Making a list like this leaves one with impossible choices. I thought I’d set out a few general guidelines before discussing specific considerations. First, the music had to be as inclusive as possible of all human experience. Having said that however, each of the three great world civilizations on the original golden record, Indian, Chinese and Western, had to be represented, to do otherwise would have been unconscionable. Second, oral indigenous cultures could not be neglected either especially since, being non-literate, their musical traditions are all the more precious. Third, reductionist cultural politics would not be considered, so no booting Bach out because he was a white, male whose patron, the Margrave of Brandenberg, had serfs or anything like that. Fourth, sometimes one piece was chosen over a similar sounding one (to me!) simply because I liked it more and because I could think of no other reasonable criteria to decide between them.

Apart from these guidelines, there were several other important considerations. Certain music carries meaning in more than one mode. Sagan’s observation that classical music has mathematical elements gives an advantage to Western classical music since non-human sentient beings might be non-auditory but if they could intercept and decode Voyager’s cargo they would surely be conversant with mathematics. However, the principle of diversity overrode this consideration and so only one example of that genre was chosen. Then there is the question of media. Should the human voice be privileged over instruments or vice versa or neither? I concluded examples of both and in combination would be necessary to give an adequate idea of the range of human creative expression.

Aside from presenting humanity in its diversity, what other message(s), if any, should the collection attempt to convey? We don’t know if any message at all is even possible given we know absolutely nothing about those who might be trying to understand it. I think the best approach is to offer as much variety as possible and hope that something gets through. Another related issue was that of providing necessary and sufficient context. Since little in the way of context could be provided given the Golden Record’s space constraints, which works were most likely to be understood on their own terms? Put another way, which pieces might be misunderstood if sufficient context were not provided? Dr. Smith Rumsey (1999) remarked that the future value of a saved artefact will be determined by circumstances in a context that we can never know.  I mulled this over as a few of the pieces I chose are interesting to a significant extent precisely because of their context, Johnny B. Goode, for example, and also the music of the Australian aborigines. In the end, the anticipated gap between us and the sentient beings who might discover these artefacts seemed to overwhelm any such concerns. They might not even be carbon-based life forms so what difference would Chuck Berry’s role in the history of rock-and-roll matter?

With these thoughts in mind, here is my list.

1. Senegal, Benin, percussion

I have to admit I love listening to this one. Not only is it’s rhythm very appealing, it seems to bring to life the people and flora and fauna of west Africa. I imagine I can hear birds chirping, larger animals moving in the bush, lush forests, people in joyful celebration. It seems to conjure up a whole lifeworld and I chose it, as I did “Flowing Streams”, for that reason.

2. Australian aborigine, “Morning Star and Devil Bird”

Among the great variety of indigenous musics, that of the Australian aborigines is immediately recognizable. Owing to the continent’s long cultural isolation, the instruments and style are highly distinctive and their intimate connection to Aboriginal “Dream Time” mythology make them even of greater importance. This music deserves a place simply for its uniqueness in the human record.

3. Azerbaijan, bag pipes

This tremulous wavering music was a revelation. The musicians weave their story around a sustained background note and the effect is hypnotic so I suppose I was attracted to this because of its exoticism. It seemed very different in spirit and inspiration from western music, like music from Aladdin and the Thousand and One nights.

4. Beethoven, Fifth symphony, First Movement

I chose this for its unmatched technical complexity and emotional depth. The symphony was written in C minor, a key that evokes turbulent and unsettled emotion and which is an effective foil to the symphony’s structural elements which, being products of the classical age, are tethered (precariously) to concepts of order and regularity. A work of genius; you would have to be rock not to be affected by it.

5. Bulgaria. “Izlel je Delyo Hagdutin

The extraordinary intensity of this blew me a way and I knew it had to be in the final cut. Haunting and ethereal, you just know she’s singing about some great and terrible event even if you don’t know what that was. The podcast host says its about a unkillable rebel hero which seems totally in keeping with its quality of sounding both dirge-like and defiant.

6. Johnny B. Goode – Chuck Berry

Early rock has an infectious cheeky quality that combines (mostly) good-natured rebellion with high spirits. It’s impossible to listen to this without finding your feet tapping away under the desk. Despite the youthful energy, this is sophisticated music combining elements of the blues, ragtime, and swing. Overall, a combination full of fun and interest and a good representative of humanity at play.

7. China, ch’in, Flowing Streams

The delicacy and grace of this music is a useful counterpoint to the more dramatic character of many of the other selections. I felt, perhaps naively, that it might stand in as an expression of the purer elements in Chinese and Japanese spirituality, notably Chan Buddhism and Zen. I was always looking for music that might be suggestive of a whole lifeworld of the people who created it and this seemed a good example.

8. India, raga, “Jaat Kahan Ho

I would have chosen this even if it hadn’t been the only selection from India. I’ve always found Hindu religious music written to accompany or to be a form of worship eerily beautiful. Only Gregorian Chant, which I feel ought to have been on the Golden Record, has the same profound feeling of sacredness. I’ve listened to a fair bit of this kind of music and recommend Shiva Mana Puja and Bhavanyastakam sung by Urwila Devi Goenka. But this woman’s range is amazing. I confess it sent shivers down my spine.

9. “Dark was the Night” Blind Willie Johnson

This music is full of suffering yet it is also very dignified; there is nothing mawkish or sentimental about it. It isn’t complex or sophisticated, but it is authentic and hints at a darker side to the human condition. “Dark was the Night” adds the shadow and communicates the sadness of human frailty, vulnerability and even mortality.

10. Peru, wedding song

I felt there should be at least one song here showcasing an unadorned human voice and this seemed an excellent choice. Tinged with melancholy yet still bright and clear, it’s a beautiful example. It also seemed appropriate that there should be a contribution from the indigenous people of Latin America.

References

1. Smith, A. (1999). Why digitize? Retrieved March 07, 20121, from Council on Library and Information Resources website: https://www.clir.org/pubs/reports/pub80-smith/pub80-2/