How Is Music Possible?

How is it possible for music to alter the world like this? It’s like when you take a scene from a horror movie and add funny music and the killer suddenly looks hilarious. Isn’t it strange that that happens? Why can we put certain sounds together that make the trees feel unfamiliar? Music is tones and rhythms in various mathematical relationships to each other—it is almost pure abstraction.2 Why should that move us? It is a realm of patterns largely independent of outside reality, and yet, when Maud closes her eyes, the music leads her somewhere, to some inner landscape.

How can these landscapes arise?

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Experiencing music can give us the feeling that we are confronted with “the deepest recesses of our nature,” as Schopenhauer put it. His explanation for that feeling, by the way, was very different from the accounts I’ve given so far. He didn’t merely think music evoked emotions; he thought music and emotions were both evoking something, and evoking the same thing, something more fundamental than both. Let me give his theory as an example of how people have gone about attributing music to sources outside normal reality.

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Now that I think about it, I suspect the reason I’m dissatisfied with all of the explanations of why music moves us comes down to this enormous distance between how simple the building blocks are and how far reaching their consequences.

I wonder if music is perhaps best thought of as an emergent phenomenon. It is built from small, mundane actions (plucking a string, manipulating our emotional processing, synchronizing our body movements with others to create a sense of bonding, and so on). But the thing that emerges (these swooping existential experiences) can’t be understood by just looking at the building blocks—much as the behavior of a sand dune can’t be understood by considering a single grain of sand. Sand dunes move around, larger ones more slowly than smaller ones, and when they collide, they exchange sand in various ways—none of which are properties that sand grains have.

New levels of emergence like this require their own concepts and explanations. And perhaps the vague, poetic language we reach for when talking about what music does to us—saying it feels like it “lifts us up” or “confronts us with a deeper reality,” and so on—is the best we can do when talking about the ever-evolving desert landscapes that arise, inexplicably, out of the simple-looking sand grains called notes.7 Perhaps I just have to accept that.

However that may be, it is astounding that we get to live in a universe where music is possible. Absolutely astounding.

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