Task 8 – Golden Record Curation

“All recorded information, from the paintings on the walls of caves and drawings in the sand, to clay tablets and videotaped speeches, has value, even if temporary, or it would not have been recorded to begin with (Smith, 1999)”.

To Preserve or Not 

Smith (1999) suggested that the preservation of materials could result in irreversible losses of information. I couldn’t help but have this idea embedded in my brain as I tapped on the delete button with every track I decided to not include. If this had been a task I was appointed to do outside of UBC, I would experience a great sense of loss. Would anyone ever hear the “El Cascabel,” performed by Lorenzo Barcelata and the Mariachi México again? I am ill equipped to choose only 10 songs for this module, or rather to cut 17 songs. I am not a scientist, a mathematician, a historian, nor am I a connoisseur of music. I appreciate music and have traveled around the world and enjoyed the music local to each country I have visited. But to choose only 10 songs to represent humanity was a struggle. 

Digitization allows for access (Smith, 1999), in this case we are providing access to the galaxy, but are we providing authenticity too? What is more important, authenticity or access? Access is important, this is evident in the amount of visitors library websites experience daily as opposed to visitors of the library building (Smith, 1999). Through the selection and disregarding of materials what are we losing; possibly forever? Additionally, this assignment had me thinking of a favourite podcast of mine called: Museum of Lost Objects. A podcast in which the histories of various artifacts are discussed that have been destroyed within the Middle East and Far East. Artifacts that no one will ever be able to observe in their original state again. The purpose of this podcast is to remember and reflect on various artifacts. Perhaps, through the provision of access to artifacts through digitization we are ensuring that the conversation will never run out. However, the decision making process should not be left up to one person (or country for that matter). A conversation, indepth research, and a variety of scholars, architects, and various other professions should be gathered in order to make these critical decisions. Even then, it may not be good enough. But in a world where we often forget about the past, perhaps preserving some is better than none?  

Choosing the Tracks

I took the concept from the podcast, Twenty thousand Hertz, as Taylor (2019) suggested that many of the songs were chosen based on a personal feeling that could also be applied globally; which songs represented humanity best.

1. I used my own personal feeling of each song (purely based on my initial liking of the song). 
2. I performed some research on the significance of many of the songs (especially songs that I had no knowledge of).
3. I sought to finalize the list by including songs that represented a feeling that could be applied both personally and globally. 
4. Finally, as this is a global project, I attempted to include songs from around the globe to represent the human race. I arranged the song choices by country on a world map (seen above) and realized I had several choices from the USA and Germany. This would not do with only 10 songs representing humanity. I then swapped several songs out to ensure better representation. 

Song Choices

Track 1. Solomon Islands, panpipes, collected by the Solomon Islands Broadcasting Service. 1:12

Initially, I had kept the Bach piece as the first track. I believed it would be a good introduction to humans. We are beautiful, creative, yet complex too. However, upon arranging the song choices on the world map, I reconsidered my choice to the panpipes of Solomon Islands. Murray-Atfield (2019) describes: “There is no current data for how many people speak the Oroha language, but estimates in the past decade have put that number at only a few hundred people — and the particular style of music on the recording belongs just to them”. Although this track is not as complex as Bach, it is beautiful in its simplicity, and represents the creativity and beauty of humanity, in addition to the preservation of a group almost lost. 

Track 2. Senegal, percussion, recorded by Charles Duvelle. 2:08

This track was chosen for the upbeatness of the tune. A variety of instruments were used that are much different from other tracks, allowing a uniqueness of music. I believe this track seems to represent a happy upbeat tune; a feeling humans generally portray.

Track 3.  Zaire, Pygmy girls’ initiation song, recorded by Colin Turnbull. 0:56

This track was chosen because of the range of voices used. I think this track demonstrates the ingenuity of the human body and spirit, as well as the emotions we can experience. Without instruments and being in our natural state; when we work together we can create beauty.

Track 4.  Johnny B. Goode – Johnny B. Goode,” written and performed by Chuck Berry. 2:38

Johnny B. Goode was chosen as this selection demonstrates a much different type of music than the other chosen tracks. However, there is a common thread in this selection, with the upbeatness of the tune and the complexity of the guitar playing that links this track to the other chosen ones. Again, demonstrating, humans are complex, different, yet similar.

Track 5. Mozart, The Magic Flute, Queen of the Night aria, no. 14. Edda Moser, soprano. Bavarian State Opera, Munich, Wolfgang Sawallisch, conductor. 2:55

Opera Grand Rapids (2018) describes this track as a message of harmony in society; harmony can only be realized through love and strength in character. This message is one that many humans are learning and continue to struggle with. Again a true representation of humanity. We are still learning, but the music gives us hope.

Track 6. Japan, shakuhachi, “Tsuru No Sugomori” (“Crane’s Nest,”) performed by Goro Yamaguchi. 4:51

At first, I had Melancholy Blues, as track 6. However, after mapping out my choices, I realized the far East had no representation.  Upon further research into the meanings behind the song, I am glad I exchanged the two. The International Shakuhachi Society (2023) explains the symbolism of this piece (found here) as the crane represents mercy and longevity and the theme of sacrifice. 

Track 7. Rite of Spring (Sacrificial Dance) – Stravinsky, Rite of Spring, Sacrificial Dance, Columbia Symphony Orchestra, Igor Stravinsky, conductor. 4:35

Rite of Spring was chosen as it offers another perspective of humanity; humans take chances. When this ballet first appeared people rioted as it did not follow the (then) norms of the ballet, the history and current appreciation of this piece demonstrates that when chances are taken, success and appreciation can be had. An idea that is both personal while also global. This music signifies that we are brave and creative and we take chances and experiment (Rite of Spring, 2023).

Track 8. Night Chant – Navajo Indians, Night Chant, recorded by Willard Rhodes. 0:57

Track 8 was chosen as it continues with the theme of representing humanity. This chant “In essence, the Night Chant, as with most Navajo healing ceremonies, endeavors to ameliorate strained relations between Man and the Universe, thereby restoring order, balance, harmony, and health” (University of New Mexico, 2023).

Track 9. Wedding song – Peru, wedding song, recorded by John Cohen. 0:38

Track 9  was chosen as it represents the global idea of choice, human connection, and perhaps, also, making the wrong choice. In this case, choosing or not having the ability to choose and having to carry on.

Track 10. Jaat Kahan Ho – India, raga, “Jaat Kahan Ho,” sung by Surshri Kesar Bai Kerkar. 3:30

This style of music was suggested to be formally designated for morning performances, however, its popularity allowed for it to be used as a closing number or a type of encore for concerts (Sampath, 2019). An excellent conclusion of a record of humanity. The melody begins slowly, but then the tempo and singing pick up as the song progresses. Similarly to humans, life begins slow, picks up and then it’s over, but our creations and memory continues. 

References

Murray-Atfield, Y. (2019). ​​How songs from tiny villages in the Pacific are now floating in outer space. ABC Pacific.https://www.abc.net.au/pacific/programs/pacificbeat/how-songs-from-the-pacific-ended-up-in-outer-space/10671290

Opera Grand Rapids. (September 26, 2018). Mozarts the magic flute:A mosaic opera. Opera Grand Rapid. Operagr.org. https://www.operagr.org/mozarts-the-magic-flute-a-masonic-opera/

Sampath, V. (2019). Kesarbai Kerkar, the Indian voice that made it to NASA’s Voyager mission. The Print. https://theprint.in/opinion/treasured-tunes/kesarbai-kerkar-the-indian-voice-that-made-it-to-nasas-voyager-mission/256137/

Smith Rumsey, A. (1999, February). Why digitize? Council on Library and Information Resources. Retrieved August 12, 2022. 

Taylor, D. (Host). (2019, April). Voyager golden record. In Twenty thousand hertz. Defacto Sound.

The International Shakuhachi Society. (2023, March 2). https://www.komuso.com/pieces/pieces.pl?piece=2218

The Rite of Spring. (2023, March 1). In Wikipedia. https://en.wikipedia.org/wiki/The_Rite_of_Spring

University of New Mexico (2023). Night Way. The Tony Hillerman portal.