and resurrection of the Egyptian sun god. For its Ontario Science Centre premiere in Toronto, the audience was led through 29 different performance sites during the 11-hour ritual.

And again this August he will be performing in the wilderness.

Princess of the Stars
R. Murray Schafer, Banff Festival of the Arts, 1985. Performed in Two Jack Lake, near Banff, August 8-10, at dawn for the Banff Festival of the Arts (photo by Scott Rowed).

Suppressing a youthful urge to become a painter, Schafer entered the Royal Conservatory of Music and the University of Toronto in 1952 to study with Alberto Guerrero (piano), Greta Kraus (harpsichord), John Weinzweig (composition), and Arnold Walter (musicology). In view of Schafer's later proclivities, however, his casual contact with Marshall McLuhan at the university might be singled out as the strongest and most lasting influence on his intellectual development. Disillusioned by what he came to view as the confining atmosphere of the university, Schafer terminated his formal studies in 1955 and embarked upon an intensive autodidactic routine with an emphasis on languages, literature, and philosophy. The LRSM remains his only formal diploma.

The CBC recorded Schafer's Wolf music which he has performed for 15 years, in a forest for a select audience, but mostly for the ambiance of playing in the forest. So if a trumpet sounds in the forest do we hear music? The wolves do.

Wolf Music is not only a composition: it is an annual ritual music-drama involving sixty to seventy people over eight days, taking place on a lake in the Haliburton Forest and Wildlife Reserve. The composer and six professional musicians each lead small groups of people whose very presence are part of the performance. So, too, are the flora and fauna, the lake,the wind and even a passing jet. This description of the work could be very unappealing to those who are not attracted to ecologically-based spirituality, or those that feel this style of composition is passé. However, apart from Schafer's narrative (which, frankly, I could have done without) the listener is easily able to bypass the philosophy to get at the music, which is beautiful and imaginative.

R. Murray Schafer's environmental music drama, And Wolf Shall Inherit the Moon (1988- ), stands at the nexus between the lived experience of performance in the Canadian wilderness and Schafer's romantic idea of the North. A collaborative project involving 75 volunteer participants, the work takes place over an entire week each August in the Haliburton Forest and Wild Life Reserve near Ontario's Algonquin Park. It forms the epilogue to the composer's massive Patria series (1966- ). Simultaneously performers, creators and audience, the participants camp together as they enact Schafer's participatory and ritualistic theatre - a theatre specifically designed for performance in the Canadian wilderness.

When they camp and work together each summer, members of the Wolf Project participate in Schafer's idea of the North, his vision of a Canada reconciled to, and integrated with, its wilderness environment. They return from this liminal realm to their urban lives distinctly changed, no longer the uneasy inhabitants of a humanly undigestible wilderness.

My articles on music:

What's Opera Doc

Summer Solstice Give Or Take A Day

Thick as a Brick

Dion Sucked

Shaft

Trumpetlingus

Christy Moore Viva La Quince Brigada

Brown, Ford, Castro

The N Word

Hip Hop Gun Culture

John Lennon Working Class Hero

Revolutionary Music Flashback

Happy Birthday Mozart

Soul of a City

Before MTV

Nazanin

Happy Birthday Bob

Daniel Barenboim's Dream

Rich Man's War

Classical Rock

Ennio Morricone A Fistful of Composer

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Schafer, acoustic ecology, Varese,

What's Opera Doc

A tribute to the Bugs Bunny Cartoon 'Whats Opera Doc' from the Toronto Star. Which makes the same point I did here in tribute to Chuck Jones. And see my post at the Carnival of Anarchy on Bugs the anarchist drag queen.

Elmer Fudd, left, and Bugs Bunny in a scene from Warner Bros.' What's Opera, Doc?

At any other time, the film would not have been made. Imagine the pitch: "Let's steal time and funding from our other projects so we can go way over budget making a cartoon with no jokes, and no real gags. The score will be a German opera. Kids won't get it. Most adults won't get it, but I don't care because I think it's funny."

Fortunately, the time was 1956, the director was Chuck Jones, and the place was the Warners Bros. backlot animation studio dubbed "Termite Terrace." The result – released 50 years ago this week – was "What's Opera, Doc?," voted by animators in the 1994 book The 50 Greatest Cartoons: As Selected by 1,000 Animation Professionals to be the greatest cartoon of all time.

It is the antithesis of the routine cartoon. In place of snappy one-liners we see Elmer Fudd and Bugs Bunny singing their parts with complete sincerity and commitment. The backgrounds are beautifully textured paintings. The score is powerful and moving. Bugs cuts a striking figure in a metallic brassiere before Madonna was even born. It's audacious and decadent and beautiful and bold and everything the vast majority of cartoons would never dare to be.

Thanks to Bugs and folks like Chuck Jones we got a classical education on TV. Classical as in music, and opera. Masses of folks from the Forties through the Seventies, experienced these cartoons on the big screen and then on the little screen and were introduced to Wagner, Rossini, Verdi, Mozart etc.

The fact that all these composers were the popular music of their day gets forgotten by those who would make classical music some form of 'long haired' intellectual haute culture. Thanks to Bugs and his creators we came to see and hear the music in a pop culture format.

Which is just a sneaky way to promote the fact that this week we are discussing libertarian education on the Carnival of Anarchy.






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The War Against Secular Society

The right wing is expanding it's identity politics campaign claiming that Christianity is being oppressed and abused; with politically correct attacks on outspoken atheists of late.

As Barbara Kay in the National Post writes;

"atheists in democratic countries can't conjure up grim tales of the truncheon's midnight thud on the door,"

Once again proving that right wing political correctness is based on historical revisionism.

Indeed Ms. Kay atheism was considered a legal offense in Merry Olde England for the longest time.

Free Thinkers, as they were called, did have the police truncheon and worse put upon them. Indeed their publications were banned and their printing presses destroyed. Free Thought, indeed secularism, with its libertarian origins in Godwin, Bakunin, Carlisle, Tucker, Proudhon, Woodhull, etc. was began in the late 18th Century and was a 19th Century phenomena.

Richard Carlisle, a "freethinker," opened a lecturing, conversation, and discussion establishment, preached the "only true gospel," hung effigies of bishops outside his shop, and was eventually quieted by nine years' imprisonment, a punishment by no means undeserved.

Despite its origins in Greek Philosophies such as those of Heraclitus and Epicurus, atheism is a modern movement coincidental with the Enlightenment and the development of modern industrial/capitalist society.

And it was the philosopher Spinoza, a Jew, who began the attack on Christianity, Judaism, Islam and all the Abrahamic religions with his philosophical defense of atheism.

It is well known that Marx was familiar with Spinoza; indeed, he hand-copied whole passages of Spinoza's Tractatus Theologico-Politicus into his notebooks. Less clear is the significance of this fact, and the extent of Spinoza's influence on Marx's thought.

And it would be Marx who would proclaim that atheists needed to take one more step to truly be revolutionaries.

In the "Economic and Philosophical Manuscripts" (1844), Marx said:

Once the essence of man and of nature, man as a natural being and nature as a human reality, has become evident in practical life, in sense experience, the quest for an ALIEN being, a being above man and nature (a quest which is an avowal of the unreality of man and nature) becomes impossible in practice. ATHEISM, as a denial of this unreality, is no longer meaningful, for atheism is a NEGATION OF GOD and seeks to assert by this negation the EXISTENCE OF MAN. Socialism no longer requires such a roundabout method; it begins from the THEORETICAL and PRACTICAL SENSE PERCEPTION of man and nature as essential beings. It is positive human SELF-CONSCIOUSNESS, no longer a self-consciousness attained through the negation of religion. (Marx 1964A: 166-67)

In the famous Introduction to the Critique of the Hegelian philosophy of public law, Marx gives an even more explicit and elaborate formulation of this outlook. "Religious misery", he writes, "is at once the expression of real misery and a protest against it. Religion is the groan of the oppressed, the sentiment of a heartless world, and at the same time the spirit of a condition deprived of spirituality. It is the opium of the people. The suppression of religion as the illusory happiness of the people is the premise of its real happiness. It is first and foremost the task of philosophy, operating in the service of history, to unmask self-alienation in its profane forms, after the sacred form of human self alienation has been discovered. Thus criticism of heaven is transformed into criticism of the earth, criticism of religion into criticism of law, criticism of theology into criticism of politics". And just before: "Religion is the consciousness and awareness of man who has not yet acquired or who has again lost himself. But man is not an abstract being, isolated from the world. Man is the world of man, the State, society. This State and this society produce religion, an upside-down consciousness of the world, just because they are an upside-down world. Religion is the general theory of this world, its encyclopedic epitome, its logic in popular form, its spiritualistic point d'honneur, its enthusiasm, its moral sanction, its solemn completion, its fundamental reason of consolation and justification. It is the fantastic realization of human essence, since human essence does not possess a true reality. The struggle against religion is therefore indirectly the struggle against that world of which religion is the spiritual aroma" (K. Marx, Per la critica della filosofia del diritto di Hegel, Introduzione, Rome 1966, pp. 57-58).

Ironically in her attack on atheists Kay attacks Christopher Hitchens, the right wings favorite former Trotskyist turned pro war contrarian. She of course claims that atheists only want to ban Christianity and Judaism.

Aggressively marketed grievance has worked for women and gays. The same strategy for brights will doubtless end in a government-funded Status of Atheists Council to undo the iniquities of 10,000 years of theocratic hegemony and repression. After that, we may yet see -- don't laugh until you're sure it can't happen -- demands for reparations payout by churches and synagogues to redress the ignominy and shame now-atheist, former (involuntarily-designated) Christians and Jews suffered as children when force-fed the Ten Commandments in Sunday and Hebrew School. (Somehow, I do not envisage a similar campaign by Muslim atheists directed against the madrassas, not sure why ?)

While Christopher Hitchens has made it clear for many years that he opposes all theocracies and theocrats, Christian, Jewish or Muslim, heck he doesn't even like the Dali Lama. He has been outspoken against Islamism in fact his support for the war on terror is based upon his atheist opposition to Muslim Fascism.

So like her counterpart at the Sun; Michael Coren, she smears atheists with the Anti-Christian PC label, while failing to accurately point out that atheists oppose all religions and all belief systems that put faith in a supreme being.

Like Coren, Kay and other social conservatives, especially those of the evangelical Protestant faith, believe in the coming Rapture, the end times, and the Israel plays a role in this as predicted in the Book of Revelations in the New Testament.

They of course overlook the persecution and pogroms of the Jews by the Catholic, Orthodox, and Protestant Empires in Europe. They are not defending Jews or Jewish culture, which has had a major cultural impact on the West in developing secularism, socialism, and yes atheism as well as anarchism and libertarianism. Rather they are defending Israel and Zionism.

The phony war on Christianity is just so much bunkum. According to Stats Canada the dominant religion in Canada remains Christianity and its sects and cults.

For Kay, Coren and the Byfields, the supposed war on Christianity is being engaged in by the secularist elites and heathen pagans, whoever they are. Oh yeah the old 'Powers That Be'. Except that the PTB in North America are Christians. Once again the right embraces historical revisionism; the screed of conspiracy theorists.



h/t to Another Point of View




SEE:

Lou Dobbs New Enemy: The Church

Pauline Origins of Social Conservatism

Marxism and Religion

Secular Democracy

GoldilocksEnigma

American Polytheism

1666 The Creation Of The World

Snakes Alive

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