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Electroacoustic sound
imposes its character on an environment because of its ability to
dominate, both acoustically and psychologically. The control of
spatial communication is essential to centralized power and domination.
Acoustic power, amplified through the loudspeaker, or in the form
of any loud sound, is linked to the domination of space. The loudest
sounds have always been associated with the most powerful forces
in the world, whether they represented physical or political power.
For a speaker, the use of rhythmic devices is one of the most powerful
tools available. Rhythmic speech can change the listener’s
physiological state. A slow, steady beat may be hypnotic, and a
fast tempo exhilarating.
Imagine the tornado alarms in the Midwest, they instantly, and
overwhelmingly dictate the environment. Think of the power in the
sound of ƒ thunder
or an avalanche.
Music making takes a form in most cultures that reflects its social
organization. Many authoritarian societies, including the Western
European traditions, are often characterized by formalized music
where there is often a ƒ
soloist and a passive audience. This presents a model of “exclusive
authority,” which relates to the social conduct of the culture
in other ways.
In communal cultures, ƒ
group sound making is the norm, with complex musical textures
being built up from independent interlocking elements, at least
one of which any member of the group is capable of performing. The
cooperative style of this music making reflects the sense of cooperation
found in their culture.
I have wondered
why I sometimes hated the soloist and loved the tribal music.
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