As there are now at least two of us who have not contributed to the book (Legate and myself) who have copies of
Music in Middle-earth, it is perhaps not too hasty of me to start a thread for discussion. I've chosen "A Speculative History of Music in Middle-earth" by Stephen Linden as the ur-paper.
I have long admired this paper since first reading it online and my admiration has increased as I've perused it in book form. It seems to me to be one of the few early articles on Tolkien's music that is based upon a logical extrapolation of hints and details given in
The Silmarillion,
The Lord of the Rings, and
The Hobbit rather than upon an emotive response to Middle-earth culture . While there is nothing wrong with an emotive response, Linden's method is one which provides many avenues for thought and analysis rather than simple opinion. It is, as well, a method particularly well-known to many Downers.
Quote:
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Originally Posted by Linden, 75
Tolkien was a professional philologist, but had little knowledge of music . . . . This results in some very large gaps in our knowledge of the music of Middle-earth; and, as with so many other gaps in the Legendarium, it is irresistibly tempting to try to fill them in.
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Sound familiar? I bet it does.
Linden begins by examining the tendency of many to equate the music of Middle-earth with that of the European Medieval Ages. But Middle earth is, as he says, far more ancient than the Dark or Middle Ages and he tries to place a particular musical development, the rise of polyphony, within that long span. And in good fashion he immediately finds a problem.
Quote:
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Originally Posted by Linden, 77
Polyphony really did develop out of monophony [in our age], through a process of increasing sophistication and complexity. But that is not how things work in Middle-earth. There it is not a matter of making newer and better things. There, great things, once achieved, often can never be achieved again. So it is for Yavanna and the Trees, Feanor and the Simarils, the Teleri and their white ships. In Arda, decay and decline are dominant, even if they can sometimes be reversed in the short term; the history of Arda is the history of the 'long defeat.' Why should the same not apply to its music?
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From this conjecture, Linden then teases out a fascinating "evolution of musical styles in Arda" (77), from the nature of the
Ainulindale, to the water inspiration of Elven music and how each group of Elves develop their music, to the possible styles of the music of the Edain and the Numenoreans, and finally concluding with Dwarven, Rohirric, and Hobbit music.
I won't spoil the fun of other Downers by examining some of his examples--I'm sure there will be others more knowledgable about music than me who will want to provide their own particular take on the possibilities which Linden uncovers. His speculations, though, are "irresistably tempting."