Rhythmic patterns and sound that came before sense

The mockingbird’s elusive complexity still sounds like a code waiting to be cracked. It may be harder to answer the question of what birds sing than why! Think of the power of mantras, Hindu incantations that on the surface are composed of nonsense syllables but when internalized lead the soul to higher spiritual states. So are the sounds still nonsense? The mantra’s power lies in the telling and repeating, not in any specific message conveyed by the arrangement of sounds.

Berkely philosopher Frits Staal realized that this kind of communication has something in common with the way we have come to understand bird song. It is not quite music, not quite language, but rather a structured string of sounds with a clear ritual purpose. Mantras are meant to be repeated by the chanter over and over, approaching endless repetition as the sound swirls inside the brain. You hypnotize yourself with the endless possibility in each abstract sound and the crystallization of the pattern.

Sanskrit is among the oldest languages, of all our Indo-European tongues. Now [Frits] Staal* says mantras, rhythms of sound that do not quite make sense, may lie at the roots of Sanskrit. Here’s an ancient song from the Vedas to be sung in the forest: Ayamayamayamayamayamayamauhova. Literally all it means is “thisonethisonethisonethisonethisonnnnnne …” You are supposed to sing it when you consecrate an altar out of doors. Staal believes such resonating, repeating measures of sound may be older than human language itself. It may have worked like this: Our ancestors chanted rhythmic patterns of sound long before we ever thought that sounds should signify specific things. Sound came before sense, before we had history, back in the time of birds. Language came out of ritual rather than the other way around.

Why birds sing : a journey through the mystery of bird song by David Rothenberg. New York: Basic Books ©2005, pp. 184-5.

https://www.worldcat.org/oclc/896845100

* Frits Staal. Ritual and mantras: rules without meaning. New York: Peter Lang, 1990, p. 305

https://www.worldcat.org/oclc/954122166

Other editions: Delhi: Motilal Banarsidass, 1996, 1993.

Let’s listen to the voice of the Earth

“We need to slow down and with humility listen to the voice of the Earth. We need to face this crisis with resilience, patience, solidarity and equanimity. […] We are all totally interconnected and interrelated. Therefore, we need to be in a constant, creative and congenial conversation with the Earth.”

Satish Kumar is Editor Emeritus of Resurgence & Ecologist | Read his full article Voice of The Earth in Resurgence & Ecologist (Issue 320 May/June 2020 Stubborn Optimism)

On the responsibility to share one’s legacy: “My music is never isolated” – Aruna Sairam

The Sangita Kalanidhi is a happy validation of Sairam’s life and struggles, but “it also entails an important responsibility — to record, document, and share,” she points out.

This year’s Sangita Kalanidhi awardee says the freedom to create helped her channel her life into art | Read the full interview (The Hindu, 5 October 2018) >>

Related post

Exploring a wealth of rhythmic and melodic motifs: Interactive music session for and with Montessori teachers – Zurich

At the invitation of Christine Urand (Director, Rietberg Montessori School) Ludwig Pesch took the full assembly of teachers on a musical journey across South India: exploring a wealth of rhythmic and melodic motifs suitable for young learners while enabling parents, teachers and care-givers to enjoy music making themselves (even as “lay people”, musically speaking).

This event was also an occasion to explore and discuss the scope for actively participating in an intercultural dialogue, something the presenter has long been known for, while paying homage to Maria Montessori; 1 both as contributor to ISME World Conferences and in association with educational and cultural institutions across the entire spectrum: teacher training, kindergarten, schools, rehabilitation just as staff integration programmes; conservatoria and universities in several countries; and creative projects developed in association with the Goethe Institute and exhibition makers at internationally renowned museums.

Date: 1 March 2018. Events on similar lines have been developed in conjunction with Museum Rietberg (Zurich) on the occasion of exhibitions of rare Indian art (in collaboration with art education staff).

Deutsch: Eine musikalische Reise für alle >>


  1. From 1939 until 1947 Dr. Maria Montessori worked closely with Rukmini Devi, founder of Kalakshetra (est. in 1936 in Adyar/Madras, now part of Chennai) These pioneering efforts remain as relevant today as in the early 20th century[]

The Unesco Courier December 1961: Rabindranath Tagore: A Universal Voice

pp. 16 music notation and article on Tagore’s music by Philippe Stern & Arnold A. Bake


Download the full issue herehttps://unesdoc.unesco.org/images/0006/000643/064331eo.pdf

More on and by Rabindranath Tagore >>

Listen to Tagore: Unlocking Cages: Sunil Khilnani tells the story of the Bengali writer and thinker Rabindranath Tagore: https://bbc.in/1KVh4Cf >>
The acclaimed BBC 4 podcast series titled Incarnations: India in 50 Lives has also been published in book form (Allen Lane).

“I was moved by how many of these lives pose challenges to the Indian present,” he writes, “and remind us of future possibilities that are in danger of being closed off.”1

  1. Sunil Khilnani quoted in a review by William Dalrymple in The Guardian, 14 March 2016[]