Western Theories of Music Origin, Historical and Modern

Abstract

All music origin theories are concerned with the purpose and effects of music, a subject first systematically broached by Plato who felt that music's primary use was for aggression, defence, persuasion and social harmony. In Cratylus Plato provided an epistemological foundation for later theorists by arguing for a natural correspondence between sound and meaning, opposing the view that names and sounds were arbitrary. One important group of musical origin theories developed this viewpoint, asserting that music evolved as a result of spontaneous emotional outbursts, a form of self expression and communication. Darwin heads a second adaptationist direction, maintaining that music evolved to enhance organisms' sexual attraction, thus increasing their ability to procreate. A third theoretical school asserts that music originated because of organisms' innate rhythmic sense. Other phylogenetic and functional ways of grouping music origin theories are also examined. In evolutionary time music's survival value lay in its use for territorial domination, deterrence of predators, intraspecific competition and social cohesion. Most musical/sonic signalling is deceptive and manipulative in nature, designed to give the signaller a competitive advantage against his/her rivals and therefore to increase his/her progeny. Although music in the western art tradition has only a limited social function, some of these utilitarian and duplicitous elements are preserved in the war, healing and supernatural songs of aboriginal tribes. Today music still serves the function of demarcating personal and group space, creating social cohesion, arousing to action and just pure enjoyment. Because of its ability to reawaken and allow us to re-experience primeval survival emotions, music is also cathartic and therapeutic.