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The interest of many modern musicians for the UAV is not a fad. This musical form responds to the aspirations indeed mystical and aesthetic immemorial. In this regard, we strongly recommend reading the essay by Marcus Boon entitled The Eternal Drone. Good Vibrations, Ancient to Future, published in Undercurrents. The Hidden Wiring of Modern Music, 2003, pp. 59-69 and readable here.

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With finesse, the author recounts the origins of the drone from ancient times of the Middle Ages where, thanks to the spiritual monophonic and organ, it resonated in the vast spaces of churches and cathedrals. From the Renaissance, Western music becomes more complex in terms of harmony and rhythm and drone is more discreet for several centuries. The interest in Oriental music is going to recover gradually in the spotlight, particularly during the 1960s following the pulse of La Monte Young.
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The role of Sufism and the book The Mysticism of Sound Pir-o-Murshid Hazrat Inayat Khan (published in English in 1923) is not negligible. An excerpt like the following can understand the ragas of Indian music (even if other concepts are essential to their understanding). " With music from the Absolute, bass, sound fundamental persists continuously, but on the surface, and under different keys of all instruments of nature, the fundamental is hidden and softened. Every being, with life, comes to the surface, then returns to where it came from, as each note back to the ocean of sound. The fundamental tone of this existence is the loudest and softest, highest and lowest, it overwhelms all band instruments soft or loud, high or low, until all gradually melt into him, the sound fundamental is always and will always . "

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The group name of La Monte Young's Theatre of Eternal Music, is, as we see, very close to these designs. I'm finally recognizing Article by Marcus Boon for making me discover the music of Indian vocalist Ustad Abdul Karim Khan (1873-1937) (the curious should easily find some recordings on 78rpm's). To complete and give an idea de l'enthousiasme que peut soulever cette musique magnifique et sans âge, je laisse la parole à La Monte Young : " Ustad Abdul Karim Khan’s recording of the composition “ Jamuna ke tir ” in Raga Bhairavi stands as one of the great masterpieces of music. When I first heard the recordings of Abdul Karim Khan I thought that perhaps it would be best if I gave up singing, got a cabin up in the mountains, stocked it with a record player and recordings of Abdul Karim Khan, and just listened for the rest of my life ." Et ici , sur l'excellent Excavated Shellac , quelques mots de Ian Nagoski à propos du même chanteur.

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