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1. Music: A Human Construct, Not a Natural Phenomenon

The world is intrinsically silent.

Perception is creation. We often perceive music as an external, wondrous natural phenomenon, but it is fundamentally a human creation. Sounds exist as atmospheric disturbances, but our ears and brains transform these vibrations into meaningful, emotional experiences. This internal processing means that each individual's "musical instrument" (their brain and ears) is unique, leading to varied perceptions of the same sounds.

Biological individuality. Our physical makeup, from the shape of our heads to the squishiness of our brains, influences how we hear. Conditions like tinnitus, which the author experiences, highlight this personal auditory landscape, where a sound only audible to oneself can be altered by a simple jaw movement. This underscores that hearing is not a magical receptor but an active, individualized construction of sound.

Beyond the physical. The idea that music exists independently of humans is a "lovely story," but in reality, music "decays in the air" when vibrations stop. It is our biological and neurological systems that give sound its musical qualities, making us active participants in its creation rather than passive recipients.

2. The Social and Tribal Nature of Musical Taste

Your tribe is just multiple reflections of the person you think you are.

Tribal bonding. Music serves as a powerful tool for social bonding and identity formation. People gravitate towards music that reflects their self-perception and seek out like-minded individuals who share their musical allegiances. This creates harmonious communities of "fellow folkies, metalheads, ravers, wrinklies, Deadheads, Beliebers or whatever."

Cultural programming. Our musical preferences are not innate but are deeply influenced by our upbringing, social class, gender, and nationality. From childhood, we are subtly steered towards "good" music and away from "bad" music, often without conscious awareness. This conditioning shapes our likes and dislikes, making our "instinctive" responses to music a product of cultural programming.

Fashion and allegiance. Music taste is often intertwined with fashion and lifestyle choices, acting as "artillery with which you announce yourself to the world." Clothing, hairstyles, and accessories become visual cues that signal one's tribal affiliation, reinforcing the idea that belonging to a musical group is as much about external presentation as it is about internal appreciation.

3. Music as a Commodity: Utility Over Pure Artistry

In modern mega-capitalist society, music is something we use.

Functional consumption. Despite declarations of profound love for music, most people consume it in industrial quantities for utilitarian purposes. It's used for socializing, exercising, relaxing, shopping, advertising, and even masking uncomfortable silences. This pervasive use often relegates music to background noise, with its "depths" postponed for later.

Unplayed collections. A significant portion of recorded music in our civilization remains unheard, stored as data or physical objects that gather dust. Statistics reveal that millions of CDs are discarded annually, and a large percentage of downloaded tracks are never played. This highlights a disconnect between the act of acquiring music and genuinely engaging with it.

Social signaling. Many purchase music not for its aesthetic value but as a social signifier. Albums like Miles Davis's Kind Of Blue are bought because they are perceived as "proper" music for "proper music appreciators," reflecting class snobbery rather than deep appreciation. This impulse buying is driven by a desire to bond with peers and project a certain image, rather than a genuine love for the art itself.

4. Cultural Hegemony Shapes Our 'Greatest' Music Lists

The self-appointed elite speak for us all, and never hear the silence from those who don’t share their values.

Anglo-centric bias. Historically, and still predominantly, the "canon" of great music is dictated by Anglo superpowers, particularly the USA and Britain. Lists of "greatest albums ever made" are overwhelmingly populated by white, English-speaking artists, often overlooking equally significant non-Anglo musicians. This cultural hegemony dismisses foreign-language music as "tender exotics" that fail to "make it" in the global marketplace.

Invisible gatekeepers. The dominance of Anglo music is not always a result of overt racism but of ingrained biases within the media and industry. Foreign artists who achieve megastar status in their home countries remain unknown in the Anglo world unless they adopt English or are "curated" by influential white figures. This perpetuates a cycle where non-Anglo achievements are rendered invisible or deemed less important.

The "trad" problem. The practice of crediting folk songs as "Trad, arr. [White Artist]" is problematic, often obscuring the original creators, particularly when they come from oppressed communities. This "theft" of cultural heritage, as some argue, allows white adaptors to gain fame and wealth while the black originators are forgotten, highlighting the economic and cultural power imbalances.

5. The Unfamiliarity Barrier to Avant-Garde Appreciation

The music people fear is the music that stops them going home.

Comfort in convention. Most people prefer music that conforms to established rules and expectations, providing a sense of familiarity and predictability. Genres, whether rap, rock, or classical, offer stylistic and structural frameworks that listeners find comforting. Music that deviates from these norms, often labeled "avant-garde," is perceived as unsettling because it challenges the listener's desire for a predictable "home" key or structure.

Noise vs. music. The rejection of avant-garde music is not solely due to its perceived "noisiness" or lack of melody. Many popular genres, like heavy metal or certain rap styles, can be loud and melodically sparse, yet are widely accepted. The key differentiator is often familiarity; what is unfamiliar is easily dismissed as "horrible din," regardless of its actual sonic qualities.

Rebellion and alienation. For some, an appreciation for avant-garde music can be an expression of anger or alienation, a deliberate rejection of mainstream values. The author's own experience with The Beatles' "Revolution 9" highlights how such "auditory weirdness" can electrify some, while others dismiss it as "pretentious codswallop." This divide often reflects deeper psychological and social stances.

6. Music's Profound Impact on the Brain and Healing

Speech is a pushover, but the music in us is damn near impossible to kill.

Widespread neural activation. Unlike non-musical tasks that activate specific brain regions, music stimulates multiple areas of the brain simultaneously, lighting it up "like a lava lamp." This widespread activation means that musical memories and responses are deeply embedded and resilient, often surviving even severe neurological damage.

Dementia and stroke recovery. Music has a remarkable ability to bypass damaged brain regions, reactivating memories and communication skills lost to conditions like dementia and stroke. Patients who are otherwise unresponsive can "come back" to life, recalling names, singing, and even dancing when exposed to familiar music from their past. This demonstrates music's unique power to restore dignity and connection.

Therapeutic applications. Music therapy, whether formal or informal, leverages these profound neurological effects. Choirs for individuals with brain injuries, like the HeadStrong Singers, provide a team-based, empowering activity that improves well-being. The ability of music to evoke strong emotional responses and facilitate motor control makes it a powerful tool for healing and rehabilitation.

7. The Universal Capacity for Song, Often Silenced

Everyone can sing.

Innate ability. The ability to sing is a biological fact for anyone with a functional throat, akin to the ability to talk. Our vocal cords, lungs, and brains are equipped to produce modulated sounds that can be shaped into music. Even those who believe they "can't sing" possess the physical and neurological tools, often demonstrating sophisticated stylistic skills in jest or imitation.

Societal anxiety. Despite this innate capacity, many individuals, particularly women, are paralyzed by anxiety and shame about their singing voices. This "inner Simon Cowell" effect stems from competitive and judgmental cultural norms that impose "shoulds" and foster a fear of criticism. This can lead to a lifelong avoidance of singing, even for those with natural talent.

Liberating the voice. Vocal coaches like Frankie Armstrong dedicate their lives to helping ordinary people overcome these inhibitions, creating "safe" spaces where individuals can rediscover their voices. By focusing on physical movement and gradual introduction of melody, participants learn to trust their voices and challenge self-imposed limitations, demonstrating that confidence in singing can be nurtured and reclaimed.

8. Nostalgia: The Dominant Emotional Driver of Music Love

For most humans, memories are not a cache of happiness stimulants, they’re something much more essential – more existential – than that.

Memory as identity. For many, music is a powerful "time machine," deeply intertwined with personal memories and identity. Songs become "madeleines," triggering Proustian rushes that transport listeners back to significant life events, first loves, or cherished moments. This emotional connection is often more profound than any aesthetic judgment of the music itself.

The "soundtrack of life." People frequently describe music as the "soundtrack of their life," with specific songs evoking vivid recollections of happiness, loss, or pivotal experiences. This phenomenon is evident in online forums where listeners share deeply personal stories linked to songs, often expressing solidarity and empathy with others who share similar emotional connections.

Irreversible emotional imprints. Once a song becomes deeply embedded with personal memories, it is almost impossible to "unlove" it, regardless of later critical assessment or the artist's moral failings. The emotional pathways etched in the brain during formative years create an enduring bond, making the music a permanent part of one's emotional landscape.

9. Recorded Sound: From Ephemeral Event to Owned Object

Music used to be ephemeral, an event that could not be clung to.

The illusion of permanence. The invention of audio recording transformed music from a fleeting event into a tangible object that could be owned, collected, and preserved. From phonautograms to vinyl, and now digital files, industries have convinced us that music is a "thing we must own," despite its inherent ephemerality.

Vinyl worship. For many, vinyl LPs are not mere mass-produced units but "organisms with soul," embodying a "warm, mahogany-rich sound." This perceived warmth, however, is often the result of the medium's inherent distortions and limitations—the mechanical hum, needle rumble, and subtle surface noise—which evoke comfort and nostalgia for those who grew up with it.

Digital convenience vs. physical connection. The digital age, with its promise of "every song you've ever owned. In your pocket," offers unparalleled convenience but often sacrifices the tactile and ritualistic aspects of music consumption. For some, the physical act of handling an LP, perusing its artwork, and the ritual of playing it, creates a deeper, more meaningful connection than streaming insubstantial data.

10. Taste as a Weapon: Judging Others Through Music

Expressing contempt for people’s taste in music is one of the few prejudices educated folk feel they can get away with.

Social hierarchy of taste. Society often creates an unspoken hierarchy of musical taste, where certain genres or artists are deemed "superior" and others "crap." This allows individuals to assert their own perceived intelligence or cultural sophistication by disparaging the preferences of others. This prejudice, unlike racism or sexism, is often considered acceptable, even principled, by educated circles.

"Self-evident" inferiority. Those who enjoy "lowbrow" art are often implicitly, or explicitly, categorized as intellectually inferior. Critics may use condescending language to describe artists like Chris de Burgh or Liberace, dismissing their work as "mawkish" or "schlock." This judgment extends to their fans, who are seen as "moronic, sentimental peasants" incapable of discerning "good" art.

The power of popularity. Historically, artists like Liberace and Elvis Presley, despite immense popularity, faced relentless scorn from critics who deemed their music "awful." However, their commercial success often served as a shield, allowing them to "cry all the way to the bank." This highlights a tension between popular appeal and critical acclaim, where the sheer number of fans can challenge, though not always overcome, the pronouncements of taste arbiters.

11. The Moral Dilemma of Enjoying Art by 'Bad' People

Great art can be made by bad people.

Art vs. artist. Music, more than other art forms, presents a unique challenge when the creator's moral character is questionable. Unlike books or films, which require conscious engagement, music can "barge into us without consulting our carefully constructed value system," affecting us emotionally and physically before our opinions can intervene.

The "unloveable" song. Once a song is loved, it is difficult to "unlove" it, even when the artist is exposed as a "creep, fanatic, bully, rapist." The emotional pathways etched by music are deep-seated, making it hard to reconcile the pleasure derived from the art with the abhorrence felt for the artist. This creates a profound internal conflict for listeners.

Boycotts and "impossible to hear." Social campaigns, like #MuteRKelly, aim to make artists pariahs, effectively rendering their music "impossible to hear" by burying it under a "barrage of disapproval." While such actions may be morally justified in addressing harm, they also highlight the struggle to separate the artistic creation from the creator's actions, often leading to a deliberate suppression of aesthetic engagement.

12. Animal Music: A Mirror to Human Perception

Our perception of music in animals is often anthropocentric and driven by human desires.

Anthropocentric interpretations. Our attempts to find music in the animal kingdom often reflect human desires and biases rather than objective observation. Videos of "dancing" elephants or "singing" birds, while charming, are frequently misinterpretations of animal behavior, such as stress-induced swaying or mimicry for reward. We project our aesthetic and emotional frameworks onto non-human creatures.

The "musicality" debate. Scientists struggle to define animal "music" due to the inherent difficulty in devising tests that account for animals' unique physiologies and motivations. While some animals, like the sea lion Ronan, demonstrate beat perception, it's unclear if they derive aesthetic pleasure from it. The "Thai Elephant Orchestra" exemplifies human imposition, where animals are coerced into making sounds that tenuously resemble human music.

Nature's symphony. Despite the anthropocentric pitfalls, exploring animal sounds can expand our notion of music. David Rothenberg's "interspecies music" experiments, though often lonely, highlight how sounds previously dismissed as "noise" can be perceived as "beautiful, aesthetic, formed, organised, composed." This journey encourages a deeper appreciation for the natural world's complex auditory landscape, even if it doesn't conform to human musical definitions.

Last updated: January 4, 2026