Listening Report 2 Meredith Monk Songs of Ascension

 

Maria Alighourchi

7489718

The Future of American Music

 

Listening Report 2

Meredith Monk

Songs of Ascension

 

“Songs of Ascension” by Meredith Monk cannot be only listened to but has to be  also profoundly observed. Therefore this will not only be a listening report but an observation report too (the same with John Cage’s “Water Walk” last time). Firstly, I should mention that Monk uses her voice as her sole instrument, in almost all of her performances and “songs”. Through her very unique singing style – not using real words, just mere vocals – Monk evokes certain feelings through these vocal vibrations and their repetition. Generally, I see her work as a moving and loud work of art, which could be displayed in an art or a history museum. Instead of a motionless painting, hanging limp on a white wall, Monk’s painting is full of life due to her usage of movement and her voice – her music.

Her project “Songs of Ascension” also reminds me of a painting which could be displayed at a museum, for everyone to interpret differently, in the moment. This specific work encapsulates how I would feel stepping into a sacred painting, living in another world for a few minutes. The alternate world effect originates not in the moving art alone but in Monk’s and Ann’s voices combined yet separate, leading me through her world.

The whole piece is divided into multiple songs, some only with orchestral instruments other parts are accompanied by Monk’s instrumental voice. A more accurate statement would be that the orchestral instruments accompany Monk’s music since her voice takes the lead every time. Moreover, each part (separated by the black transition) could stand alone, living uniquely on their own, considering that each part delivers a different set of feelings. When viewing this work as a whole – as one “song” – the viewer is introduced to a community; to a song that can only exist with everyone in it – the dancers, the standing people, the walking people, Monk and her voice, the woman in the water who is twirling after stirring it, and the people who are playing instruments. Taking into account that in each part of this work  a different element is in the center of attention, focusing on the effect of each. In the end of “Songs of Ascension” all come together to a climax, complementing each other, creating a sense of absolution.

As I mentioned in my last report, every piece of art, in my point of view, tells a story. All the instruments, visuals, voices, especially the stairs and non-existing roof present to me the stairway to heaven. The holy-effect is created through Monk’s singing, lifting me up the stairs with the help of the other instruments. The aliened people with white clothes are souls that ascend to heaven too, while the woman stirring the dark water and later twirling in it, represents to me the easy fall to the underworld. This once in a lifetime experience, being carried up the stairs to heaven, even though I never believed in such a place, is astounding to get to experience through Monk’s sounds – even without words. Viewing her project made me realize how much more sacred sounds without clear words are compared to sounds or music containing words. Words have clear meanings and provoke specific reactions while mere sounds establish unexpected feelings – vastly different to each person. Even if Monk’s intention was not to visualize the stairway to heaven and her voice did not carry the purpose to lift me up to heaven – it still means certainly this to me, unexpectedly. Perhaps, that is the sole purpose to music, sounds or art in general – to unexpectedly touch a person.