Instead, it is closely related to it, and this connection constitutes the fertile ground from which musicians derive their musical pieces. Even if some musicians suffer from hearing damage, the musician, through memory, can compose musical works. For example, Beethoven produced his most beautiful works while he was deaf.
This sparked much controversy about the nature of the source from which music is drawn. Is it a world external to us humans, a world far from what the ear hears? Or does music exist in an inner world that exists in each of us, and as soon as we reach the sound groups that are static within us, we become creative in musical composition?
Beethoven sparked great controversy, and many questions were asked about him specifically. Was he living on his musical memory or hostage to his inner world? In his book Collective Memory, Maurice Halbach answers that Beethoven was keeping musical symbols, that is, the notes that collect musical sounds in the form of signs and symbols that musicians well master, but he was not the one who invented them himself. Instead, these groups and symbols were the group's language. In other words, it is the collective memory of musicians.
If we exclude the greats of music, the average person will be able to create a new or previously unheard musical theme or a musical composition of melodic harmonies and musical cuts that they have yet to hear from the outside to create sounds out of thin air. Therefore, there must be a collective musical memory for the individual to take the vocal groups that form the memory are not discovered, nor are they specific to clarifying their features and stability, except for the group of musicians who possess notes and the ability to listen focused.
How do we understand sound?
While doing any work or even while sitting and concentrating, when we hear any word, whatever its phonetic or linguistic composition, we distinguish it from any other sound that we have heard in the past, whether this sound is natural; that is when we receive it as a linguistic singular that does not carry a musical melody, or if it is a pure musical sentence that does not have a linguistic letter agreed upon by the group.
Here, we realize that the natural sound we hear now is always associated with an external model outside ourselves and our inner world. Still, when we hear a purely musical sound, that is, when it is not a linguistic word that is understood, we can often determine a unique model that exists inside us using the collective memory that we have to understand.
For example, when I hear the sounds of noise from the outside, I can know if it is the screaming of a child, the sound of hooves when they run, or a hammer on a tap. These natural sounds are not linked to a purely auditory model. The musician carries a musical code of signs and musical sound groups. I will make no effort to know and identify them as soon as I link them to topics or abstract ideas about the substance or to the general societal climate that I know previously.
Through its components and tools, it makes sounds similar to these sounds I just heard. I memorize them and analyze what they are; that is, I return to concepts that are not of a purely musical sound character. The sound makes us think about the subject; then, the subject itself is who we know through the sounds.
Also, the subject is rarely one, seldom summarized in one part. For example, when I hear the sound of the hooves of horses or the clash of swords, I conjure from my memory the material thing that is the sword and the horse and associate the sound with them. Then, I gather a scene from a battle where horses run and knights fight with swords.
This also applies to human voices; we can focus on the voice of one of our relatives, even if we do not see them because we evoke old memories related to their physical existence and their motor and sound syndromes. We have heard the voice through the ear but identified their identity through memory. Finally, we know the sounds through concepts, things, and bodies inside us; that is, we know them through our perceptions.
How do you memorize musical sounds?
Suppose we rely solely on hearing music without relating it to physical and moral concepts and objects such as thoughts, fantasies, people, and situations. In that case, most of the musical signs and melodic sound combinations we hear will fade as soon as the piece or musical sound we hear is over.
Berlioz, a famous French composer and music critic, recounts that one night, he was able to compose an entire symphony and described it initially as a beautiful musical work as soon as he imagined it in his mind. Once he thought of beginning to write it on paper to become a complete work of art, sound, and notation, he began to consider the challenges he would encounter in allocating the time required for the blogging process and the challenges of recording later, especially the challenges of finding the money needed for the musicians.
After all these obsessions and difficulties, he could not remember the symphony. The tremendous musical signs he composed faded in his mind as soon as he thought of something else. He did not associate his music with something that stimulates his memory to remember, such as ideas, concepts, topics or ready-made music blogs, let alone those who did not learn to record music.
So, musical sounds do not dwell in our memory in the form of auditory memories; they fade as soon as we finish hearing. But we have learned to repeat a set of sound movements constantly. This way, we recognize the melody when we return to one of those effective demarcations. If these sound groups are present in our brain, they are out of our consciousness, so we cannot repeat this set of sounds only when others perform them in an integrated performance at a particular moment.
Although we know sounds when they are in our brain and in the sound space as well, we must know some techniques that qualify us to make music; that is, the sound that we hear as an image and visual form, and here we find that some people remember music through concepts and repetition. Some remember it through a music blog full of symbols and typical auditory schematics.
On the other hand, as an example of everyone sailing in collective memory, the group of musicians who perform a musical piece in a band, their eyes follow their musical blogs; their ideas and movements are compatible with each other because they are multiple copies of the same model. Let's say that each of them has enough memory to play without looking at the pages covered in the signals, or it is enough to look at a quick look from time to time. If music blogs are available, it will stay the same because blogs will be limited to playing a representative role only to agree with their ideas.
Players and their blogs make up a group, and we must reflect on this group to explain the preservation of memories and how the memory is formed before the blogs. The blogs are only a reminder because the external subject (blogs) disappears as soon as the memory begins. From here, the brain is enough to carry out the process of invoking and distinguishing these memories.
How to remember a tune when we're not musicians?
Do we have a collective memory as well as the collective memory of musicians, otherwise how do we recall a tune? To answer this question, let us think of the easier and undoubtedly more frequent case. When we hear a melody that accompanies words, we distinguish its parts from the number of passages of speech or elements of sentences because the sounds seem related to words that form separate topics.
The words here play an active and influential role, and we can repeat a lyric melody without paying attention to the words. The lyric melody does not remind us of the words; therefore, it is difficult for us to repeat the words that accompany our attention, but the repetition of the melody with the words is a model. This model results from the social custom that assigns it meaning and role, the model that always exists outside us.
Rhythm plays a vital role in conservation as it cuts the melody into syllables and often reminds us of sounds and words, even though it is a static click. Rhythm exists in nature, and someone can discover rhythmic chipping alone in the audio space. Still, rhythm is a societal product that no one can invent, so we find that action songs are generated by a regular repetition of the same movements.
In conclusion
Music is everywhere, although its forms vary in social life and in different rituals that represent monologue, sadness, or joy, and its examples are many; the mother sings to the child since childhood with songs, and the child later returns the singing supplies that hum in front of them, and there are songs for play and songs for work. Then popular songs are played in the streets of the major cities from tongue to tongue, the songs of street vendors, and others full of melodies that accompany the dances.
From here, we find that it is optional to learn music to retain the memory of melodies and songs. The one with a memory of songs and the musician who can read them, but the ability to read the musical code is the same. However, a human can memorize concentrated songs and can have a memory full of melodies and harmonies to say that they are pure musicians or easy to be a musician if they want to possess the skill of writing and reading musical notes.
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