by Bill Benzon
ASC, “altered states of consciousness” – I don’t know when the term was first coined, but I became aware of it late in the 1960s. I took it as referring primarily to states of mind induced by psychoactive drugs, such as marijuana, mescaline, and LSD, and to states induced by meditative practice. It presupposes “ordinary consciousness,” which is hardly a single thing when you consider that one can ordinarily be daydreaming, working a math problem, eating a meal, perhaps a good meal, perhaps one that is merely tolerable, hiking in the woods, and so forth, for a long and various list of activities, all of them ordinary.
Music is one of those activities, one I treasure a great deal. I my experience states of musical consciousness can be quite various, some tending toward the ordinary other rather extraordinary. When I was eleven or twelve I read the this is Jean-Baptiste Arban’s Complete Conservatory Method for Trumpet, originally published in mid-nineteenth century France, and variously edited and reprinted since then. Arban is expressing his hopes for the instrument:
There are other things of so elevated and subtle a nature that neither speech nor writing can clearly explain them. They are felt, they are conceived, but they are not to be explained; and yet these things constitute the elevated style, the grande ecole, which it is my ambition to institute for the cornet, even as they already exist for singing and the various kinds of instruments.
What was he talking about? What does he mean by “grande ecole”? I doubt that I sought out an English translation. Whatever it was, it seemed important, albeit mysterious. Perhaps even, important because mysterious.
Does this grande ecole involve an altered state of consciousness?
Rock and Roll
During the early 1970s, while I was working on a master’s degree at Johns Hopkins in Baltimore, I played with a rock band called St. Matthew Passion. We modeled ourselves on Blood, Sweat, and Tears and on Chicago, bands that blended elements of jazz with rock. Thus, in addition to a four-piece rhythm section (guitar, bass, keyboards, drums) we had three horns: sax, trumpet (me), and trombone. Read more »