One note, plucked on an acoustic guitar. A single chord, strummed. Three chords in quick succession. Another three. A bass guitar joins in, and percussion provides a beat. Add a piano, woodwind, density, variety... We have music, it resonates with us emotionally.
But why? We all recognise a minor key in music (sad). And a major key (happy). Why do we respond this way, rather than the other way around?
Science tells us that the way our brains process music is all about dopamine activated by the mesolimbic reward pathway, the activation of structures such as the amygdala, hippocampus and anterior cingulate cortex, and our cultural expectations.
I'd say this this physicalist explanation overlooks the metaphysical mystery at the heart of our emotional response to music.
Earlier this year, I posited the possibility that music operates on the same substrate as our consciousness. We experience music rather than think about it (unless we are trained musicians). The notion of music literally belonging to the ages. I would guess that the conscious response to a Mozart minuet in a human is the same today as it was when it was first played. (I might have to add 'to a European human', conditioned to Western tonalities.)
Familiarity is important; you may hear a piece for the first time and like it – this may be because it's derivative, sounding similar to another piece you know and love, or it may use familiar musical devices or tropes that work on you emotionally such as a crescendo, choir entry, shift from major into minor etc. (Somehow, this doesn't happen with AI-generated music.)
But then there is that 'click' of instant familiarity when you 'know' a tune you've never heard before. Was it there in the background while you were in your earliest infancy? Do you associate it the tune with childhood? Or some vague time before you were born – how could that be? Two months ago, I had the insight that maybe music plays some role in assigning consciousness to its biological container.
Two and half thousand years ago, Pythagoras posited that the Cosmos is structured according to harmonic ratios analogous to musical intervals, and that the motion of heavenly bodies form a cosmic harmony, inaudible, yet fundamental to the structure of reality. Plato developed this idea further. He suggested that the World Soul is built from harmonic mathematics. according to musical ratios which structure the Cosmos.
These ancient intuitions resonate with our current understanding of the physical substrate of reality.
Modern physics has uncovered parallels to the Pythagorean view of 'the music of the spheres': stable structures, from atoms all the way up to galaxies, emerge as resonant patterns in dynamic systems. In this profound sense, the universe does indeed behave like an enormous hierarchy of vibrating systems across countless frequencies.
Vibration may be a fundamental organising principle of reality, maybe even bridging the divide between the realms of matter and consciousness. Maybe.
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