The Original Echo Chamber

Jonathan L. Friedmann, Ph.D.

“A temple is a landscape of the soul. When you walk into a cathedral, you move into a world of spiritual images. It is the mother womb of your spiritual life—mother church.” These words from mythologist Joseph Campbell touch on the primitive spatial and acoustic appeal of Medieval and Renaissance cathedrals. Campbell connects the sensation to that of pictograph-adorned Paleolithic caves, which were also likely used for mystical and spiritual ceremonies. The melodic conventions and vocal techniques adapted to these acoustically active stone-walled spaces—epitomized by the straight, drawn-out, and separated tones of Latin ecclesiastical chant—exploit the echo chamber effect, creating an all-encompassing sonic and physical experience. As I explain in an earlier blog post, these ethereal sounds became synonymous with the cosmic voice.

The impression of safety and repose these spaces provide is captured in Campbell’s phrase, “the mother womb.” This image can be taken a step further. The sonically induced, archaic feelings take us back to the literal womb: the original acoustic envelope where direct and indirect sounds are experienced as an undifferentiated gestalt. Psychoanalyst Didier Anzieu describes it as a “sonorous bath”: a lulling sense of weightlessness, rebirth, and being transported.

The ear awakens during the fourth month of fetal development. By week twenty-five, the cochlea—the ear’s frequency analyzer—reaches adult size. From that point forward, the fetus receives, processes, and responds to a growing array of amalgamated sounds, including pressure variations in the bodily walls, two cycles of heartbeats (the mother’s and her own), and acoustic input from outside the womb. The unfiltered sounds are presumably analogous to those heard in a reverberating space, such as a cave or cathedral.

Only in early childhood does the ear begin to categorize different sounds. Following R. Murray Schafer’s concept of the “soundscape,” or the combination of acoustic signals heard in an immersive environment, normally functioning ears automatically distinguish between background and foreground signals, both natural and human-made. This behavior, which combines innate capacity and cultural conditioning, is not present in the echoing womb. The lively reverberations, so closely associated with sacred spaces, recall that original echo chamber. Indeed, conceptions of God (or gods) as compassionate, protecting, loving, comforting, and so forth may even be rooted in this simulated return to the womb.

Visit Jonathan’s website to keep up on his latest endeavors, browse his book and article archives, and listen to sample compositions.

Anthropophony

Jonathan L. Friedmann, Ph.D.

Musician and naturalist Bernie Krause identifies two categories of organism-derived sounds: biophony, sounds created by non-human animals, and anthropophony, sounds produced by human beings. Some of these sounds are “musical” in the inclusive sense of displaying structured and intentional patterns that unfold over time. Precisely which sounds fit under this broad definition is debatable. However, on a basic level, we are intuitively attentive to musical sounds around us, both creaturely and human-made. What is perhaps less obvious—and more fundamental—is the extent to which our sense of music is physiologically derived.

This anthropogenic (human-born) appreciation centers on two essential musical elements: rhythm and melody. Both originate with inborn “instruments.” Heartbeats and breathing lay the foundations of rhythm. The voice sets the template for melody. As individuals mature and cultures progress, these internal mechanisms are translated into external instruments, which are themselves imitations and expansions of the organ-instruments within.

Rhythmic awareness begins in the womb. The underlying neural structures of hearing develop early in utero. By the end of the third trimester, a fetus can distinguish a wide range of frequencies. This includes her own heart rate, which beats 120 to 160 times per minute, and her mother’s, which beats 60 to 80 times per minute. When the infant is born, the tempo of breathing is added to the mix. As the child develops, rhythmic exposure and experimentation are diversified: rocking, clapping, banging, shaking, walking, stomping, dancing. It is no coincidence that excited music is fast-paced, mimicking quick breaths and heartbeats, while relaxed music is slow-paced, mimicking calm breaths and heartbeats. Techno, dirges, marches, meditations, and all manner of musical styles play off these natural rhythms.

Similarly with melody. The mother’s voice, which also resonates in the womb, is our first introduction to melodic patterns. Newborns show a preference for music (organized sound) over noise (confused sound), and for vocal music over instruments. Mothers instinctively communicate through “motherese”—high-pitched, sliding, infant-directed intonations—which, through exaggeration, reinforces characteristics of the native language. The infant, in turn, babbles in language-patterned speech-song long before she can form words. These verbal and verbal-imitative vocables set the framework of melody, both sung and instrumental. In every culture, melody is deeply rooted in the phrasing, inflections, and articulations of the spoken vernacular.

We cannot escape the physiological/anthropogenic basis of music perception and production. Rhythmic and melodic sense are born with us. Our heart, breath, and voice invariably inform which sounds—human and non-human—we hear as music, and which ones we do not.

Visit Jonathan’s website to keep up on his latest endeavors, browse his book and article archives, and listen to sample compositions.