Like most people in their growing up years, I discovered early the influence music can have in our lives, ranging from birthday parties to wedding receptions to special days in the year, and in celebrations big and small in venues ranging from simple to elaborate. Also in my 50-plus years as a musician, I have seen that influence being played out in a range of occasions in a range of countries, with joy and exhilaration so frequently the result.
Along the way, however, I must confess that the singular exception to that euphoria for me has been the Auld Lang Syne music that is a fixture in New Year’s Eve celebrations in most countries. From the first time I heard it as a young man in West Dem, that particular piece of music struck me as an odd choice because there is a definite message of sadness, I would even say regret, conveyed by the music; it makes us tearful. Yes, it is an appealing melody, but the onward lift one would expect in a “Happy New Year” message is not boldly there in the signature song. Perhaps this owes to the fact that I know nothing of the history of that piece of music, with its “looking back” message, but I have always found it strange that such a wistful song should have become standard fare in forward-looking year-end celebrations. The impact of the piece on crowds in celebration leaves me to concede that the New Year’s Eve crowds were reacting to something unknown to me: the frenzied Old Year’s Night celebrations, roaring along until a few minutes before midnight, would be cut off immediately as the hour struck, to be replaced by everyone standing still for a few minutes to the strains of Auld Lang Syne, which would then be immediately replaced by the frenzied celebrations and the balloons, confetti, etc.
