According to Encyclopedia Britannica Online, folk music is a type of traditional music (often concerning rural subject matter) that originally was passed down through families and other small social groups . . . learned through hearing rather than reading (folk music, 2008). With that in mind, when I speak of folk music I mean the traditional music addressing easily accessible subjects passed down through an oral tradition and generally known by all community members (Ruehl, n.d.).
While folk music might seem at first glance to be only loosely related by the nature of its receiver to the strictly verbal orality spoken to by Ong, “[o]ral communication unites people in groups” (Ong, p. 69), and for part of my family, folk music surely did that as well. Moreover, folk music usually deals with an oral narrative in the same way that a recited story does. My mother’s family had a rich tradition of family/community music. Some of my earliest memories are of huge extended family gatherings where everyone seemed to bring a musical instrument and we all gathered to listen to, sing, and play favorite songs, all of which told stories.
No written music ever graced those sessions (indeed, I was one of the few who could even read music) and lyrics were always learned “on the fly” as the songs were sung over and over. Those old folk songs bound us together as surely as any other factor. These song fests were shared experiences that marked all of our experiences together. Even today, I share closeness with my cousins of all degrees on this side of my family despite the fact that we lived scattered across the United States and that the majority of us have met only a handful of times in our lives. Those songs built a closeness and community among us that I have found in few other places in my life.
On the other hand, as I was growing up I lived near most of my father’s family, which gathered much more often than my mother’s family. The difference in the activities involved in these gatherings was marked, however. When my father’s family met, while the women cooked and cleaned, everyone else watched a football or baseball game or engaged in some other solitary pursuit. There was really no oral communication to speak of and I was not the only one of my generation who spent these hours immersed in comic books, looking up at those around me only when directly addressed. We exchanged nothing that could create or even resemble a coherent spoken narrative.
Sight isolates, sound incorporates. Whereas sight situates the observer outside what he views, at a distance, sound pours into the hearer. . . . Vision comes to a human being from one direction at a time: to look at a room or a landscape, I must move my eyes around from one part to another. When I hear, however, I gather sound simultaneously from every direction at once: I am at the center of my auditory world, which envelopes me, establishing me at a kind of core of sensation and existence. This centering effect of sound is what high-fidelity sound reproduction exploits with intense sophistication. You can immerse yourself in hearing, in sound. There is no way to immerse yourself similarly in sight.
By contrast with vision, the dissecting sense, sound is thus a unifying sense. A typical visual ideal is clarity and distinctness. . . . The auditory ideal, by contrast, is harmony, a putting together. (Ong, p. 72)
Because folk music, like most folk lore, is passed orally and aurally, there can be great variety in regional renditions of the same song. However, that does not negate the unifying effect of a familiar song. Looking back, I can now see that the oral tradition that came with the folk music of my mother’s family instilled relationships and a sense of community in my maternal relatives that never existed among my paternal relatives. Without the close associations with the sense of hearing that my mother’s family had, and the associated interiority that Ong credits with binding people into close-knit groups (Ong, p. 74), my father’s family has drifted apart since my grandmother’s death.
“Oral communication unites people in groups” (Ong, p. 69). This begs the question whether a close-knit community can form in a so-called literate culture. The answer would seem to be that it depends on whether orality and literacy can co-exist. It might be tempting to suggest that, as we drift into literacy, there could only be a decline in the sense of community because the technology allows more and more isolation and less and less orality. However, Ong’s suggestion is that a newly oral culture or secondary orality is developing that uses machine-made and/or enhanced sound that has developed with the aid of writing (e.g., television, radio, online meetings, instant messaging, voice over Internet protocols, chat rooms, discussion boards, etc.) (SLCCAS, ¶ 16).
I personally believe that human beings crave association with others. The need for community is hard-wired into us by evolution, because membership in a community enhances survival chances. I choose to believe that, no matter what technology these marvelous human brains of ours can come up with, we will always find ways to bind ourselves into communities and to have multiple human relationships.
Resources
Folk music. (2008). In Encyclopædia Britannica. Retrieved November 22, 2008, from Encyclopædia Britannica Online: http://www.britannica.com/EBchecked/topic/212168/folk-music
Ong, W.J. (1982). Orality and literacy:The technologizing of the word. Metheun. Retrieved November 22, 2008 from http://jesuitnet.blackboard.com/courses/1/COML509_B1_11775_FA08/content/_82073_1/embedded/ong1.pdf?bsession=2213597&bsession_str=session_id=2213597,user_id_pk1=707,user_id_sos_id_pk2=1,one_time_token=328109B8BBC7F349E9250C5734A9D068 .
Ruehl, K. (n.d.). The history of American folk music: An introduction to folk music in America.. Retrieved November 21, 2008 from http://folkmusic.about.com/od/historyoffolk/a/Folk_History.htm .
St. Louis University College of Arts and Sciences (SLCCAS). (n.d.). The life and scholarship of Walter J. Ong, S.J. retrieved November 22, 2008 from http://www.slu.edu/colleges/AS/ENG/ong/influence.html .