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There was a time, many years ago, when I was an active birder and kept a life list. On one trip to the beach in South Carolina, I added 27 new species to my list. I was pretty chuffed about it. I don’t remember how many my list totaled by the time my interest shifted to something else, but it was in the hundreds. The checklist published in BirdLife magazine’s Handbook of Birds of the World catalogs 11,524 species of bird in the world, so my list is hardly detectible in the murmuration of life lists by serious bird watchers. 

I had done the same for wildflowers before that. Many of them, I even had learned the scientific name for, which drove my wife nuts to the point she teased me about calling them all, “Know-atia dudiflorum.” Naming and cataloguing have been among the main preoccupations of humankind at least since Adam.

Mine has been a lifetime of learning — trying to learn everything. A quixotic quest at best. 

In third grade, I learned — or seemed to learn — the names of all the popular dinosaurs. In fourth grade, I did all the whales. There seemed to be an endless supply of things to learn about. And that is the problem. 

There is too much of everything. No one can grasp it all. Not even all of a limited subgroup, or sub-subgroup. Pigeons of Southeast Asia or sharks of the South Atlantic. You can find books about most of such things. 

By most standard rankings, I am a reasonably well-read man. But I have looked up at the night sky in the desert wilderness, 50 miles from the nearest paved road, and seen millions of stars and the Milky Way, and thought, “That’s how many books I have not read.” 

It may once have been possible to read almost everything ever published. After getting his Masters degree from Cambridge University in 1635, poet John Milton took six years off, reputedly to read everything available in English, Latin, Greek, Hebrew, French, German, Spanish, Italian, Old English and Dutch. As impressive as that is, he did not read Chinese, Japanese, Sanskrit, Arabic, Aramaic, Turkish, or any other written Asian tongue. That is a lot left out of his erudition. 

Over the years, I have collected thousands of books, and know that, like the birds or beasts, there are so many more out there that I have not even known existed. The sum total of human publication I doubt anyone has ever fully tallied. It would not be possible, even for a single language. 

It is that way with almost anything. Too much. Even a post-doctoral scientist, who may know more than any other person about the subject at hand, will not have been able to read everything in that field. There is too much. Even the experts are mere dabblers, given the immensity of the task. 

Take movies. I have seen more than most people. I spent part of my career for my newspaper as a back-up and later, temporary film critic (until a new full-time critic could be hired after the previous one left). My experience is with film from all over the world, not just Hollywood. But it is estimated that American film studios have produced more than 25,000 movies since they were invented. In 1940 alone, 1,973 films are listed. And that is just the U.S. Overall, the count is nearer 500,000 films worldwide. In fact, more films are listed as lost than I have seen — by far. It is estimated that half the films made before 1950 have been lost. Early Hollywood never carefully archived what it produced. 

What about painting? Pablo Picasso produced more than 13,000 paintings over his 78 year life, to say nothing of the estimated 100,000 prints, 34,000 illustrations, 1,200 sculptures and thousands of ceramics. Admittedly, he was preposterously prolific, but he was just one artist. Consider all the paintings in all the galleries, museums, and private collections around the world. How many has any one person seen? What minuscule percentage? How can anyone claim to be an expert based on knowing such a small sample? 

I have been going to concerts since I was 16. I can’t count them. I have a huge collection of recordings — thousands of them — but I know that I cannot ever reach the end of classical music. Yes, there’s Mozart and Stravinsky, and all the familiar gang, but what about Joseph Martin Krauss (the “Swedish Mozart”), Mieczysław Karłowicz (who was killed in an avalanche), or Johann Georg Pisendel (friend of Vivaldi). To say nothing about all those Italian Baroque composers: Corelli, Tortelli, Tartini, Martini, Spumoni (well, maybe not that last one). Wikipedia lists 406 Italian Baroque composers. Not even Naxos has recorded music by more than a fraction of them. 

There are even more German Baroque composers, most with three names, beyond Johann Sebastian Bach. There were Johann Philipp Krieger, Johann Jeremias du Grain, Johan Gottfried Walther, Johann Heinrich Buttstett, Johan Paul von Westhoff, Johann Jacob Löwe, Johann Gottlieb Janitsch… And that’s not even leaving the “Johann” list.

Bach alone counted among his ancestors and descendants more than 50 musicians and composers (one list counts 77), beginning with Veit Bach, born about 1555. In parts of central Germany at the time, the name “Bach” was a synonym for “musician.” 

And all that is merely a subset of European composers. I am humbled. 

Even if we look at popular music, it’s the same thing. Irving Berlin, alone, wrote an estimated 1,250 songs (even he had no accurate count). Yes, everyone knows God Bless America, and probably Blue Skies and Alexander’s Ragtime Band, but what about Alexander and his Clarinet, The Blue Devils of France, or Everything in America is Ragtime? 

No one can count the number of songwriters who wrote for the publishers on Tin Pan Alley: Harold Arlen; Irving Berlin; George M. Cohan; George Gershwin; Dorothy Fields; Scott Joplin; Fats Waller. And uncounted more. The 19th century gave us Stephen Foster, Philip Bliss, Joseph Skelly, Eva Carter Buckner … There really is no need to list them all, even if I could. And these are just Americans. Songs were being written everywhere, and continue to be.

Shirley Gunter and the Queens

Try to tally up all the rock and pop bands, beginning in the 1950s and ’60s. For every Bill Haley and the Comets, there are a hundred Bill Black Combos and Shirley Gunter and the Queens (Oop Shoop). For every Beatles or Stones, there are a thousand Jive Fives and Dyke & The Blazers. A few pop up infrequently on Golden Oldie radio stations, but most are buried under the avalanche of whatever followed, only for those to be buried in their turn. 

There are more than 7,000 languages in the world, not counting languages long extinct. I’m proud of being able to manage the simple vocabulary of a French newspaper. Milton could read 10 languages. Pikers, all of us. There is so much more. 

How many types of apples are there? How many breeds of pig? There are 7,500 cultivars of apple in the world, 2,500 grown in the U.S. No one knows how many wild strains have not been catalogued. As for hogs, according to a study by Chinese universities, around 600 breeds of pig have been created by farmers around the world, mainly in Europe and Asia. 

The same could be asked of sheep, goats, kine, cats, dogs, and, I’m sure, even for fleas.

A million insect species have been formally described, but scientists estimate the true total is closer to 5.5 million. There are approximately 17,500 to 20,000 known species of butterflies worldwide. They are found on every continent except Antarctica, with roughly 750 species found in the United States and Canada. 

There are eight billion people in the world. How many of them do you know? That’s a million of them eight thousand times over. If they were a parade and it moved past you at one soul per second, it would take 250 years to reach the end, but by then, the first billions would have died of old age, and billions more born to join the queue — so you would never reach the end. 

This is all not to disparage expertise. We need people willing to learn as much as possible about as many things as possible. Ignorance is never a helpful contribution. But it is meant to foster a healthy humility about what we do know and what we even can know. Each of us is limited; the world is too vast, varied, and ever changing for any of us to claim much. There are as many recipes for cassoulet as there are families who prepare the dish.

I always remember what my wife told me. She was a primary school teacher and one day a third grader complained about how much they were expected to memorize. 

“My mama told me the human brain can only hold so much or it will explode,” he said. He was serious.

In addition to this blog, which I have been writing since 2012, I have written a monthly essay since 2015 for the Spirit of the Senses salon group in Phoenix, Ariz. The readership for each site seems to have little overlap, and so, I thought if I might repost some of the Spirit essays on my own blog, it might achieve a wider readership. This one, originally from Oct. 1, 2021, is now updated and slightly rewritten

When I was a wee bairn, back in the wilds of New Jersey, I remember a certain consternation when listening to — and being forced to sing — various Christmas carols. What, I wondered, does “Fa-la-la” mean? Couldn’t the song writer think of any real words? I tended to sing the Walt Kelly version: “Deck us all with Boston Charlie, Walla-Walla, Wash., and Kalamazoo.” 

But those nonsense syllables continued to bother me. And fascinate me.

And in school, we sometimes had to sing songs with such nonsense words in them, like “Tra-la-la” and “Hey, nonny-nonny.” When I got a little older, and learned to read and write, I wondered if these had actually been just corruptions of real words, as a kind of mondegreen. Like “round John Virgin in Silent Night.

Then, as a school kid watching Warner Brothers cartoons on television, I learned of certain popular tunes from the 1940s — which to me in the 1950s seemed as far away as the Middle Ages — like “Mairzy doats and dozy doats and liddle lamzy divey/ A kiddley divey too, wouldn’t you?” Such songs would show up in Loony Tunes. Another was “Hut set rawlson on a rillerah, and a so-and-so and so forth.” from the 1942 cartoon  Horton Hatches an Egg. I was sure I must be mis-hearing the lyrics. Only later did I find out that no, I wasn’t, but “Mairzy doats” was, in fact a mondegreen for “Mares eat oats and does eat oats and little lambs eat ivy.” Which is still pretty much nonsense. 

Oh, but then. Then, I became a teenager in the ’60s. Little Richard (I then thought of myself as “Big Richard”) sang “Wop bop-a-loo-bop a-wop bam boom.” And “Tootie-Frootie, Ah Rooty.” And then in 1958 came: “Ooh-eee Ooh-ah-ah, Ting-Tang Walla-walla Bing Bang.” And the next year with “Shimmy-shimmy ko-ko-bop.” We were off to the nonsense syllable la-la-land. “Rama Lama Ding Dong.” 

Well, be-bop-a-Lula she’s my baby 

Be-bop-a-Lula I don’t mean maybe” 

Gene Vincent’s phrase “Be-Bop-a-Lula” is similar to “Be-Baba-Leba”, the title of a 1945  Helen Humes song, remade by Lionel Hampton as “Hey! Ba-Ba-Re-Bop.” This phrase, possibly being ultimately derived from the shout of “Arriba! Arriba!” used by Latin American bandleaders to encourage band members. Things work the rounds. 

I have since learned that these sounds are officially known as “non-lexical vocables.” There are learned papers written on the subject, some of which can be downloaded in PDF form (“Non-lexical Vocables in Scottish Traditional Music” by Christine Knox Chambers, 1980, 340 pages). 

Later, in college, as a music minor, I had to learn solfège, in which the syllables “do,” “re,” and “mi” stood for the notes “C” “D” and “E.” Originally, it was “ut,” “re” and “mi.” If you’ve ever wondered where this all came from, as you are singing “Doe, a deer, a female deer,” blame the Middle Ages. As a mnemonic to remember a tune, each pitch was assigned a syllable (this was before standard musical notation) from the beginning syllable of the prayer: “Ut queant laxis/ resonare fibris/ Mira gestorum/ famuli tuorum/ Solve polluti/ labil reatum, Sancte Iohannes.” (The last note combines the S and I from “Sancte Iohannes”) 

Translated: “So that your servants may,/ with loosened voices,/ Resound the wonders/ of your deeds,/ Clean the guilt/ from our stained lips,/ Saint John.” 

In the 1600s, because “Ut” was harder to sing, it was changed to “Do.” And “Si” is sometimes changed to “Ti.” Giving us “Do Re Mi Fa Sol La Ti and back to Do,” which, is Homer Simpson’s favorite word.

Ah, but  before all this pedantry, I meant to be writing about silly lyrics. “Doo wah diddy diddy dum diddy doo.” “Poppa Oom Mow Mow.” “Ob-La-Di Ob-La-Da.” Or the name song: “Katie, Katie, bo-batie,/Bonana-fanna fo-fatie/ Fee fi mo-matie/ Katie!” 

There really is a long tradition. I opened up my Oxford Dictionary of Nursery Rhymes (Oxford University Press, 1951, 559 pages) and found “Fiddle-de-dee, fiddle-de-dee, The wasp has married the humble bee,” and “Diddlety, diddlety, dumpty, The cat ran up the plum tree.” “Hickory-Dickery Dock, the mouse ran up the clock.” “Eenie, Meenie, Miney, Mo.” “Hey Diddle-diddle, the cat and the fiddle.” 

This sort of thing is all through the tome:

Open up Child’s Ballads, or English and Scottish Popular Ballads (Cambridge University Press, 1904, 723 pages), you find refrains such as

Shakespeare from As You Like It

Elizabethan songs are often called “Hey Nonny Nonnies.” 

As in Ophelias “mad song” from Hamlet:

Opera has its share of nonsense, and some of that is in the libretto. Hector Berlioz wrote a chorus for the demons in The Damnation of Faust that goes on quite a while with stuff like this: 

And Wagner liked to invent gibberish almost as much as he loved himself. The famous Ride of the Valkyries actually has words. And what are they? “Hojotoho! Hojotoho! Heia ha-haeia!” Over and over. 

And his Rhine Maidens, gurgling underwater, sing the praises of the Rhine gold: “Heiajaheia! Heiajaheia! Wallalalalala leiajahei!” 

There’s at least a section of gibberish in each of his operas. The sailors in The Flying Dutchman all sing a Wagnerian version of “Yo-ho-ho” — “Ho-ho! Je holla ho!” And when they make merry: “Ho! He! Je! Ha! Klipp’ und Sturm’, He! Sind vorbei, he! Hussahe! Hallohe!” This kind of gibberish is of a different order from the gibberish that passes as Wagner’s philosophy. 

But is any of this different from “Fododo-de-yacka saki Want some sea food, Mama.” Or Frank Sinatra’s “Doo-be doo-be doo.” 

This stuff is all over the place, from Sly and the Family Stone: “Boom Shaka-laka, boom shaka-laka,” to the hit song from 1918 (yes, it’s that old): “Jada, jada, jada-jada-jing-jing-jing.”

Going back further, there’s Stephen Foster’s “Camptown ladies sing dis song, Doo-dah, doo-dah,” and Ta-ra-ra Boom-de-ay was a vaudeville and music hall song made famous in 1892 by British performer Lottie Collins. But its provenance goes back further, at least to the 1880s, when it was sung by a black singer, Mama Lou in a well-known St. Louis brothel run by “Babe” Connors. 

Then, in 1901, Yale graduate Allan Hirsh wrote the fight song, Boola-Boola.  “We do not know what it means,” Hirsh wrote, “except that it was euphonious and easy to sing and to our young ears sounded good.”

As far as “boola,” it was rumored to be a Hawaiian word for “good,” but linguists point out, there is no “B” sound in the Hawaiian language. 

“Sometimes, with these college fight songs,” said Kalena Silva, director of the College of Hawaiian Language at the University of Hawaii  at Hilo, “they just made up words.” 

After the 1915 Panama-Pacific Exposition in San Francisco, which featured a popular Hawaiian pavilion — which sported floor-to-ceiling flowers, pineapple give-aways, a back-lit aquarium and the Royal Hawaiian Quartet playing music, with a steel guitar — a craze for Hawaiian-themed songs took over Tin Pan Alley. 

The year 1916 gave us Yaaka Hula Hickey Dula, which begins: “Down Hawaii way, where I chanced to stray/ On an evening I heard a Hula maiden play Yaaka hula hickey dula, Yaaka hula hickey dula.” 

It should be stated that “Yaaka hula hickey dula” is not Hawaiian — or any other language. Also from 1916 was They’re Wearing’Em Higher in Hawaii, and Oh How She Could Yacki Hacki Wicki Wacki Woo.

Later came more exoticism: “Bingo Bango Bongo, I Don’t Wanna Leave the Congo.” 

Of course, African-American culture gave us scat singing, which features improvised nonsense syllables. There are great examples from Louis Armstrong and Fats Waller.

But perhaps the most popular for the scat was Cab Calloway, whose Minnie the Moocher gave us “Hey-dee-hi-de-ho.” But also, “Skeedle-a-booka-diki biki skeedly beeka gookity woop!” And, “Scoodley-woo-scoodley-woo scoodley-woodley-woodley-woo Zit-dit-dit-dit-dittle but-dut-duttleoo-skit-dit-skittle-but-dit-zoy

Calloway made an appearance in the 1932 Fleischer Brothers animated cartoon, Minnie the Moocher, with Betty Boop, whose catch phrase, “Boop-Boop-a-Doop,” was originally a scat phrase.  

The phrase was heard by some blue-stockings as a euphemism for something rude and a backlash developed, leading to a 1932 cartoon, Don’t Take My Boop-Oop-A-Doop Away,” where Betty sang a little song:

The following year, Jimmy Durante gave us Inka-Dinka-Doo, which sang:

Getting into the 1940s, Disney has given us a share, from “Zip-A-Dee Doo-Dah, Zip-A-Dee Ay, My, oh my, what a wonderful day” to “Sala-gadoola-menchicka-boo-la bibbidi-bobbidi-boo.”

The tradition continues, as even Lady Gaga has Bad Romance:

I’ve already mentioned the non-lexical vocalisms from Little Richard and Gene Vincent. Now we move on to Iron Butterfly and their notorious 17-minute 1968 extravaganza, In-A-Gadda-Da-Vida

I mentioned mondegreens earlier. Apparently, the lyrics to the song were supposed to be “In the Garden of Eden,” but when song-writer Doug Ingle played the song for his bandmate, Ron Bushy misheard the words, sung in a drunken slur by Ingle after drinking a gallon of cheap red wine, as “In-A-Gadda-Da-Vida,” and wrote it down that way. I suppose it could have been corrected the next sober morning, but it wasn’t, and has gone down as legend. 

The Beatles had a history of using nonsense words in their songs, from Ob-La-Di Ob-La-Da to the “na-na-na” chorus of Hey Jude. Sometimes they used nonsense to fill out a song, usually with a plan to add better words later. 

Ryan Miller of the alternative rock band Guster said that many songwriters use sounds a placeholders — the way movies are made with “working titles” before the real one gets put in place. 

“Ninety-eight percent of the time you replace them with words but sometimes those sounds fit the spirit of the song or even become the spirit of the song,” said Miller. “And sometimes I don’t want there to be words — there can be a Rorschach version this way where you have your own experience with the music.”

When Paul McCartney was writing Yesterday, he had the tune, but not the words, so in the demo tape, he used placeholders and sang:

“Scrambled eggs” and “yesterday” scan the same. Go ahead, sing it with the old words. It works. But he did the right thing and switched up the words.

Other Beatles songs, though, feel as though the placeholders were just left in. “Well you can syndicate any boat you row,” or “Words are flowing out like endless rain into a paper cup.”

The all-time champ must be I Am the Walrus

John Lennon said he was tired of listeners trying to “analyze” Beatles lyrics, and wanted to write something to confuse them — the “Rohrschach effect” that Ryan Miller mentioned. 

And so:

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What is classical music?

It can be hard to pin down. Many have tried to define it; certainly, they believe they can know it when they hear it. But the outlines of what we define as classical music are unhelpfully squishy.

Is it merely European aristocratic music from the 18th through the 20th centuries? Certainly the audience for Mozart’s Magic Flute wasn’t aristocratic. And Italy’s appetite for opera is wider than the upper crust.

Is it orchestral music? Not if we count Bach’s suites for unaccompanied cello. Is it instrumental? Not if we count the masses of Palestrina.

It is often called “art music,” as if music in other forms could not aspire to the condition of art. Tell that to Frank Zappa. And frankly, much of the music played in concert halls was never intended to be more than entertainment, albeit of a refined order. Not everything is the St. Matthew Passion; some of it is just Skater’s Waltz.

To look at what we call classical music, we should consider: What is the central question of classical music? That is, what question does classical music answer?

And by that, I mean not only European classical music, but all those around the world, from Indian ragas to Chinese opera.

The question is so banal as almost never to be asked. What is the central question to all classical musics?

It is this:

“How do you make a piece of music last more than three minutes?”

Popular music consists of songs, and, in our culture at least, that means a 32-bar song that you can repeat over and over. But imagine listening to Memories repeated for half an hour and imagine the tedium. It would be my substitute for pistol and ball.

Whether it’s folk songs or rock and roll, the idea is to get in and out quickly, establish a mood and then finish it off.

Yes, there are exceptions in popular music, from In-a-Gadda-Da-Vida to Duke Ellington’s Reminiscing in Tempo, but a case can be made that they are “classical musics,” also.

When we ask the first question, a second question arises immediately:

“Why should a piece of music last more than three minutes?”

And it is here that we come to the difference between popular and classical musics: the difference between simple mood and complex emotional developments. Between a New Yorker cartoon and a Tolstoy novel. cartoonA song gives us a passing mood, seldom offering any narrative complexity (it may offer psychological complexity and even complexities of melody or key structure, and a great song usually has something of this). But a symphony, like a play or a movie, starts in one place and takes us on a journey, leaving us someplace else at the end.

The time spent allows for not just complex emotions, but a sequence of emotions that interact.

You can think of it this way: Classical music is movies for the ear. There are characters, there is development, there is a plot and plot twists. Fight scenes and love scenes, perhaps a mystery, perhaps a road trip.

It presents ideas in time in a way that makes sense to an audience listening for them.cellar 1

Most young filmgoers know the habits of filmmakers so well, for instance, that their expectations become part of the appreciation of the film: They know what to expect when the teenager opens the cellar door and goes down to the dark to investigate that funny noise, and they are delighted if the filmmaker does something fresh and new and upsets their expectation with a surprise.

Classical audiences also know what to expect and are delighted when a composer takes a left turn and expresses a new way to think about it.

It is often thought there is special, arcane knowledge required to enjoy classical music. And, of course, there is a lot of specialized language. There is with films, too — key grip, D.P., fade, dissolve, two-shot — but you don’t need to know any of them to enjoy a film. It is the same with symphonies or sonatas.

It isn’t the words that matter, but the sounds. You don’t need to know the words to enjoy the music.

These are words about wordless things.?????????????????????????????????????????????????????????????????????????????????????

When you see a gun being put in a desk drawer in the first half of a movie, you know instinctively that it will be used in the second half.

When Beethoven’s audience heard C-major sneak into the first three movements of his C-minor symphony, they knew it would come out blazing in the finale: They waited in suspense to hear how he would do it.

This is the appeal of classical music for its audiences.

This isn’t something technical only a musician would know. “Major” and “minor” are simply words: It is the emotional shift that matters, from the tight, constricted, frustrating feel of the opening of the symphony to the ecstatic release of the ending. It is an emotional journey, and one that you could not accomplish in a simple song.

It’s also part of what distinguishes classical music from its popular cousin. Popular music is like a commercial: short, punchy, memorable; classical music is like a novel: long, involved and with many characters and a slowly achieved resolution.

None of this is meant to denigrate popular music or songs. I love a good tune as much as the next person. But popular and classical musics are attempting very different things.

You couldn’t pack all of Indiana Jones into a three-minute trailier.