By Natalie Vestin
This post was made possible through the support of a grant from The BioLogos Foundation’s Evolution and Christian Faith program. The opinions expressed are those of the author and do not necessarily reflect the views of BioLogos.
I have a heart arrhythmia that, though benign, is frustrating and feels like death despite its clinical insignificance. It has no cause and no effect; cardiologists call it capricious. It’s meaningless and unreasonable and irregular, and I hate it.
After a night of insomnia and errant heartbeats, I spend a comforting morning on the piano with Claude Debussy’s First Arabesque. Its rhythm is purposefully unpredictable, notes falling all over themselves.
I played the piano all the time when the arrhythmia was first monitored and diagnosed, drifting toward arrhythmic music I hated learning as a child. All those misplaced beats and skittering hands and attempts to hold multiple melodies in my head at the same time. It felt wrong, but my piano teacher knew: This one, she will never befriend the metronome.
The arabesque is a problem that never gets solved, an unanswered question. Playing it is like endlessly falling with nothing to right the body. It is all sky and no ground.
Arrhythmia is distressing in any form. Debussy’s use of arrhythmic structure—bitonality—got his music shunned by the artistic thought leaders of the day. In nineteenth-century Europe, tone was integral to composing music, tone being a steady sound in one key that predicts and guides the composition. Haydn and Bach were the greats, the ones to be emulated: repetition leading to rhythm, a diversionary tactic here to indicate that something is happening, a return to the source soon after. Set the metronome; do not deviate. [Read more...]