Jonathan L. Friedmann, Ph.D.
The earliest rudiments of musical expression were most likely vocal. This basic premise connects diverse speculations about music’s origins. Whether music—broadly defined as structured, controlled, and purposeful sound—began with grunts of aggression, wails of pain, mating howls, or infant-directed communication, the vocal instrument was the source from which it sprang. Despite the lack of records stretching back hundreds of thousands of years, speculative musicologists have sketched cursory evolutions of vocal music. According to Alfred Einstein, the eon-spanning process had three stages: pathogenic (emotion-born), logogenic (language-born), and melogenic (melody-born). This hypothesis, presented in his 1954 essay “Words and Music,” is unique for its qualitative editorializing. In Einstein’s view, the combination of voice and music becomes increasingly problematic as the stages unfold.
The first stage, pathogenic music, represents the “starkest expression of pure emotion.” Einstein viewed the spontaneous, wordless tones of so-called “primitives” as the most pristine type of vocal music. Beyond romanticizing the “noble savage,” he argued that “the meaningful word weakens rather than strengthens such pure expression, since convention tends to attenuate it.” The union of word and music pollutes the original purity.
The degrading effect is less pronounced in stage two: logogenic music. In word-born song, melodic shape, movement, phrasing, and cadences are directed by the ebb and flow of a text, rather than a consistent beat or meter. It is a form of musical grammar—sometimes called speech-melody or stylized speaking—wherein accents and inflections are stressed through unobtrusive, arhythmic, word-serving melodic figures. Such is the mode of Greek epic poetry, Gregorian plainchant, and Jewish scriptural cantillation. Logogenic music has its own disadvantage—namely, the neutralizing of emotion. Because the music serves the text with formulaic motives (described by Einstein as a “minimum of music”), the same sounds are invariably used to transmit texts of varying thematic and emotional content. In this sense, it is the opposite of pathogenic vocalizing.
The third stage is song proper: a short poem or set of words fitted to a metrical tune. By and large, musical considerations, like rhythm and melody, outweigh textual concerns. Although songs often grow from or reflect upon emotional states, the rules of style and form tend to restrain raw feelings. The structure limits the syllables available, and measured phrases and poetic devices reduce word options. The result is filtered sentiment—a contrast to both unfettered pathogenic music and text-first logogenic music.
Without doubt, Einstein’s scheme has its weaknesses. Not only is the evolution of song non-linear (all three forms still exist today), but blending is also not uncommon. For instance, blues singing, which adheres to highly conventional forms, is known for its “pure emotion.” Within a strict melogenic framework, short phrases and repeated words convey rich layers of emotional content. Even so, Einstein’s three-stage outline raises awareness of the potential impediments of the various types of vocal music. Knowledge of these built-in barriers can help the performer or songwriter transcend them in their own musical quests.
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