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Song Lyrics and Life

Not being a very musical person, I have always been intrigued by lyrics, the “words,” which makeup what I might refer to as the narrative nature of songs, rather than the rhythms.  Zelda Fitzgerald contended, as gleaned from reading a major biography of her, that she “wanted to live her life based on the lyrics of popular songs.” How intriguing to contemplate what might be considered a rather modern perspective, so typically associated with youth. Of course, to an old foggy like me, maybe I am wrong to assume that young people even listen to the lyrics today, and only wish to “vibrate” to the sounds themselves.  Words have always been so vital to me that I just assume there would be relevance for everyone to associate with lyrics in such a way.  Even what Zelda professed was not such bad logic.

Anyway, for those of us who have lived the era of Bob Dylan and Don McClean, maybe I should not be surprised with the likes of “Five for Fighting,” a pop/rock group of the contemporary music scene (the lead singer’s interest in the sport of hockey and the penalty term happens to be the basis for the name of the group).  Their stylized, improvised use of falsetto delivery catches the attention of the listener, and the lyrical sentiments are implanted in our memory cells so that we are plagued by the reverberations caught in the mind.  I know some young people are listening to this group and have attempted to have discussions with them about the lyrics.  Some blank stares more often than not seem to be the primary response.

Nothing new in the proverbial “Dance to the music of time,” as exemplified and rendered voluminously (12 novels) by the English writer Anthony Powell who portrayed such harmonies and dissonance over the decades from WWI through the 1960s through his literary offerings.  When words and music are combined we have a feast of experience to be savored through multiple dimensions.  Powell made a monumental effort through words to record the rhythms we live with.

Contrastingly, on one particular journey Dr. William A. Owens got me involved with a “Sacred Harp Convention” where only the singing voice (I suppose the ‘sacred harp’), in counter-point with other voices, happens to be the mainstay of expression.  Dr. Owens was an avid collector of folk songs and hymns, and was considered something of an expert in this field, especially where our region is concerned. 

As is the case with most such experiences, the ear and the mind have to be trained to appreciate the delivery.  Our days are filled with such voluble experiences, whether they have telling impact at the time or not.  In whatever context, including all those mentioned, it takes a little effort to have a comfortable relationship with our “muse.”

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