{"id":27200,"date":"2021-10-19T02:54:00","date_gmt":"2021-10-19T02:54:00","guid":{"rendered":"https:\/\/www.lifeandnews.com\/articles\/?p=27200"},"modified":"2021-10-23T01:10:54","modified_gmt":"2021-10-23T01:10:54","slug":"whats-behind-the-magic-of-live-music","status":"publish","type":"post","link":"https:\/\/www.lifeandnews.com\/articles\/whats-behind-the-magic-of-live-music\/","title":{"rendered":"What\u2019s behind the magic of live music?"},"content":{"rendered":"\n

Mariusz Kozak<\/a>, Columbia University<\/a><\/em><\/p>\n\n\n\n

For months, fans were relegated to watching their favorite singers and musicians over Zoom or via webcasts. Now, live shows \u2013 from festivals like Lollapalooza<\/a> to Broadway musicals<\/a> \u2013 are officially back.<\/p>\n\n\n\n

The songs that beamed into living rooms during the depths of the COVID-19 pandemic may have featured an artist\u2019s hits. But there\u2019s just something magical<\/a> about seeing music surrounded by other people. Some fans reported being so moved by their first live shows in nearly two years that they wept with joy<\/a>.<\/p>\n\n\n\n

As a music theorist<\/a>, I\u2019ve spent my career trying to figure out just what that \u201cmagic\u201d is. And part of understanding this requires thinking about music as more than simply sounds washing over a listener.<\/p>\n\n\n\n

Music as more than communication<\/h2>\n\n\n\n

Music is often thought of as a twin sister to language<\/a>. Whereas words tend to convey ideas and knowledge, music transmits emotions.<\/p>\n\n\n\n

According to this view, performers broadcast their messages \u2013 the music \u2013 to their audience. Listeners decode the messages on the basis of their own listening habits, and that\u2019s how they interpret the emotions the performers hope to communicate.<\/p>\n\n\n\n

But if all music did was communicate emotions, watching an online concert should\u2019ve been no different than going to a live show. After all, in both cases, listeners heard the same melodies, the same harmonies and the same rhythms.<\/p>\n\n\n\n

So what couldn\u2019t be experienced through a computer screen?<\/p>\n\n\n\n

The short answer is that music does far more than communicate. When witnessed in person, with other people, it can create powerful physical and emotional bonds<\/a>.<\/p>\n\n\n\n

A \u2018mutual tuning-in\u2019<\/h2>\n\n\n\n

Without physical interactions, our well-being suffers. We fail to achieve what the philosopher Alfred Sch\u00fctz called a \u201cmutual tuning-in<\/a>,\u201d or what the pianist and Harvard professor Vijay Iyer more recently described as \u201cbeing together in time<\/a>.\u201d<\/p>\n\n\n\n

In my book \u201cEnacting Musical Time<\/a>,\u201d I note that time has a certain feel and texture that goes beyond the mere fact of its passage. It can move faster or slower, of course. But it can also thrum with emotion: There are times that are somber, joyous, melancholy, exuberant and so on.<\/p>\n\n\n\n

When the passage of time is experienced in the presence of others, it can give rise to a form of intimacy in which people revel or grieve together. That may be why physical distancing and social isolation imposed by the pandemic were so difficult for so many people \u2013 and why many people whose lives and routines were upended reported an unsettling change in their sense of time<\/a>.<\/p>\n\n\n\n

When we\u2019re in physical proximity, our mutual tuning-in toward one another actually generates bodily rhythms that make us feel good<\/a> and gives us a greater sense of belonging<\/a>. One study found that babies who are bounced to music in sync with an adult display increased altruism<\/a> toward that person, while another found that people who are close friends tend to synchronize their movements<\/a> when talking or walking together.<\/p>\n\n\n\n

Music isn\u2019t necessary for this synchronization to emerge, but rhythms and beats facilitate the synchronization by giving it a shape.<\/p>\n\n\n\n

On the one hand, music encourages people to make specific movements and gestures while they dance or clap or just bob their heads to the beat. On the other, music gives audiences a temporal scaffold: where to place these movements and gestures<\/a> so that they\u2019re synchronized with others. https:\/\/www.youtube.com\/embed\/4hYYgz-AJKU?wmode=transparent&start=0 Harry Connick, Jr. gets the crowd clapping in unison.<\/p>\n\n\n\n

The great synchronizer<\/h2>\n\n\n\n

Because of the pleasurable effect of being synchronized with people around you, the emotional satisfaction you get from listening or watching online is fundamentally different from going to a live performance. At a concert, you can see and feel other bodies around you.<\/p>\n\n\n\n

Even when explicit movement is restricted, like at a typical Western classical concert, you sense the presence of others, a mass of bodies that punctures your personal bubble.<\/p>\n\n\n\n

The music shapes this mass of humanity, giving it structure, suggesting moments of tension and relaxation, of breath, of fluctuations in energy \u2013 moments that might translate into movement and gesture as soon as people become tuned into one another.<\/p>\n\n\n\n

This structure is usually conveyed with sound, but different musical practices around the world suggest that the experience is not limited to hearing. In fact, it can include the synchronization of visuals and human touch.<\/p>\n\n\n\n

For example, in the deaf musical community, sound is only one small part of the expression. In Christine Sun Kim\u2019s \u201cface opera ii<\/a>\u201d \u2013 a piece for prelingually deaf<\/a> performers \u2013 participants \u201csing\u201d without using their hands, and instead use facial gestures and movements to convey emotions. Like the line \u201cfa-la-la-la-la\u201d in the famous Christmas carol \u201cDeck the Halls<\/a>,\u201d words can be deprived of their meaning until all that\u2019s left is their emotional tone.<\/p>\n\n\n\n

In some cultures, music is, conceptually, no different<\/a> from dance, ritual or play. For example, the Blackfeet in North America<\/a> use the same word to refer to a combination of music, dance and ceremony. And the Bayaka Pygmies of Central Africa<\/a> have the same term for different forms of music, cooperation and play.<\/p>\n\n\n\n

\"Boy
The Blackfeet, a Native American tribe, don\u2019t have separate words for music, dance and ceremony. RJ Sangosti\/The Denver Post via Getty Images<\/a><\/figcaption><\/figure>\n\n\n\n

Many other groups around the world categorize communal pursuits under the same umbrella.<\/p>\n\n\n\n

They all use markers of time like a regular beat \u2013 whether it\u2019s the sound of a gourd rattle<\/a> during a Suy\u00e1 Kahran Ngere<\/em> ceremony<\/a> or groups of girls chanting<\/a> \u201cMary Mack dressed in black\u201d in a hand-clapping game \u2013 to allow participants to synchronize their movements.<\/p>\n\n\n\n

Not all of these practices necessarily evoke the word \u201cmusic.\u201d But we can think of them as musical in their own way. They all teach people how to act in relation to one another by teasing, guiding and even urging them to move together.<\/p>\n\n\n\n

In time. As one.<\/p>\n\n\n\n

[Get the best of The Conversation, every weekend.<\/em> Sign up for our weekly newsletter<\/a>.]<\/p>\n\n\n\n

Mariusz Kozak<\/a>, Associate Professor of Music and Music Theory, Columbia University<\/a><\/em><\/p>\n\n\n\n

This article is republished from The Conversation<\/a> under a Creative Commons license. Read the original article<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Mariusz Kozak, Columbia University For months, fans were relegated to watching their favorite singers and musicians over Zoom or via webcasts. Now, live shows \u2013 from festivals like Lollapalooza to Broadway musicals \u2013 are officially back. The songs that beamed into living rooms during the depths of the COVID-19 pandemic may have featured an artist\u2019s […]<\/p>\n","protected":false},"author":44,"featured_media":27201,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[293,8025],"tags":[147,7689,5974,10681,53,10680,4151,457,3621],"_links":{"self":[{"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/posts\/27200"}],"collection":[{"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/users\/44"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/comments?post=27200"}],"version-history":[{"count":2,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/posts\/27200\/revisions"}],"predecessor-version":[{"id":27228,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/posts\/27200\/revisions\/27228"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/media\/27201"}],"wp:attachment":[{"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/media?parent=27200"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/categories?post=27200"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lifeandnews.com\/articles\/wp-json\/wp\/v2\/tags?post=27200"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}