How Music Works

Nonfiction | Book | Adult | Published in 2014

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Summary

Background

Chapter Summaries & Analyses

Preface-Chapter 2

Chapters 3-4

Chapters 5-6

Chapters 7-8

Chapters 9-10

Key Figures

Themes

Index of Terms

Important Quotes

Essay Topics

Tools

Beta

Discussion Questions

Chapters 9-10Chapter Summaries & Analyses

Chapter 9 Summary: “Amateurs!”

Byrne considers the concept that music, being an ephemeral art form, is shaped not just by its sound but by the context in which it is experienced. He argues that the experience of creating art is often more enriching than merely consuming it. Byrne criticizes the societal and educational systems that prioritize passive consumption of the arts over active creation, suggesting that this approach diminishes creativity and discourages amateur artistic efforts.

Byrne reflects on the history of music education in America, noting that before the 20th century, the focus was on teaching people to make music. However, the advent of recorded music shifted this focus toward passive listening. He discusses the impact of this shift, emphasizing how professional music from larger cities and countries became widespread, overshadowing local and amateur music-making. He also decries the overall decrease in arts programs in public schools. This, according to Byrne, has consequences for both cultural life and the broader societal health.

The chapter also investigates the social and historical aspects of music. Byrne cites cultural anthropologist Ellen Dissanayake’s theory that early communal art forms improved survival chances by reinforcing group cohesion. He argues that modern society often overlooks the communal and evolutionary significance of amateur art-making. Music-making has psychological and societal benefits, including socializing, learning cooperation, and providing an outlet for emotions. Byrne illustrates this with examples from different cultures and historical periods, showing how communal music-making has long been a vital part of human society.

Byrne highlights the influence of technology on music. He notes how early record players could both record and play music, enabling amateurs to become recording artists. This feature was quickly eliminated by companies for profit motives, reinforcing a one-way flow of music from professionals to the masses. This builds to a discussion on the effects of capitalism on music, suggesting that it tends to create passive consumers rather than active creators. Byrne argues that this is counterproductive, as creativity and innovation are vital for cultural and economic vitality.

This chapter also discusses the notion of the solitary musical genius and its impact on the cultural understanding of music. This concept, he argues, has led to a devaluation of amateur efforts and a skewed perception of what constitutes “good” music. He notes that the rise of recorded music and the prominence of professional musicians have made it harder for amateurs to find their place in the musical landscape.

Chapter 10 Summary: “Harmonia Mundi”

Byrne explores the fundamental essence and origins of music, its role in human life, and the various theories and perspectives that attempt to explain its universal appeal. He considers the idea that music is an integral part of human existence, not merely a form of entertainment. Byrne examines how music might have originated, citing theories ranging from non-verbal communication between mothers and children to filling silence perceived as dangerous. He highlights the ancient use of diatonic scales, evidenced by flutes dating back around 45,000 years, suggesting a deep-rooted human connection to certain musical structures.

Byrne discusses the concept of consonance in music, comfortable harmonies that have been a part of human music since ancient times. This leads to the idea that humans might have an innate biological predisposition toward certain musical relationships. Byrne cites historical evidence, such as the oldest piece of complete written music from 1400 BCE and musical instructions written on cuneiform tablets, to support this.

The chapter also touches on the notion of the Music of the Spheres. This originated with Pythagoras, who linked musical harmony with the mathematical ratios of the planets. This idea persisted through history, influencing thinkers like Johannes Kepler, who saw the universe as decorated by the Creator using musical proportions.

Byrne then discusses the shift from acoustic to visual culture, as proposed by Marshall McLuhan, a Canadian philosopher. He suggests that this transition has affected how humans perceive and interact with the world, emphasizing a shift from a holistic, all-encompassing perception of sound to a more focused, directional, vision-based perspective. This change, according to Byrne, influenced how people understand and create music, moving from a sense of music as an enveloping, omnipresent force to a more structured, visually oriented approach.

Further, Byrne reflects on the role of music in rituals and ceremonies across cultures, noting how it’s intricately woven into the fabric of social and religious life. He observes that music’s role in rituals often makes it timeless and unchanging, serving as a vital link to the divine or the ancestral past. However, he also acknowledges the evolution of music from sacred rituals to secular, public performances, marking a shift in the societal role and perception of music.

Byrne explores the idea of self-organizing music, contemplating the concept of music existing independently of human composers or performers. He considers technological advancements and philosophical perspectives that view music as an emergent, autonomous entity rather than a human-crafted artifact. This leads to a discussion about the potential for music to be machine-generated using algorithms and patterns, which could lead to a new era of music creation and consumption.

Chapters 9-10 Analysis

In Chapters 9 and 10, Byrne examines the significant transformations within the world of music, tracing its evolution and envisioning its future.

Chapter 9, “Amateurs!”, challenges conventional narratives around music creation and performance. Byrne critiques the societal shift from active music-making to passive consumption, a trend accelerated by technological advancements and educational policies. He reflects on the evolution of music education in America, noting a transition from teaching music as a participatory art to focusing on passive listening, sidelining amateur musicians. This discussion rounds out the discussion of music’s evolution from a communal activity to a more individualized experience that Byrne addresses throughout the book.

Byrne’s exploration of the historical and societal changes in music leads to a deeper reflection on the very nature of musical experience. He articulates this through the observation: “Music is made of sound waves that we encounter at specific times and places: they happen, we sense them, and then they’re gone” (267). This philosophical view highlights music’s fleeting nature, reinforcing the idea that its impact extends beyond mere sound and is deeply rooted in the context and moment of its occurrence.

Byrne also explores the role of technology in this shift. Early record players enabled amateurs to record and play music, democratizing music creation. However, this feature was soon phased out, reinforcing the flow of music from professional artists to passive consumers. Byrne’s critique extends to the societal and psychological impact of this transition, underscoring the benefits of active participation in music, such as social bonding, emotional expression, and cooperative learning. In this way, Byrne touches on The Process of Music Creation and Performance, critiquing the lost art of participatory music-making and its impact on the richness of the musical experience.

In exploring these themes, Byrne employs anecdotes and examples, including references to his own experiences and cultural anthropologist Ellen Dissanayake’s theories. He cites historical evidence, such as the oldest piece of complete written music and musical instructions on cuneiform tablets, to support his arguments. These elements add depth to his exploration, situating music within a broader historical and cultural framework. They also build logos and ethos in the book’s final chapters, setting the stage for Byrne’s call for a cultural revaluation of music and the arts, advocating for greater emphasis on creation and participation over passive consumption.

Chapter 10, “Harmonia Mundi,” takes a philosophical and historical dive into the essence and origins of music. Byrne contemplates the intrinsic role of music in human life, exploring various theories about its universal appeal. He discusses the concept of consonance and the idea that humans might have a biological predisposition toward certain musical structures, providing a global perspective on music. He also touches on the notion of the Music of the Spheres and music’s role in rituals and ceremonies, highlighting its function as a link to the divine or ancestral past. This focus on the mystical qualities of music links to earlier discussions about emotion, community, and healing; Byrne is careful to emphasize that even among his qualitative assertions about music’s value, some of its appeal and value can only be felt rather than explained. The chapter then shifts to the potential future of music, contemplating music as an emergent, autonomous entity and the possibilities of machine-generated music. By exploring music’s evolution from sacred rituals to secular performances, Byrne dives into The Relationship Between Music and Society, showing how music reflects and influences cultural and societal dynamics.

In discussing the transformation from an acoustic to a visual-dominated culture, Byrne references a notable concept by Erik Satie, which captures the evolving role of music in daily lives: “We must bring about a music which is like furniture, a music which will be part of the noises of the environment […] softening the noises of the knives and forks, not dominating them, not imposing itself” (326). This analogy of music as an unobtrusive yet integral part of the environment underscores the shift toward a more ambient and integrative approach to music, aligning with Byrne’s broader theme of music’s adaptability to societal changes.

As Byrne explores the evolution and potential future of music, he expresses a personal and forward-looking stance on the liberation from traditional musical constraints: “I welcome the liberation of music from the prison of melody, rigid structure, and harmony” (331). Byrne’s metaphorical description of traditional elements as a “prison” emphasizes his advocacy for creative freedom in music. This perspective not only highlights the cultural shift toward more experimental musical forms but also echoes the ongoing transformation in how music is perceived and created.