Music is a double-edged sword that can create and destroy. On the one hand, it can create and preserve religious community. On the other, it can destroy or undermine the very community it creates. Music creates the religious community since it fosters a shared emotional life. Those who sing together, worship, learn, and grow together. They sing praises to God—the very crux of worship. They also explore basic religious concepts through a medium that drives those concepts from the head into the heart.
Not only does music bind the community together, it also binds the community to its past. Religious music, as all music, was composed by a specific individual at some point in the past. The particular composition is a projection of its composer's inner life. When religious believers sing, they unite with the inner life of the composer in a deeply personal way. Further, religious believers also unite with past congregations. After all, a religious community adopted the composer's composition as expressive of its own inner life. Thereafter, congregation after congregation, saint after saint, has relied on the song for spiritual meaning and continuity. In other words, when the saint sings, she sings a song that not only binds her to her current community, but to past believers. And so deep is that binding, that it brings believers, past and present, into deep emotional connection. To borrow a concept from Brigham Young, when the saint sings, she forms an unbroken chain, or choir, back into the distant past. Religious music is, in this sense, a true at-one-ment. An at-one-ment that binds a believer to a community, past and present. This is the awesome creative power of music: at-one-ment.
But music can also destroy religious communities, preventing individuals from being able to worship or grow in religiously significant ways. Individuals who adopt musical anthems diametrically opposed to religious life, quickly find that they can no longer worship in the same ways as their peers. For such individuals, not only does religious music lose its value, but it no longer possess the same emotional force. Further, when an individual adopts music opposed to religious life, he shapes and changes his heart in ways not amenable to religious sensibilities. In short, depending on the type of music and the level of immersion, an individual can divide himself from his religious community.
And, in fact, such destructive music not only severs the individual from his contemporaneous community, it also severs him from a tradition. He no longer sings the songs that his ancestors sang. He no longer worships, learns, or matures through those songs. He divides himself from that life, to establish a new form of life. This is the awesome destructive power of music: separation.
Why does music simultaneously hold destructive and creative force? Plato, as in so many things, provides an answer. In The Republic, Plato introduces the concept of θυμός or Thumos. The word is difficult to translate, but it essentially means “spiritedness.” For Plato, Thumos, is one part of the tripartite psyche and frequently manifests itself as righteous indignation, as in political revolutions. It is that aspect of the psyche that is driven to correct perceived injustice and oppression. Thumos, then, is profoundly emotional while expressing an intellectual component. In my opinion, Thumos holds a unique relationship to art for this very reason. After all, artwork, music included, is at once uniquely emotional while expressing a strong intellectual component.
It is perhaps for this reason that Plato wanted to closely regulate music in his ideal polis. Plato, in fact, prescribes certain types of music for classes of citizens. He ascribed a “spirited” form of music for the guardian or military class, while ascribing a form of music amenable to peace or community for other citizens.
I don’t know the musical modes, I said, but leave us the mode that would fittingly imitate the utterances and the accents of a brave man who is engaged in warfare or in any enforced business, and who, when he has failed, either meeting wounds or death or having fallen into some other mishap, in all these conditions confronts fortune with steadfast endurance and repels her strokes. And another for such a man engaged in works of peace, not enforced but voluntary, either trying to persuade somebody of something and imploring him - whether it be a god, through prayer, or a man, by teaching and admonition - or contrariwise yielding himself to another who is petitioning him or teaching him or trying to change his opinions, and in consequence faring according to his wish, and not bearing himself arrogantly, but in all this acting modestly and moderately and acquiescing in the outcome. Leave us these two modes - the enforced and the voluntary - that will best imitate the utterances of men failing or succeeding, the temperate, the brave - leave us these.[1]
This regulated music would reinforce certain emotional and psychological traits desirable for those classes of citizens. Plato’s logic seems to assume that music arises from the deepest reaches of human emotion as a potent inner force projected outward onto the world. Since it has its natural home within the human psyche, when projected outward onto the world, it would easily penetrate deeply into the psyche of its hearers, shaping them for better or worse. As such, if music arose from an inner life of hatred, it would generate hatred within those who hear it. Likewise, if music arose from more noble emotions, it would ennoble.
If Plato’s arguments hold true, music bears a close connection to the psyche. As such, a religious community, just as a polis, must guard musical content lest it corrupts believers. And that is precisely what religious communities have done. In the High Middle Ages, Latin Christianity closely guarded the types of musical compositions and themes that were permissible for worship. Likewise, modern Mormonism closely controls the forms and themes of permissible musical compositions, canonizing certain music as the only acceptable music for worship. Such music ennobles. It educates and shapes the emotional lives of individuals, binding them together as a cohesive community. In this way, such music is akin to the music Plato spoke of as fostering peaceable community. In fact, religious music, as noted above, makes at-one-ment.But music can also sever and degrade a community. In my mind, Beethoven's compositions stand as an apt example the destructive capacity of music. As noted above, in the High Middle Ages, ecclesiastical and political powers commissioned and controlled the highest expressions of music. Beethoven declared war on this tradition. Beethoven, more than any composer before, rejected institutionally prescribed musical forms, turning music into the sole expression of an individual. His music was not written for a community, but for himself. It was his dirge against a stifling form of community, dividing him from that community and tradition. Unlike religious believers, he could not merely adopt the music created by another. Instead, he needed to create a new form of music, which subsequent composers have adopted. Beethoven’s music is, in this sense, akin to the spirited music Plato ascribes to his military class. It is Thumos, in that it confronts a community with an individual's will, and, in so doing, divides that individual from his community. And, in fact, such music not only severs the individual from a contemporaneous community, it also severs him from a tradition.
If these arguments hold, they provide important guidance for Mormonism. First, Mormonism must continue to use music for creative purpose. Saints must be able to adopt such music as an expression of their own inner life, creating a space where the saints can bind themselves to one another and to their sacred past. Second, and relatedly, Mormonism cannot provide a narrow form of musical life. If the permissible forms of music—music through which an individual can worship, learn, and grow—are limited, individuals will venture outside the community to express their emotional life. When individuals so venture, they more often than not adopt a form of music that does not arise from the inner life of a saint. Such music will shape the heart and mind of the wondering saint, dividing him from his religious community. Thereafter, he will no longer be able to worship, learn, or grow with the saints. Such is the creative and destructive capacity of music, and those communities who ignore it do so to their own detriment.[2]
[1] Republic 398d-399c.
[2] It is worth mentioning that even though I've discussed music in this post, the arguments made above apply more broadly to any form of artistic expression.