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Music, Archetype, and the Writer: A Jungian View

Music, Archetype, and the Writer: A Jungian View 74 The Journal of Black Sacred Music that the political songs still embodied a Christian element in synthesis with American nationalism (p. 412). Principally sung at antislavery conventions, rallies, picnics, and churches to boost the morale of the despised and scorned abolitionists, antislavery song was also a religious music sacred to those in bondage, for just knowing that there were "Christian soldiers" in the North who were singing and politicking for their liberation was sufficient fuel for their insurrections and flights toward freedom. Eaklor is a Professor of History in the Division of Human Studies at Alfred University. Knapp, Bettina L. Music, Archetype, and the Writer: A Jungian View. University Park: Pennsylvania State University Press, 1988. Knapp's book is an analysis of the way in which archetypal music allegedly impacts creator, composition, and characterization in literary writing. This thesis is postulated by exploring the "archetypal dimensions" music assumes in the lives of the fictional characters of the selected literary works-namely the way it has healed or shattered their lives-and by identifying the "energy charges" inherent in archetypal music as they affect the "mood patterns" captured by the writers in their works. Two of the chapters exemplify archetypal of purveying good and evil: music in its principal and primordial capacities "Archetypal Music as a Demonic Force," which examines Leo Tolstoy's novel, The Kreutzer Sonata (1891), and "Archetypal Jazz," which examines Jean­ Paul Sartre's novel, Nausea (1938), wherein jazz plays a healing function. In is sacred and in intimating claiming that archetypal music has numinosity and that it emanates from God Knapp's book has penetrating implications. Not only is there sometimes sacrality beneath what society veils as profanity; but what is good and what is evil are sometimes determined by the end that is served. Although no black writer is represented, Knapp's theory is also ap­ plicable to the analysis of black literature, Ralph Ellison's/ nvis i ble Man ( I 94 7), for instance, wherein it is a blues song that re-awakens the protagonist to existence. Knapp is Professor of French and Comparative Literature at Hunter College and the Graduate Center of City University of New York. Lornell, Kip. "Happy in the Service of the Lord": Afro-American Gospel Quartets in Memphis. Urbana: University of Illinois Press, 1988. This is essentially an ethnomusicological study of black quartet singing in the musical city of Memphis from around 1925 to 1987. The thorough docu­ mentation includes photographs, maps, concert programs, a list of Memphis quartets ( ca. 1925-1987), a discography, bibliography, and other informative materials, thus making it a valuable volume for the study of black gospel music and its influence on rhythm and blues. Lomeli is Staff Folklorist at the Blue Ridge Institute of Ferrum College (Virginia). Boles, John B., ed. Masters and Slaves in the House of the Lord: Race and Religion in the American South, 1740-1870. Lexington: The University Press of Kentucky, 1988. Only one of the eight essays in this edition address the black spirituals­ Katherine L. Dvorak's "After Apocalypse, Moses." In less than three pages Downloaded from http://read.dukeupress.edu/black-sacred-music/article-pdf/3/1/74/791898/74knapp.pdf by DEEPDYVE INC user on 13 February 2021 http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

Music, Archetype, and the Writer: A Jungian View

Knapp, Bettina L.
Black Sacred Music , Volume 3 (1) – Mar 1, 1989
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Copyright
© Copyright 1989 JBSM/Jon Michael Spencer
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-3.1.74.1
Publisher site
See Article on Publisher Site

Abstract

74 The Journal of Black Sacred Music that the political songs still embodied a Christian element in synthesis with American nationalism (p. 412). Principally sung at antislavery conventions, rallies, picnics, and churches to boost the morale of the despised and scorned abolitionists, antislavery song was also a religious music sacred to those in bondage, for just knowing that there were "Christian soldiers" in the North who were singing and politicking for their liberation was sufficient fuel for their insurrections and flights toward freedom. Eaklor is a Professor of History in the Division of Human Studies at Alfred University. Knapp, Bettina L. Music, Archetype, and the Writer: A Jungian View. University Park: Pennsylvania State University Press, 1988. Knapp's book is an analysis of the way in which archetypal music allegedly impacts creator, composition, and characterization in literary writing. This thesis is postulated by exploring the "archetypal dimensions" music assumes in the lives of the fictional characters of the selected literary works-namely the way it has healed or shattered their lives-and by identifying the "energy charges" inherent in archetypal music as they affect the "mood patterns" captured by the writers in their works. Two of the chapters exemplify archetypal of purveying good and evil: music in its principal and primordial capacities "Archetypal Music as a Demonic Force," which examines Leo Tolstoy's novel, The Kreutzer Sonata (1891), and "Archetypal Jazz," which examines Jean­ Paul Sartre's novel, Nausea (1938), wherein jazz plays a healing function. In is sacred and in intimating claiming that archetypal music has numinosity and that it emanates from God Knapp's book has penetrating implications. Not only is there sometimes sacrality beneath what society veils as profanity; but what is good and what is evil are sometimes determined by the end that is served. Although no black writer is represented, Knapp's theory is also ap­ plicable to the analysis of black literature, Ralph Ellison's/ nvis i ble Man ( I 94 7), for instance, wherein it is a blues song that re-awakens the protagonist to existence. Knapp is Professor of French and Comparative Literature at Hunter College and the Graduate Center of City University of New York. Lornell, Kip. "Happy in the Service of the Lord": Afro-American Gospel Quartets in Memphis. Urbana: University of Illinois Press, 1988. This is essentially an ethnomusicological study of black quartet singing in the musical city of Memphis from around 1925 to 1987. The thorough docu­ mentation includes photographs, maps, concert programs, a list of Memphis quartets ( ca. 1925-1987), a discography, bibliography, and other informative materials, thus making it a valuable volume for the study of black gospel music and its influence on rhythm and blues. Lomeli is Staff Folklorist at the Blue Ridge Institute of Ferrum College (Virginia). Boles, John B., ed. Masters and Slaves in the House of the Lord: Race and Religion in the American South, 1740-1870. Lexington: The University Press of Kentucky, 1988. Only one of the eight essays in this edition address the black spirituals­ Katherine L. Dvorak's "After Apocalypse, Moses." In less than three pages Downloaded from http://read.dukeupress.edu/black-sacred-music/article-pdf/3/1/74/791898/74knapp.pdf by DEEPDYVE INC user on 13 February 2021

Journal

Black Sacred Music – Duke University Press

Published: Mar 1, 1989

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