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Running head: Music and Society: In Perfect Harmony1

There is a strong, rich musical culture in this country. It has roots that are deep seated and

historically important to society as a whole. Music penetrates every niche of our lives today and

as a people we have always been interested in the relationship of the sound to the society that

produces it.

Music is also a statement of the times and a reflection of society in any given moment.

But, does society affect the music, or does the music affect society? Music is perhaps, the most

powerful art form being made in the world today and so naturally these questions persist. My

contention is that society and music live in perfect harmony. One cannot, and has not existed

without the other. The events in history have been reflected in and played out through music and

in turn that music has a counter effect on society. Essentially, the two coexist, both lending to the

other and both having an influence on each other. Music is often composed as a result of a

change or event in society, or history, and is capable of affecting society in turn. Music can

inspire, motivate, and even be a call for action. It can be the impetus for change in society as

music affects people of every given culture. The sociological aspect of the world is often the

stronger motivator, but historically, music has responded just as strongly. Music reflects society,

and in turn, society is then a reflection of that music.

Music has long been an important expression of people from different cultures around the

world. Some ancient artifacts show people playing musical instruments in Asia about four

thousand years ago. (Syncrat, 2003). Other archaeological findings suggest that different

cultures around the world have always focused on their own special instruments and unique

methods of playing them. However, no matter how much music may have differed in different


parts of the world, it seems that music served a general common purpose: to bring people

together.

Music was first used in religious ceremonies throughout the world and quite naturally

involves the whole community on many different levels. It is produced by the musician and

heard by people, who are free to interpret its intent. That aspect of music has never changed. In

fact, “the involvement of community in each culture has caused music to evolve in a way that is

unique to each one.” (Syncrat, 2003). Looking at the great masters of music, like Beethoven and

Bach, some of their most enduring, beautifully composed music was, in fact, a reflection of

society. “…the composer’s submission to the general current of thought is explicit and of

importance to his position as a member of society, empowered to act as its mouthpiece…”

(Raynor, 1972).

At that point in history, the composer performed a social function. He was directed by

those in power to write music, primarily used with a religious context, for Mass, funerals, and

social celebrations. Composers maintained a close contact with their audience, who regarded

their work as socially necessary. (Raynor, 1972). This arrangement between composer and

audience/community put the musician in a unique situation. As Henry Raynor explains in his

book, A Social History of Music, “Unfortunately, music is not written and does not exist in a

vacuum. The composer, whether or not he likes to recognize the fact, lives in some relationship

to his age and community…” He further explains, that it was often the duty of the composer at

that time to translate the words of the Bible to his audience. Bach composed his St Matthew

Passion, Berlioz sets to music the birth of Christ and, of course, there is Handel’s glorious

Messiah, taken directly from King James’ Bible. These works were written and performed at

church and so there was a direct connection between the composer and his audience. More


importantly, the music was a social reflection of the highly religious times lived in Europe’s 18th

century.

Music has always played an important role in society and must exist socially. (Raynor,

1972.) As Raynor explains, there are obvious presuppositions to music:

It is written down so that people other than the composer can play it

It is written with the intention to involve one, to as many as hundreds, needed to

perform it

There will be an audience for the music

The above key factors place a strong, unbreakable link between music and society.

As music moved into the 19th century, its center of gravity shifted from the Church to the

courts, to the Reformation, the rise of Liberalism and the nationalist politics of the time. (Raynor,

1972). No longer were composers stifled by the constraints of the Church to compose music for

their benefit alone. Audiences now included all members of society, not just Christians, not just

those attending religious rituals. What didn’t change was the fact that music was still a powerful

way for the composer to communicate with his audience about the times, social events and it was

an opportunity to react to the world around them. Music and sociology were a powerful duet.

“Music cannot exist in isolation from the normal course of history and the evolution of

social life, for art in part rises…from the life its creator lives…” (Raynor, 1972). The author

contends that music exists through the interplay between the composer and the audience and the

music he extends to them is a reflection of his society and the life he is living.


On the other hand, music does not just happen. “Music happens whenever people feel a

need to speak through sound, to thank God they are on earth or to curse Him for what they are

suffering.” (Mellers, 1987). Actually music happens as a social activity. There is a coming

together of people: those who make the music and those who listen. Although music would still

exist if not heard by a full audience, it would be less significant to society. Mellers states that

music is fundamentally men being creative with sound and he contends that in a healthy society,

men are all musicians to some extent.

“Song has contributed to the ability of humans to live together, sometimes in harmony,

on the planet,” states Daniel J. Levitin in his book, The World in Six Songs: How the Music Brain

Created Human Nature. “Synchronous, coordinated song and movement created the strongest

bonds between early humans and over time made political structure possible, eased tensions and

created a sense of we.” (Levitin, 2008). He suggests that songs of comfort are crucial in living

through grief and religious songs reinforce a sense of order in the world, all important roles in

society. The comfort felt after hearing a religious cantata rejoicing in the word of God is

undeniable. The sweet surrender to a lullaby and the call to arms of a protest song are ingrained

in our society as much as any political or historical event. Music is a direct reflection of society

at any given moment in time and the music born of that time is as significant. Plato said "If you

want to measure the spiritual depth of society, make sure to mark its music." (Stanford

Encyclopedia of Philosophy, 2009).

The history of America is reflected in our music and evident in the songs we sing.

Throughout history musical lyrics and musical stylings have been a statement about the world

and society at that time. “Songs can illuminate out understanding of the history of the American

people better than any other vehicle...” (Whitmer, July 2005). That is because music conveys


meaning on so many different levels, perhaps more than any other art form. Its meaning is

conveyed not only with the words of the song, but also with the music itself and the performance

style. It is obvious that music that is light and sweet, with beautiful, loving words, sung by a

minstrel and his guitar uses those three different, but harmonious levels to convey love. It is also

true that slow music in a low range, coupled with words of sorrow, easily conveys a sad story.

American music, in this way, was evolved using the music of another land. The earliest

settlers sang songs they already knew. (Whitmer, July 2008). Gradually, they replaced the words

of the old European traditional songs with their own – a reflection of the new and difficult lives

they were living. The songs reflected daily struggles to build a new home and form a new

society. There was also an added bonus. “Adding new lyrics to well-known melodies helped

with retention, since early songs were rarely written down and survived in oral tradition,”

explains Mariana Whitmer. This process was especially helpful as well known songs were often

used in the settlers fight for independence. That is how the English National Anthem, “God Save

the King,” became “Hail O America,” (1776) which became “God Save America,”(1778) and

eventually “My Country Tis Of Thee,” (1831). (Whitmer, July 2008).

All these songs were a natural reflection of a sign of the times. Throughout history, until

the current day, music has done just that – reflect and give pause to consider the events that are

unfolding in society and reshaping our culture. Music and society can almost be seen as the part

of a song known as call and response. Musically, one part of a chorus, for instance, will call to

the rest of the chorus with a musical statement and another part of the chorus will respond. The

tenors might sing, “I am singing,” and the sopranos might answer, “We hear you singing.” So it

is with society and music. Society calls out and music responds.


As American society grew more diverse and expanded geographically, songs reflected

the changing lives of differing populations. This was true of the Appalachians and of the South.

Folk songs sung in the mountainous southeast region of the United States, spoke of the

difficulties of farming and providing for family in Appalachia. “Wayfaring Stranger” is one such

song meant not only to support, but entertain.

“I’m just a poor wayfaring stranger

I’m traveling through the world of woe…”

In her article, “Songs with Social Significance: An Introduction,” Mariana Whitmer

suggests that plantation owners of the South encouraged their slaves to sing, thinking it made

them happy, but in fact, the songs helped them unite in their quest for freedom and the words

often translated into plans for their escape. One thing that is absolutely true is that the songs of

the slaves spoke of their undying hope that their situation in life would change. This is a clear

case of society inspiring music.

“In freedom we’re born, and in freedom we’ll live

Our purses are ready.

Steady, Friends. Steady.

Not as slaves, but as free men, our money we’ll give.”

Throughout history, and certainly American history society has inspired music which

reflected the times. Whether it was the California gold rush of the mid 1800’s, or the influx of

migrant farm workers during the 1930’s, the songs of a particular time were in response to what

was going on socially. Music has also been successful in raising social consciousness. Labor and

civil activists, as well as women were known to rally people around an important cause through


music. (Whitmer, July 2005). Music marked social and economic change and was also written to

commemorate technological advances as well. Americans can be proud to have composed and

published songs about airplanes, trains, cars and even rocket ships. Our musical heritage includes

marking history with songs about war, peace, social upheaval and injustice. Society is seen

imitating music and music is heard imitating society.

There have been arguments for the categorization of music using already established

sociological categories. As Kurt Blaukopf details in his book, Musical Life in a Changing

Society, in order to establish a true link, the following three possibilities must be accepted:

1. The form of the work is assigned to a given historical situation whose sociological

aspects are expressed in the work

2. Component features of a composition are identified by analysis, followed by an

attempt to relate these features to structural features of the society during the

period when the work was created

3. The different effects of a work, or group of works, during various periods in the

history of music are treated as problems

With these conditions met, there is the possibility of using “the tools of sociology in

explaining a work’s social-historical” significance. (Blaukopf, 1982.) One can easily explain a

work’s social-historical significance without the help of any such process. The proof that music

is a part of the social-historical course of the world is proved by asking the people of any given

society, from any given decade. It is the people who have the music ingrained in their souls.

They are the composers, the musicians and the ones who experienced life and were compelled to

turn their feelings and experiences into music. And it is the people who have been a receptive


audience to the music of their lives, music inspired by the events they have witnessed. More

proof can be found in the longevity of music. Today, in many different venues, you can hear

music written hundreds of years ago, still being performed. Music inspired by changes and

events in society enjoy a very long life, because they are significant.

With the start of World War II, social economic and emotional changes prevailed – all of

which were reflected in the songs of the day. This time in history is a great example of how a

social event motivated music to reflect what the people were going through and how they were

feeling. They also included the changing role of women in society. Songs like, “Rosie the

Riveter,” “Boogie Woogie Bugle Boy,” “I’ll Be Seeing You,” and “When the Lights Go On

Again All Over the World,” sang about the emotional roller coaster the world was on and how

the women who were left behind felt as their boyfriends, husbands and sons went off to fight the

war.

Poet Rod McKuen once observed that “1939–1945 was a terrible time for the world, but

it was a glorious time for songs and fighter pilots.” (Jones, 2006). The songs had such an impact

and were such a statement of the times that anyone who was alive during World War II will still

remember the music of the period. The songs became standards that are still around today.

Interestingly, some of those songs have been revived during the modern era and performed in

different musical stylings with success.

What’s also amazing about the popular songs of World War II is just how many there

were. “World War II was one of the most fertile periods of American popular songwriting; it was

also the heyday of such “big bands” as those of Tommy and Jimmy Dorsey, Glenn Miller, Benny

Goodman, and Harry James, and of vocalists such as Bing Crosby, Frank Sinatra, Dinah Shore,


and of course the Andrew Sister.” (Jones, 2006), all whom enjoyed continued success even after

the war was over.

The many war-inspired songs speak to the nation’s obsession with the war. The war was

the single most important thing on the mind of the people and that is confirmed by the list of the

songs that were most popular then. Each one, in its own way, relates to what society as a whole

was going through. Every song speaks of the way and touched the hearts of the American people.

This is another example of how society affects the music we listen to and how in turn, music

reflects the status of society. It should also be noted that also important to society are the songs

about a world after the war. With the end of the war in sight, songs about the return of the

soldiers became immediately popular, which “not only met the personal desires of people but

also reflected the goals of US government.” (Jones, 2006).

Research and articles have long been written regarding what the social analysis of music

reveals. Elie Siegmeister, in “Music and Society,” presents a framework of the five following

principles for a social understanding of music:

1. The history of music is organically and dynamically related to the history of

society, from which it cannot be isolated without losing its

2. Music has, at all times, had a social function or functions, corresponding to the

objective needs of society

3. Changes in the social structure and hence in social needs have brought about

changes in the function of music: these are the moving forces underlying the

growth and development of music as an art throughout history


4. Although the music of thee various social classes have continuously interacted

upon one another, and at times some have dominated the others, each class, when

it has become conscious of its needs as a class, has tended to develop its own

characteristic music, functionally suited to the satisfaction of those needs

5. The function of music in the long run determines its form and style; when

function changes, new forms and styles arise, old ones tend to be modified and die

out

Social function changed in the United States in the 1950’s and so did its music. In fact, it

is still heralded as one of the most profound cultural changes in American history. (Welch,

1990). In what has often been described as an enormous cultural revolution, “Americans swept

aside prevailing notions of popular music, blended black and white musical traditions and

integrated black performers into the pantheon of musical superstars in an unprecedented

fashion.” (Welch, 1990). In some ways this revolution is even credited with the desegregation

movement of the late 1950’s – early 1960’s. A style of music was created which became the

“common property not only of two generations of Americans, but millions throughout the world,

creating the most ubiquitous, and perhaps, most influential form of American popular culture.”

(Welch, 1990). The revolution was called rock 'n' roll.

This new form of rebellious music played a key role in transforming American popular

music and its culture. In large part, its success was thanks to adolescents. “While adolescence is

normally a time of some rebellion against adult authority and values, nothing before in history


was quite as dramatic as the transformation of adolescents from an age group to a virtual class

after the Second World War.” (Welch, 1990).

At the time, Americans were enjoying a booming economy and the social and political

transformations brought with them a new prosperity. For the first time, teenagers accounted for a

huge part of the population, thanks to the return of War II’s soldiers some thirteen years before.

The rise of rock and roll coincided with the “manifestation of youth as a new social category: the

teenagers.” (D’Anjou, April 2003). It seems that at the time, rock and roll offered teenagers an

“appropriate articulation of their needs. (D’Anjou, April, 2003).

Teenagers had time and space to express their choices and sing about common

experiences. Through rock and roll, they were able to express their concerns about relationships,

problems at school and their search to find the “American Dream.” All this was relayed through

the quick, quirky beats and angst lyrics of rock and roll. Again, society was the impetus for

change and change was definitely reflected in the music of the day. Music echoed what was

going on in society and neither have ever been the same.

Clearly, it has been shown that songs have documented our cultural, social and emotional

changes in the modern era. (Whitmer, July 2005). This was never more true than during the civil

rights movement. During this time in history, the songs were a direct, influential reflection of

what the country was going through. The world was changing and the music industry, at large,

was recording those changes. “The act of responding to a social stimulus becomes in itself a

stimulus creating new musical responses…” (Seigmeister, 1965). One must wonder if society

and music were ever more intimately related.


In the 1950’s and 1960’s, African Americans struggled to win their civil rights. They

wanted their simple, civil rights, the same rights their white neighbors enjoyed. This included the

right to eat in restaurants, the right to use the same restrooms and water fountains as other

Americans and the right to sit anywhere on a public bus that they wanted to. They also wanted

the right to vote without having special hardships placed upon them, like poll taxes or reading

tests. (Burdett, 2002).

Songs were an important part of the civil rights movement. Reaching back to their roots, the

people often sang the old spirituals that African American slaves had created, as well as some

new songs that expressed the movement. This was not to be an easy fight and often times those

who took on the fight were in danger. “Those on the front lines of the battle were sometimes

frightened. Singing songs together comforted people and gave them courage.” (Burdett, 2002.)

The most famous song of the civil rights movement was “We Shall Overcome,” which

reportedly was created by African American textile workers in the 1940’s in Tennessee. The

song expresses the belief that someday he or she will overcome the obstacles to freedom.

(Burdett, 2002).

The amazing thing about music and the civil rights movement, is that for probably the

first time, many well-known singers, black and white, lent their voices to the cause. “A

European- American folksinger named Joan Baez donated the proceeds of many of her concerts

to the civil rights movement… and sang her thought-provoking songs to draw attention to human

rights issues”. (Burdett, 2002). American singer/songwriter Bob Dylan also joined Joan Baez in

musical support of civil rights. The music was responding to a direct societal need and its voice

was a call to action. The songs were made of simple melodies and important lyrics to stir the

emotions of the American people to respond in a positive way and lend themselves to the cause.


Americans responded. During a huge march on Washington, D.C., led by Dr. Martin Luther

King, Jr., Americans lined every pathway, expressing the desire for increased civil rights. Over

250 thousand people were there—the largest gathering Washington, D.C., had ever seen.

(Burdett, 2002.)

What is important to note is that the day was filled with music. Once again, society and music

came together, hands held tight to try and right a social right. Socially, this was one of the first

occasion when musicians from all walks of life and all ethnic backgrounds came together for a

common cause. Odetta, an important folk-gospel singer sang the spiritual "I'm on My Way" and

the American folk group Peter, Paul, and Mary sang "If I Had a Hammer" and "Blowin' in the

Wind," popular, lyrically important songs of the day. The great opera singer Marian Anderson

was the last to perform, singing "He's Got the Whole World in His Hands." (Burdett, 2002).

Dr. King gave the closing speech. Toward the end of the speech, he started speaking to the

crowd without notes about a dream he had for all people to live together in peace. That became

his famous "I Have a Dream" speech. (Burdett, 2002). In retrospect, it is obvious that the people

who sang for civil rights somehow knew that music helps make people strong. They believed

that music can help change the world.

We know that the civil rights movement was not the first time society and music have

blended for a cause that actually ends up bringing people closer together. It seems to be one of

the benefits every time the two blend their voices and unite their efforts. Studies have actually

been done to show that music does bring the world closer. (Bakagiannis and Tarrany, 2006).

In their article, “Can Music Bring People Together? Effects of Shared Musical Preference on

Intergroup Bias in Adolescents,” psychologists Sotirios Bakafiannis and MarkTarrant contend


that people “draw on music to negotiate various personal challenges, including those which are

experienced primarily at an individual level (e.g. mood regulation) and those which are more

socially oriented in nature…” In their study, students were asked to rate the extent to which

students at their own school and at a rival school enjoyed each of six styles of music. In total

support of their social identity theory, the teenagers associated their friends/students at the same

school with the music that they valued in a positive way. Furthermore, they associated the

students from the rival school with music that they viewed in a negative way. (Bakagiannis and

Tarrany, 2006).

Music has always been a very powerful medium. “It is powerful at the level of the social

group because it facilitates communication which goes beyond words, enables meanings to be

shared and promotes the development and maintenance of individual, group, cultural and

national identities.” (Hallam, 2008). Music was one of the bonds that brought people together

after the devastation of Hurricane Katrina, in New Orleans in 2005. “The successful organization

of Mardi Gras and the 2006 Jazz and Heritage Festival, arguably two of the most noted events of

the New Orleans’ calendar of celebrations, held a positive sign for the overall chances of the

city’s recovery.” (Le Menestrel and Henry, 2010). After the storm, there was a widely-shared

sense that the future of New Orleans was “inextricably tied to the return of the vibrant music

scene that has been part of the city’s definition over the centuries.” (Le Menestrel and Henry,

2010). And it happened just that way. When the music returned to New Orleans, so did the

people. Music proved to be the city’s greatest resource and the resounding force that brought the

city and its people back together again.

Historically, music has often acted as a balm, used to soothe an injured soul. This was

evident after the tragedy of September 11, 2001, when the World Trade Centers in New York


City were the target of a terrorist plot. Thousands were killed. The world mourned and from

under that overwhelming grief and social sobbing came the sound of music, sent to heal the soul.

Significant songs that emerged at the time were “Hands,” by Jewel and “Hero” by Mariah Carey.

Somehow the world felt better when they heard those songs. Somehow they heard a message of

hope in the lyrics. “Hero” was a song written as a memorial to those who died and those who

came to their aid. Society was hurting and music came with a soft bandage. In contrast, but as

important is the fact that another very popular song written as a result of the tragedy was,

“Courtesy of the Red, White and Blue.” It is also known by its alternate title, “The Angry

American.” Yet again, this song was in response to an event in the history of the people and

meant to incite people to take a stand against the people who orchestrated the horror of

September 11. This song issued a warning to our enemies not to underestimate our ability to

retaliate. For a long time it was seen as an anthem for a new age of angry Americans.

Music can definitely elicit a response from its listeners. “Music is powerful at the

individual level, because it can induce multiple responses – physiological, movement, mood,

emotional, cognitive and behavioral.” (Hallam, 2008). Music affects people. The response may

be positive or negative, comforting or unsettling, but one does respond. We are members of

society, we, as a people, are affected by music. This is a clear confirmation of how deeply

intertwined music is with society.

In order to get a professional point of view on music and its resounding role in society, I

turned to a long-time friend, former professor and music afficionado, Daniel Ezell. My former

high school music director enjoyed a very successful career in the financial world, for over 15

years, but music had such a stong pull on him, that he left and returned to college to pursue a

degree in music. He holds a masters degree in music and music theory and has been teaching


high school theory courses and co-ed choir for the past ten years. He is an accomplished

songwriter, with two off Broadway productions to his credit and has an original musical score in

the works, hopefully headed for a stage production within the next two years.

When I sat down with Mr. Ezell and asked him some questions his answers, as I

predicted, were honest and insightful. Mr. Ezell feels that music holds a very strong place in

society. "Society is many times a reflection of the music that is popular at the time," he said. "We

can almost define decades of society by looking at the music that was prevalent in history then."

He went on to explain, the forties were full of patriotic songs, and love songs, a definite

reflection of what the world was going through at the time. Dan said unfortunately, word wars

have produced some of the finest songs for our nation, citing "This Land is Your Land," and the

sentimental favorites of women waiting for their soldiers to return, "Sentimental Journey,"

"White Christmas," and "In the Mood." Another point is the fifties, which were a time of high

spirits, the war was over, the population was booming and so were radios, blaring the latest

music style - Rock and Roll.

"What we hear currently, is also a reflection of the times we are living in," said Mr. Ezell.

"Gang wars, drive-bys, casual sex, and financial frustration are all heard in the popular songs of

today, and they are the issues the nation and its people are struggling with." He added, "You can

look back on what society was dealing with and correlate it to the music that was popular at the

time." Mr. Ezell referenced the protest songs of the 1960's which surfaced while the Viet Nam

war raged and the liberating songs of the late 1970’s as women began to find their voice and

fight for equality.


The music of the early 1970’s was also a direct statement about the times. Psychedelic

songs with their chaotic rhythm and nonsensical lyrics became popular at the same time the drug

culture found its way into society. The presence of drugs in our culture, showed its presence in

our music, as well.

I asked Mr. Ezell if he thought music could influence society. "Aboslutely," he said.

"Songs have the ability to be inspiring, uplifting and hopeful. Those have a positive effect on

society. At the same time, a negative message in a song can move you to act and react in a

negative way." Like me, Mr Ezell is tired of lyrics that promote violence, racism, wrongs against

women and justify crime. "While I accept and protect an individual's right to exercise their

freedom of speech, socially I think it is wrong to promote any negative force on society,

especially since the most impressionable people - our youth - are the ones hearing and repeating

that message over and over again." Ezell went on, "Call me a cock-eyed optimist," he said,

quoting a song from the Broadway show, South Pacific, “but I long for the days when music had

nothing but a positive effect on society."

Does Ezell think his students will use the music skills he has taught them in society one

day? "Oh Lord, I hope so!" he said. "I have tried so hard to instill the beauty of music in my

students and the glorious role it can play in their lives." Mr. Ezell said he was especially thrilled

that I had taken the skills he taught me and used them to join my parish's choir and two

barbershop groups, which are all about preserving that special type of music. "Nothing makes me

happier," he said, "then to have a student who makes music an important, positive part of their

lives."


This past year, one of Mr. Ezell current students (someone I know from the school’s

musical productions we were in together) appeared in a Broadway show. Mr. Ezell made all the

arrangements so that a huge group of us - more than 70 people from town - saw the show

together. If that isn't naturally blending music and society in a positive way - even on a small

scale - I don't know what is!

A lover of Broadway show tunes, like myself, I asked Mr. Ezell if he thought this style of

music has contributed anything to society? "I think it has and I think society has contributed to

that style of music, as well," he said. His contention is that many Broadway shows have a

message about society and its people. He explained how the Broadway blockbuster South Pacific

was about acceptance, and learning to love those who are different. Currently, In the Heights is

about a group of Hispanics trying to make it out of the ghetto and Next to Normal is about a

dysfunctional family - all issues people in society have to deal with. He reminded me that one of

my favorite Broadway shows is West Side Story. It is a modern day Romeo and Juliet, where

star-crossed lovers are kept apart by their feuding families.

“Composers, especially of Broadway musicals, have as a rule, looked to society and

culture for themes,” he said. “I could go on forever, but let me remind you of Fiddler on the

Roof, the life of a poor, Jewish farmer and his struggle to uphold tradition, Rent, the struggle of

New York city singles to survive, Miss Saigon, forbidden love as a backdrop for the Viet Nam

war, The King and I, the blending of two opposing cultures, Les Miserables, the plight of the

people at the beginning of the French Revolution, Hairspray, the effect of rock and roll on our

culture.” Mr. Ezell smiled and said “Music is the clearest reflection of society. It is a mirror of

society made with beautiful sound instead of glass.”


Music has become an integral part of our everyday lives. Never before in the history of

humanity have so many different kinds of music been so easily available to so many people.

(Hallam, 2008). All one has to do is turn on more than the 600 radio stations (and that’s just in

New York), pop in a Compact Disc (CD), listen to a music video, tune into the more than 200

music channels offered by Sirius Radio, or listen online to the countless music selections

available there. Our lives are inundated with music. We hear music in elevators, at grocery and

department stores, while we wait on the telephone, and through Ipods, MP3 players, telephones

and other technological devices. In fact, it is now probably easier to hear music than to find

silence.

Because music and society are so intertwined, I believe music carries with it an unspoken

responsibility to provide music that is positive, acts as a role model and inspires. Unfortunately,

that is not what one gets. “It is significant that today the people who make the music and the

music the people make…no longer complement one another, as they did in the smaller,

homogenous societies of the past. (Mellers, 1967). The world has changed and so has its music.

The emergence and spectacular growth of rap (music) is probably the most important

development in popular music since the rise of rock ‘n roll…” (Tanner, Asbridge and Wortley,

2009).

Radio airplay, CD sales and even television programming are testament to rap music’s

popularity. This urban music style is a hands down commercial success, with its guttural sounds,

ear-blasting beats, aggressive message and explicit lyrics. However, its acceptance in the music

world has not been without controversy. (Tanner, Asbridge and Wortley, 2009). Rap continues to

be viewed and analyzed as a bad influence on its young, impressionable listeners. The issue as

detailed by the article “Listening to Rap: Culture of Crime, Cultures of Resistance,” is “its pre-


eminent role as a problematic contemporary music genre.” But hasn’t the argument for society

and music living in perfect harmony been made? How can one then not accept that this new form

of music is another simple case of music relating to society at a specific moment in time? Must

we not accept that like other music forms before it, rap is telling a tale – a reflection – of where

society is right now? Nevertheless, there has been criticism and a call to action to subdue the

messages relayed in rap and to tone down the use of expletives.

Bills have been proposed trying to prevent the use of explicit lyrics, but they are always

vetoed. The only ones that do pass just require a warning letting the public know that there is

adult language in the songs. Lawmakers tried to make an “Adult Only” label mandatory for all

songs containing questionable language or violent lyrics, but the courts declared it

unconstitutional, saying it went against the first amendment rights of artists to express

themselves freely. (Tanner, Asbridge and Wortley, 2009). If one accepts that music is a

reflection of our society and culture, we must act now to change what is negative and disturbing.

Music is an integral part of society and society is its willing counterpart. I believe we

have established that historically music – when written in reaction to an event in history - has

been an important way to inspire and even mobilize listeners to take action. That music is more

times than not a reflection of society. And one cannot discount the societal changes made, in

part, due to music. Society and music are as tight as the strings on a Stradivarius.

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