the lost man chronicles
the kinesiology of music, part one .80
there is music everywhere and we can make music with practically anything. we, ourselves, are instruments. our fingers provide the rhythm, while our minds make the melody out of the harmony we hear aleatorically in nature.
it is actually quiet amazing how instrumentally endowed we all are. percussion alone can be had by toe tapping, finger snapping, knee slapping, chest thumping, and, of course— clapping. we can also whistle, hum, scat, chant, and certainly, sing (or at least some of us can).
there is also the silent music we make when we dance. most of us have the resources to make it, but we repress it because we are afraid what others might think—thus, likewise we reserve our singing to the shower and our dancing to when we are alone and out of sight.
this unnatural repression seems to be quite the predilection in this society.
here, right here in river city, i've witnessed the musical divide between the people of the north and those of all the south for much of my life. essentially, it comes down to this—the colder the culture is, the more it tends to formalize our natural proclivity to enjoy, make and be music.
the phenomena is akin to how verse is likewise limited to the written word. rather then allowing it to be the insight that guides us to make poetry of our lives, poems are relegated to collections that fill library shelves, and so music follows suit.
"And at the touch of him everyone becomes a poet, even though he had no music in him before; this also is proof that Love is a good poet and accomplished in all the fine arts; for no one can give to another that which he has not himself, or teach that of which he has no knowledge."
~Agathon, Symposium, Plato
putting movement back .79 81. the kinesiology of music, 2