Summarize the part below DO NOT ADD ANY OTHER SOURCE OR ANY

Summarize the part below DO NOT ADD ANY OTHER SOURCE OR ANY… Summarize the part below DO NOT ADD ANY OTHER SOURCE OR ANY INFORMATION OTHER THAN THE ESSAY BELOW We think of music as an invention, something that fulfills an inner longing, perhaps, to bean integral part of the sounds of nature. But not everyone perceives music in that way.About eighty miles north of Bangkok, in the foothills of Wat Tham Krabok, is a Buddhisttemple where a group of concerned monks help drug addicts to recover. They use acombination of herbal therapy, counseling, and vocational training. One of the monks, PhraCharoen, a sixty-one-year-old naturalist by disposition, also busies himself in the musicroom, where, with electronic equipment, he records the electrical phenomena of the earth,which he then translates into musical notation. Charoen and his team of monks and nunstrace the fluctuating sound patterns onto transparent paper, then transfer the graphs tothin strips of cloth that can be catalogued and rolled up for storage. The graphs match upwith the traditional eighteen-bar phrases of Thai music. These “pure melodies” are thenplayed on a Thai instrument with an electronic organ as backup, and the result is recorded.Charoen’s group are not musicians themselves, but they believe that music is not animaginary thing, nor even something produced only by people; music falls out of the earth’srocks and roots, its trees and rain.* One western woman wrote that “under the temple trees,with birdsong filling the musical pauses, the visitor sits … and hears the earth of ancientAyuthaya sing, or the stones of the Grand Palace, the sidewalks of Bangkok—or the cracksin the Hua Lampong Railway Station forecourt.”This would no doubt strike a familiar chord with the American composer Charles Dodge,who, in June and September 1970, recorded “the sun playing on the magnetic field of theearth” by feeding magnetic data for 1961 into a specially programmed computer andsynthesizer. The performance has a subtitle—”realizations in computed electronic sound” and three “scientific associates” are prominently mentioned on the album’s cover. The resultis at times booming, at times squeaking, but consists mainly of shimmering, cascadinglymelodic violin and woodwind sounds. Harmonious and breathy, they often create smallflourishes and partial fanfares; they don’t seem random at all, but rather energized by what,for lack of a better word, I’ll call entelechy, that dynamic restlessness working purposefullytoward a goal we associate with composed music. I also have a recording of Jupiter’smagnetic field, a gift from the TRW corporation to visitors to the Jet Propulsion Laboratoryduring the encounters of Voyager I and II with Jupiter in 1980. An electric-field detectoraboard the spacecraft recorded a stream of ions, the chirping of heated electrons, thevibrating of charged particles, lightning whistling across the planet’s atmosphere, allaccompanied by an aurora we hear as a hiss. Gas from a volcano on the moon Io adds atinkling and a banshee-like scream of radio waves. Fascinating as this concert is, and usefulto scientists, it doesn’t sound like music, nor is it supposed to, but music could easily bewoven from or around it. Artists have always looked to nature for their organic forms, andso it’s not surprising to find a rather pop-sounding composition called “Pulsar.” Over fourhundred pulsars are known, at various distances from Earth. Using the recorded rhythmicpulses of once-massive stars about 15,000 light-years away, the composer offers Caribbean-like melodies, in which his “drummer from outer space,” as he puts it, supplies percussion.The pulsars are identified on the record sleeve by number—083-45 on side one and 0329 +54 on side two—as if they were indeed side men who sat in on the session. On anotheroccasion, Susumu Ohno, a California geneticist, assigned a different note to each of the fourchemical bases in DNA (do for cytosine, re and mi for adenine, fa and sol for guanine, and laand ti for thymine) and then played the somewhat limited-sounding result. Our cells vibrate;there is music in them, even if we don’t hear it. Different animals hear some frequenciesbetter than we do. Perhaps a mite, lost in the canyon of a crease of skin, hears our cellsringing like a mountain of wind chimes every time we move.When the earth calls, it rumbles and thunders; it creaks. In towns like Moodus,Connecticut, swarms of small earthquakes rattle the residents for months on end. Theseismic center of the quake storm is a very small area only a few hundred yards wide nearthe north end of town. I’m amazed there haven’t been horror films about a devil’s sinkhole,or some equal abomination. Ground grumblings of this sort are now called “Moodus noises,”but long ago, when the Wangunk Indians chose the area for their powwows because it wasthere the earth spoke to them, they called the spot Machemoodus, which meant “place ofnoises,” and their myths told how a god made the noises by blowing angrily into a cave.Cluster earthquakes can sound as light as corks popping or as relentless as cavalrycharging. “Thunder underfoot” is how some have described it. “It’s like you got hit on thebottom of your feet with a sledgehammer,” one resident complains. The Moodus quakes arenoisier than most because they’re shallower (only about a mile deep; quakes along the SanAndreas Fault are usually six to nine miles deep). Normal deep quakes lose much of theirvoice to the ground, which dampens and stills it. It may also be that the earth aroundMoodus simply conducts sound well. Since the town is located between two nuclear powerplants, its residents grow anxious when the quakes rage for months, shifting and crackingthe earth and sounding like a chronically rattling pantry.At the Exploratorium in San Francisco, a pipe organ plays the sounds of San Francisco harbor as tide sloshes through its hollows, ringing with a thick brassy murmur. Now that theRussians and the Americans are planning a joint trip to Mars, I very much hope they’ll takea set of panpipes along with them, so perfect for the windswept surface of Mars. Pipeswould be an especially good choice because, although every culture on our planet makesmusic, each culture seems to invent drums and flutes before anything else. Something aboutthe idea of breath or wind entering a piece of wood and filling it roundly with a vital cry—a sound—has captivated us for millennia. It’s like the spirit of life playing through thewhole length of a person’s body. It’s as if we could breathe into the trees and make themspeak. We hold a branch in our hands, blow into it, and it groans, it sings.Arts & Humanities English ENGL 212

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