While many species in the world make music, humans have a unique musical ability. In some ways, music might even define what it means to be human. But how did we become so musical? And what is it about humans that sets our music apart from the music found in nature?
Michael Spitzer is a professor of music at the University of Liverpool and the author of the book, The Musical Human: A History of Life on Earth, which explores mankind’s ability to synthesize rhythm, melody, and culture throughout history and why music is fundamental to our humanity.
Michael and Greg discuss when and how music became an intrinsic part of human life, the changing role of music from a participatory activity to its present-day passive consumption, and the implications of technological advancements in music creation.
*unSILOed Podcast is produced by University FM.*
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Are we losing the value of music?
43:32: Music should do much more than just relax you. It should make you think and make you feel more alive. The ubiquity means we, it says, as available now as water and air, and it's become cheapened. If you were born on Beethoven's day, you would be lucky to hear a symphony twice in your lifetime. And when you did, it was special because most of the time, you were in silence, and we've lost silence. So, it's swings and roundabouts. We have this fantastic availability all the time, everywhere, everything now, but it means we don't value it very much anymore.
Why is music spiritual?
21:01: Why is music spiritual? It's because you can't see it. Unlike vision, it is out there when you see an object. You have this external objectification of that source. But with music and sound, it's inside you, and ontology, or the experience of sound, that is, it's internal or inside your mind, and you can't see it. So, it's intrinsically related to spirituality. It's invisible; it's ineffable; it's interior; it's linked to contemplation, meditation, and prayer. So it makes sense that music evolved, side by side, hand in hand with spirituality.
Music as the ultimate mimic of emotion and movement
19:23: You can't separate the feeling from the ethology—the ethological dimension of the emotion. How do you get from there into music? Well, I hear music as a gesture. Even though you don't see anything, it's invisible. I mean, there may not even be any words. It could be a jazz improvisation or a string quartet. Music evokes a sense of emotion, of something virtual, in a virtual landscape, moving and gesturing. And also a sense of voice. There may not be a lyric, there may not be a human voice, but a violin or a guitar can definitely evoke a sense of voice. So you've got your voice, your gesture, your action, your movement, and all the ingredients of behavior and emotional behavior. And music is incredibly eloquent in communicating emotional behavior. In short, music is like a mimic, like a great impressionist.
Is music really universal?
24:55: I don't mean that music is universal. Our propensity and our capacity for music are universal. We're born into a culture, and then this is why every musical culture has different vocabularies, different scales, different instruments, and different vocal types.
