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"Music Does Not Exist"

Writer's picture: Andrew HodgesAndrew Hodges

Updated: Apr 22, 2024



Music is not an object.  It can be mistaken for a 'thing' especially with our technological gifts. But music is, in essence, gossamer floating on the breeze: a pulse of air lasting just a  moment or two. This book is about something which, the moment it appears, is gone.  Yet, despite this it carries enormous power. To us humans our ability to create sound in a structured way has been a major factor in our development. As music, it transports us to ecstasy and beyond, however it has also made an enormous difference to us in providing us with so much ability to work together in groups.


Music, unlike say painting, produces nothing physical. Of course more recently it has been possible to create MP3s, CDs and other forms of re-playable media, but these aren't originals. Until the arrival of forms of recording the creativity only had existence when it was performed. Dance has a similar heritage. Other forms of Art usually produce some kind of object; a painting, a carving, or a sculpture. In effect, musical creations disappear the moment they are heard. 


Musical creations are functions of the mind's ability to make connections between past, present and future in the form of sounds. It kindles memories. We use it to transform our present moment state. It can even give us hope. But what exists is only those vibrations which exist at that moment. In this sense music only exists, if it exists at all, within the mind and nowhere else.


Humans have made sounds for hundreds of thousands of years. As our use of sound has developed humans have learned to make use of sound in incredibly sophisticated ways. The origins of the use of sound within humans we can only guess at, but anthropologists point to this skill as being one of humanity's great survival traits. In some ways we are much better than wolves in being able to act together in packs for the good of the whole group. We as individuals are quite physically weak in comparison with other species but as an 'empathic' pack on planet Earth we are invincible.


The human capacity for conscious existence is intricately interwoven with our remarkable ability to both process and generate sound. Sound transcends its role as a mere sensory input, serving as a fundamental building block of communication, behaviour, and ultimately, the very fabric of our subjective experience. There is a captivating interplay between sound and human consciousness, which shapes our interactions with the world and with each other.


At the most fundamental level, sound alerts us to the world around us, acting as a constant sentinel informing us of potential threats and opportunities. Through the intricate machinery of the auditory system, incoming sound waves are translated into neural signals, ultimately forming conscious perceptions within the fertile fields of the human mind. This gateway function is not merely passive - our attention actively filters and prioritises auditory information, highlighting elements relevant to our current internal state and goals. This dynamic interplay between external stimuli and internal awareness underscores the crucial role of sound in shaping our conscious engagement with the world.


Perhaps the most defining feature of human consciousness is our ability to share our internal states through complex symbolic systems. Language, with its foundation in sound-based units, stands as a prime example. The vocal repertoire, along with intonation and the patterns of rhythm and sound used in poetry, allows us to express an astonishing range of emotions, thoughts, and intentions. This communication enables us to navigate the intricacies of social interactions, collaborate effectively, and transmit knowledge across generations. Sound, in this sense, becomes a shared canvas upon which we collectively paint the intricate tapestry of human meaning.


Human interaction extends beyond the purely cognitive. Sound possesses a potent ability to evoke emotional responses, bypassing our rational faculties and directly accessing the heart of our consciousness. Music, with its intricate dance of rhythm, melody, and harmony, taps into our deepest emotions, stirring joy, sorrow, and everything in between. The human voice, imbued with the nuances of tone and inflection, can convey empathy, anger, or tenderness with profound immediacy. This emotional resonance of sound underscores its central role in shaping our subjective experience and forging connections with others.

The relationship between sound and consciousness is not solely unidirectional. We actively employ sound to modulate and explore our own internal states. The rhythmic chants of meditation practices can induce tranquillity and focus, while the cathartic release of emotions through singing or musical improvisation can serve as a powerful tool for self-discovery. This ability to harness sound as a tool for introspection and transformation further highlights its unique and profound connection to the very essence of human consciousness.


Sounds have subsequently morphed towards words as symbols for objects. These symbols are the tools we use as part of humanity's incredible capacity for 'empathy'. We want, even need, to know how the other is thinking and feeling.  It helps us answer the questions "Are you safe?", "Will you be helpful?".


Tribal patterns of sound enable us to recognise other members of the tribe even when we can't see them.  Great tribal gatherings have always involved tribal chanting and dancing. Over history we have used singing as a means of remembering the thoughts, ideas and values of past generations who have long-since died.


In family circumstances, the sounds a child makes tells the parent many things. Equally for the baby parental sounds are a source of comfort. Parents can help very young children feel safe just by their tone. In this way 'tone' carries meaning.


For generations we have refined and re-refined our ability to organise sound until it has now become 'music'. But each time we compose or make up a piece of music we follow the same process. We allow a musical idea to appear, we play with it, we bounce it around, we share it with others. Eventually, in our gatherings, we'll bring it into being. It will say something to us. It will represent our current present-day 'values' that we want to express either as a message to others or to ourselves or both. The patterns become more solid and because we like it we do it again, and again... and again. Humans like repetition. Over time the piece carries more than it did originally. It becomes a statement of feelings we want to engender. It also carries memories too. Eventually it seems as if through repetition that it becomes 'real'. But it has to be remembered that it is no more real than it ever was. What is 'real' in many ways is what it makes us feel. Indeed in changing our consciousness, our state, it quite literally changes our reality.


Changing our reality changes many things. We act differently because our state of mind has changed. We create things not only individually but even more so when we cooperate as a 'pack'.


As has been stated earlier, music isn't a thing in and of itself. It is the state it engenders within us and the consequences of our actions motivated by that state.  There may be a number of reasons for building great mediaeval cathedrals but it's hard to imagine them being possible without music.  Music changes us in many ways so let's not beat about the bush: armies have always needed bands of musicians to take us to war so music helps us kill more efficiently.  Many acts of community are motivated by music. Bringing in the harvest, pressing the grapes, and digging railway tunnels are far easier to do with a song. Music creates community and has done since time began.


For centuries, philosophers and poets have pondered the duality of our minds, often drawing stark lines between reason and emotion. Examining the neuroscience of the emotional and thinking brain, within the intricate folds of the human brain, a nuanced story unfolds. Emerging neuroscience reveals not two isolated entities, but rather a dynamic interplay between the emotional brain and the thinking brain, a complex tango where passion fuels cognition and logic tempers impulse. 


Deep within the brain lies the limbic system, the ancient orchestral conductor of our emotional life. Composed of structures like the amygdala, responsible for fear and aggression, and the hippocampus, crucial for memory and emotional processing, the limbic system serves as the bedrock of emotional experience. It scans incoming sensory information for potential threats and rewards, triggering hormonal cascades and physiological responses that prime us for action. When a snarling animal strides into view, the amygdala sends a jolt of adrenaline, prompting our fight-or-flight response. This rapid, instinctual response system, vital for survival in our evolutionary past, continues to shape our emotional reactions in the present.


The amygdala, a key part of our emotional processing centre, plays a significant role in how we react to sound and music. Here's how it works:


  • Emotional Response: The amygdala is heavily involved in deciphering emotions from sounds. When you hear a loud noise, a surprising bang, or even certain tones in music, the amygdala helps assess if it's a threat. It can trigger fear, alertness, or even aggression depending on the situation.

  • Music and Emotions: Music goes beyond just sounds. The amygdala plays a part in how we experience the emotional range of music. Uplifting melodies, harmonious chords, or rhythmic beats can trigger the release of pleasure chemicals like dopamine, giving you chills or a sense of joy.

  • Uncertain Emotions: Interestingly, research suggests the amygdala might temporarily disconnect from the auditory cortex (the part processing sound) when we listen to music with unclear emotions. This might be the brain's way of analysing the music on a deeper level to understand the intended feeling.

In short, the amygdala acts as an emotional interpreter for sounds and music, influencing how we perceive and react to them.


While the limbic system orchestrates the emotional chorus, the prefrontal cortex acts as the cerebral captain, navigating the ship of emotion with reason and planning. Located behind the forehead, the prefrontal cortex is the seat of executive functions like decision-making, problem-solving, and impulse control. It allows us to pause, assess the situation, and consider the consequences of our emotional urges before acting. Faced with the snarling animal, the prefrontal cortex might help us to analyse the threat level, assess potential escape routes, and even consider forming an alliance with others for defence.


It is crucial to recognise that the emotional and thinking brain do not operate in isolation. They are not opposing forces vying for dominance, but rather, they form a tightly interwoven network, constantly exchanging information and influencing each other in a dynamic loop. The limbic system sends emotional signals to the prefrontal cortex, informing our thoughts and decisions. Conversely, the prefrontal cortex can modulate our emotional responses through executive control, enabling us to calm down from fear or temper aggression through reasoning.


Understanding the complex interplay between the emotional and thinking brain has profound implications across various fields. In education, it highlights the importance of integrating emotional learning into curricula, helping students to understand and manage their emotions alongside developing cognitive skills. In business, leaders who grasp the neurobiology of decision-making can foster environments that encourage both rational analysis and emotional intelligence. Therapists can leverage this knowledge to help individuals struggling with emotional dysregulation by strengthening the communication pathways between the two brain regions.


The human brain is not a battlefield between emotion and reason, but rather, a magnificent symphony where these two forces play in harmony. By understanding the complex interplay between the emotional and thinking brain, we can unlock the potential for a more balanced and fulfilling life, enriching our decisions.


Despite our growing understanding of the neuro-acoustic underpinnings of human cognition, the question of how simple vibrations in the air morph into the rich tapestry of subjective experience continues to tantalise neuroscientists, philosophers, and artists alike. The quest to unravel this mystery promises not only a deeper understanding of human consciousness but also a profound appreciation for the profound power of sound to shape our lives and experiences.


Consciousness might be considered as not just a solo, but an ensemble. This moves away from the traditional "stream of thought" metaphor and suggests it resembles an orchestra instead. This draws on philosophical and psychological perspectives to explore the complexities of consciousness and its implications for our understanding of ourselves. This shift away from a purely receptive model aligns with recent studies highlighting the active role of the brain in shaping perception.


The orchestra metaphor goes beyond mere spectacle. It highlights the multifaceted nature of consciousness, where various brain processes and bodily inputs act as individual instruments weaving a complex tapestry of experience. This suggests that different neural networks contribute to various aspects of awareness, emotion, and decision-making.

The analogy extends to highlight the dynamic interplay between these "instruments." Just as an orchestra isn't a mere sum of isolated sounds, our consciousness arises from the orchestrated interaction of these inner voices. This aligns with findings on integrated information theory, suggesting that consciousness emerges from the interconnectedness of various brain regions.


The metaphor also captures the potential for dissonance within the internal symphony. Conflicting desires, emotions, and thoughts, represented by competing instruments, create internal struggles. This highlights the interplay between intuitive and reflective systems in decision-making. This has implications for how we view ourselves and others. It encourages empathy and understanding by recognising the complex interplay of internal forces shaping thoughts, feelings, and actions. Additionally, it opens doors for future research exploring how to "conduct" this internal orchestra, potentially influencing mental health and well-being.


So sound is not merely a sensory input; it is a conduit to the depths of human consciousness. From its basic role in alerting us to the world to its sophisticated contribution to communication, emotional resonance, and self-exploration, sound serves as an omnipresent thread woven into the very fabric of our being. As we continue to unravel the mysteries of this intimate relationship, we embark on a journey not only into the workings of the mind but also into the very essence of what it means to be human. This journey promises not only scientific breakthroughs but also a renewed appreciation for the profound beauty and power of sound in shaping our lives and interactions with the world around us.


This book is about what we musicians have learnt that can make a difference in other realms outside music by using “the power of collective wisdom to make things happen”. The 'Collective Wisdom' within music allows us to safely explore our ability to challenge and inspire, to confidently and spontaneously invent and to lead and facilitate ourselves and others in order to build an output the performers and the audience just know intuitively is the best that can be. Creativity, curiosity, inspiration and spontaneity in music can operate in both structured and distinctly unstructured settings. The capacity for flexibility and tolerance within rapidly changing circumstances is a learned set of skills embodied within musical training.These behaviours are, by their very nature, inherent within the field of music. Musicians know when it's working and when it's not. Musicians are naturally curious and will try to do their best for each other. They have a natural tendency to treat each other with respect especially when giving difficult feedback.


When things don't happen quite so well musicians will continue to learn from their failures. Failure may not be comfortable but it is nevertheless regarded as an acceptable part of the process of learning and development. To make things work musicians have to face the issues.


The musical process therefore exposes, in a very naked form, how the creative interactions within a group of humans actually work on a practical basis.  Musical humans will have a natural tendency to interact to the point where they produce something which is noticeably better than the sum of its parts. Of course in some people's ears it might not be 'perfect' but it will always tend to be better than it was before.


Certain values such as kindness, respect and supportiveness are present. Listening skills in particular are deepened. Even if things go wrong in this regard musicians usually have enough self-awareness to pick themselves up and start again.


Outside music, teams and organisations could do well to examine and take notice of how this 'collective musical wisdom' might be transferred to the non-musical team or organisation. Much better results become possible just unlocking a few of the secrets embedded within the musical framework. There is a model here in "The Musician's Way" which could bear fruit in work, in business and in organisations, big and small.

Musical leadership is leadership 'in the moment' guiding complex simultaneous activities. Musicians will lead themselves and their 'team'; their band or orchestra, in a variety of different styles to suit the piece. The leadership style must 'fit', relate to what is happening now, with a sense of what's coming towards them, hopefully leading to the best outcome. Use the wrong 'style' of musical leadership and 'it just doesn't happen.'


Complexity can manifest at any time depending on how the dice fall. Making on the spot adjustments to leadership style can make the difference between a problem being solved or potential catastrophe. Your preferred behaviours might be insufficient for the task in hand. A huge array of variables can all play an important role in what leadership style to adopt for any given situation. How do you decide how to respond? What options do you have? What factors might come into play when you are called upon to 'raise your game'?

There's something about what we musicians do which could offer some of the answers. Yes, you heard it. Some of the answers to Life & The Universe might be musical!

Throughout human history, we have marvelled at the power of music to unite and inspire us. From the stirring symphonies that fill grand concert halls to the rhythmic beats that echo through bustling streets, music has the unique ability to transcend cultural boundaries and connect us on a profound level. But what is it about music that holds such a powerful sway over our emotions and behaviours? And how can we harness this collective force to solve the immense challenges that lie before us?


The Mastering Chaos approach is a transformative method for harnessing this collective wisdom and applying it to various aspects of our lives. It's a philosophy that recognises the power of music to foster teamwork, collaboration, and creative problem-solving. By understanding the principles of music creation and performance, we can develop the skills necessary to navigate the complexities of the world around us, fostering harmony and cooperation rather than conflict and division.


As we face an increasingly interconnected and complex world, the need for collective wisdom has never been greater. All the way along the chain of musical interactions lies our human ability to behave so productively in groups.  It starts from the open and free emergent space from which ideas and inspiration emerges. Our sense of true freedom appears here too. Problems are identified. Creative minds are put to work to begin to offer solutions. Choices are made to test these out and the solutions put into production.   These ideas, musical or not, begin to be crafted to form distinct possibilities. Structure is put in place and decisions taken. We develop a means of grounding the ideas into a fully formed piece of music or any other task on which you might be working. Music is the source of our creativity through our ability to connect in meaningful ways. 


This is the reality of music: that which appears not to exist carries immense power.


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