It is undeniable that humans are born with an innate inclination towards music. In the mid-1980s, a theory gained popularity, suggesting that even fetuses respond to music during their early stages of development. This theory was based on experiments conducted by two educational musicologists in the former Soviet Union and West Germany. Subsequently, these scholars recommended exposing the fetus to music as it nourishes the functions of their body with its vibrations, which would ultimately have a positive impact on their musical responsiveness in the future. The evidence strongly suggests that these experiments have unequivocally proven the profound influence of musical sound on both the physical and spiritual aspects of human functioning. As for the physical effects of music, we can mention various bodily functions. These include the circulatory system, heart rate, digestion, and sensations of hunger and thirst. When it comes to the spiritual impact, we can observe that music can evoke feelings of pleasure and pain, a sense of freedom and liberation, and assist in overcoming psychological states such as depression, fear, and despair.
Sophisticated societies aspire to utilize music in a way that nurtures individual experiences, enabling the development of their ability to appreciate elevated aesthetic preferences. This, in turn, becomes a measure of the refinement of their taste.
Indeed, experiments have yielded compelling evidence that there exists a musical correlation to the various physiological vibrations emanating from our bodily organs, including respiration, heartbeats, and stress, among others. This is due to the intricate nature of melodies, which, as they permeate the human being through the auditory system, carry vibrations that encompass elements of tension, serenity, elevation, descent, and more. These vibrations permeate into the subconscious mind, exerting a profound influence on individuals.
Definitely, this comprehension highlights the undeniable fact that music, despite its abstract essence, holds a deep and influential power. As a result, sophisticated societies endeavor to utilize music in a way that fosters individuals' musical experiences, thereby enriching their capacity to develop refined aesthetic preferences. These preferences serve as a measure of their musical discernment, reflecting the growth and evolution of their musical appreciation. It is important to recognize that ideal musical appreciation is not a random occurrence, but rather a phenomenon that unfolds in accordance with musical education principles, starting from the early stages of an individual's life.
The ancient Greeks, with their deep understanding of music, recognized the essential link between musical knowledge and musical appreciation. They sought to establish the fundamental principles of musical education, aiming to elevate individuals' responsiveness to music. In his influential work "The Republic," philosopher Plato emphasized the paramount importance of music. He believed that a comprehensive musical education was essential in enabling individuals to develop refined aesthetic preferences. Plato argued that through this education, individuals would gain the ability to make judgments and choices based on these cultivated preferences. Music was seen as a transformative force, shaping not only individuals but also society as a whole. The intricate details surrounding musical education in ancient Greece reflect the broader relationship between music, state institutions, and influential elites. Music was woven into the cultural fabric and social structure, with the goal of creating an enlightened and harmonious society. The Greeks understood that musical education was not just about technical aspects but also about nurturing an understanding of the emotional and aesthetic dimensions of music. Their insights continue to resonate, underscoring the profound impact of music in shaping individuals and society.
Music Education and the Level of Musical Taste in the Abbasid Era
During the Abbasid era, the translation movement from Greek to Arabic was active, allowing Arabs to understand the intricate relationship between music education and the level of musical taste. Various theories emerged on this subject, with one of the most prominent being the theory of the thinker Ahmad Al-Sarakhsi regarding the nature of musical taste and its contents among individuals.
Moreover, Al-Sarakhsi categorized music enthusiasts into three groups: The first group consists of individuals who are unaware of the principles of singing, poetry, grammar, and prosody. This group quickly finds pleasure in what they hear, regardless of its artistic value. The second group includes individuals who have knowledge of the principles of poetry, grammar, and prosody but lack an understanding of the principles of singing. They find less enjoyment in music compared to the first group. The third group comprises individuals who possess knowledge of the principles of poetry, grammar, prosody, and singing. Their enjoyment (taste) is linked to stringent artistic standards that are not present in everything they listen to. According to this theory, there is a direct relationship between the representation of ideal artistic standards and musical taste, while ignorance of these standards results in an inverse relationship. This theory highlights the importance of music education in developing individuals' level of musical taste. Providing the necessary knowledge of the principles of poetry, grammar, prosody, and singing helps establish strict artistic standards for evaluating music, thus enhancing the ability to make enlightened decisions based on refined artistic preferences.
During the European Renaissance, music underwent a transformative shift in its perception and appreciation. The intellectual elite of society began to recognize music as more than just entertainment, but as a profound form of expression that stimulated both the intellect and emotions. Scholars delved into the complexities of music theory, exploring its mathematical foundations and its interconnectedness with the natural world. With the advent of journalism in the 17th century, music criticism emerged as a vehicle for disseminating knowledge and understanding of music to a wider audience. Music critics played a vital role in educating the public about the intricacies of music, fostering a deeper appreciation and refined taste among individuals from all walks of life.
The impact of this movement extended beyond music itself, influencing other art forms and enriching the overall aesthetic development of society. By broadening cultural horizons and encouraging a more democratic engagement with music, the Renaissance and the subsequent rise of music criticism paved the way for a deeper understanding and appreciation of the beauty and power of music. This period marked a turning point in the history of musical taste, shaping the way individuals and communities engage with music and fostering a more refined and discerning aesthetic sensibility.
However, in underdeveloped countries, such as Arab nations, the situation was indeed quite different. These countries lacked a dedicated music journalism sector focused on the dissemination of musical culture. Instead, artists relied on the exchange of traditional musical knowledge within their private circles. Even during the musical renaissance that emerged in Egypt, the Levant, Yemen, and Iraq in the 19th century, the focus remained primarily on the practical aspects of music, with the theoretical dimension noticeably absent from the musical scene. It is regrettable that when music journalism did make its way into the artistic sphere, it did not attain the same level of importance as it did in Europe. In Europe, renowned composers like Carl Weber, Robert Schumann, Hector Berlioz, Richard Wagner, and E.T.A. Hoffmann played active roles in engaging with and addressing musical issues.
In the past, we had platforms that warmly embraced and welcomed critical articles. However, in today's age, the advent of social media has opened the floodgates to a multitude of voices, leading to a state of intellectual and musical impoverishment. This is further exacerbated by the lack of widely accepted critical standards, which has deepened the challenges we face in assessing and evaluating musical works.
Doubt Surrounding Music Criticism
One remarkable phenomenon worth mentioning is the German composer Gluck, who dedicated himself to musical writing with a singular purpose: to elucidate and interpret his groundbreaking experiences in operatic theater. He delved into the motivations, mechanisms, and aesthetic inspirations that underpinned his musical theatrical endeavors. It was a splendid moment of humanistic and musical enlightenment, where these musicians laid the groundwork for what is now known as "music criticism."
Regrettably, Yemenis have yet to fully grasp the significance of this field due to a cultural inclination to personalize matters, which has hindered the development of a genuine music criticism movement. Authentic music criticism should strive for corrective analysis, insightful interpretation, and prudent guidance to ensure that the trajectory of the music scene follows a sound path governed by aesthetic principles. All participants in the musical realm should adhere rigorously to these principles, even if it leads to the practice of "critiquing the critique" itself.
And now the question arises: how long will Yemenis continue to regard music criticism with unwarranted doubt? It is evident that this skepticism stems from the prevailing backwardness that equates criticism with disparagement in Yemen. Allow me to speak honestly, during the 1980s, our magazines and newspapers eagerly embraced critical articles, which personally motivated me to continue writing for various publications, both official and private. However, today, the advent of social media has opened the floodgates to a deluge of opinions, leading to a lamentable state of intellectual and musical impoverishment. This dire situation has been exacerbated by the absence of widely accepted critical standards, which are essential for fostering a healthy musical landscape. Some of these standards include:
Proficiency in musical composition, arrangement, or performance.
Familiarity with musical theory and principles.
Understanding different artistic movements and the aesthetic significance of musical terminology.
Immersion in the historical and contemporary aspects of the artistic field within our society.
The critic should possess a strong foundation in fields such as musical aesthetics, psychology, and sociology.
It is disheartening to witness the decline of music criticism in Yemen due to these factors. We must strive to restore the importance and value of genuine music criticism, as it is crucial for the growth and development of our musical culture. And here, I do not seek to exaggerate, but rather to acknowledge a fundamental truth that must be recognized, especially among those who are labeled as the electronic buzzing flies, spreading rumors and falsehoods that defy reason and conscience.
In conclusion, it is imperative for us, as individuals and as a society, to overcome the obstacles that hinder the development of genuine music criticism in Yemen. We must strive to foster a culture that values constructive analysis, insightful interpretation, and the pursuit of musical excellence. By embracing recognized critical standards and promoting a climate of open-mindedness and intellectual growth, we can elevate the discourse surrounding music and ensure its rightful place as a vital aspect of our cultural heritage. Let us break free from the constraints of doubt and embrace the transformative power of music criticism for the betterment of our artistic community.
