"Hence, it is very difficult to speak about music... The reason for this is that it is very difficult to unite language, which belongs to the order of the general, with music, which belong to the order of difference... Now my evaluation of music involves the voice, and very specifically the voice of a singer I have known, one whose voice has remained in my life the object of a constant love and of a recurrent meditation which has often carrie me, beyond music, toward the text and toward language... The human voice is, as a matter of fact, the privileged (eidetic) sit of difference: a site which escapes all science, for thee is not science (physiology, history, aesthetics, psychoanalysis) which exhausts the voice: no matter how much you classify and comment on music historically, sociologically, aesthetically, technically, there will always be a reminder, a supplement, a lapse, something non-spoken which designates itself: the voice." (Music, Voice, Language pg. 279)
Although I had a difficult time understanding the thesis statement(s) Barthes was trying to relay, I did greatly enjoy the many quotes about music that I connected to - one of them being about the voice and language and difference that exists in music. When I read the above passage, I automatically thought of music I know in a different language that I love, and of course, Selena Quintanilla came to mind! Even when there is difference in language being spoken in music, sometimes the voice of the singer and/or the rhythm of the beat is so transformative and captivating, that those differences no longer matter! I love that Barthes points out that no person can be a perfect music theorist precisely because such difference in preference, genres, and meaning/memories derived from music exists, making it impossible for any single person to understand all music and all the varied effects and affects that may have on others. It reminds me of the Griel Marcus readings from last week, where Marcus spoke about Bob Dylan's Self Portrait album. Originally, the album only received negative attention, critics did not understand the simplicity and rawness of Dylan's music. However, with time, the simplicity became a way larger symbol that the masses eventually connected with, and the album became one of the most popular albums of Bob Dylan's career. I missed posting for the Griel Marcus week, so below I am attaching a link for Graham Nash's "Sleep Song," a song that I originally thought was too simple, too folkish, and too "mom" of a song. Now, however, I love this song and I think it is one of the best love songs that I know, and as Barthes says, "What is there to say about what one loves except: I love it, and to keep on saying it?"
https://youtu.be/Hs72DMHb5jw
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