Music How It Affects the Whole Man (Part 2--Moral Implications)

THE notion that music has moral or spiritual significance is certainly not a late-nineteenth-century concept originating with radical revivalists or mystics. The power of music has been a source of interest and speculation by many kinds of people through the ages. Ancient philosophers and scientists such as Pythagoras and Plato were suspicious of and awed by its potential. It has been said, "Even music may be intoxicating. Such apparently slight causes destroyed Greece and Rome and will destroy England and America." Seventh-day Adventists not only have been interested in and concerned about the power of music, but have the most compelling reason to investigate its influence the possibility of eternal consequences.

In our last article we examined some of the scientific evidence of the mental and physical effects of music on the individual; now let us discuss the ethical, moral, and spiritual implications based on this information. There is another kind of evidence, which, though not tested in the science laboratory, has been clearly identified by historians, sociologists, psychiatrists, and musicians, which has been validated in the laboratory of life's experience.

Music and Morality

Does music, apart from textual content, contain a "message"? Is there more than the association with immorality that influences the attitudes and behavior of the participant? This question has been avoided by some, simplified by others, dismissed by many, but on the other hand has received serious consideration by many others.

There is widespread recognition that within music there is some thing symbolic of man's life experience. Indeed, there seems to be music to match any mood or activity in which one can be involved. The philosopher Susanne Langer states that in all cultures there is evidence that man has always valued aesthetic activity and has always sought to symbolize these experiences in some communicable form. Recognizing that man accomplished this through music, Soibelman concluded that "human behavior is related to the symbol inherent in musical sounds." ¹ "The therapeutic principle of music," says Altshuler, "rests upon close affinity between the human organism and rhythm as well as upon symbolism inherent in musical sounds." ²

Created in the image of God, man was endowed with many divine attributes. He was created perfect, capable of the most lofty thoughts, aspirations, and emotions. But as a fallen being he has often behaved more like one of the four-footed beasts he was appointed to control. As man sought to symbolize his experiences he naturally included those inimical to the character of Christ. It is the symbolic musical representation of the sinful nature of man that we must recognize as having immoral content. Now sin in any form is often difficult to explain, because we are dealing with spiritual truth and this is spiritually discerned (1 Cor. 2:13, 14). How much more difficult it is to explain or discuss truth and error in its most abstract form!

Sometimes answers to difficult questions are found in such obvious places we are apt to over look them. Such is the case with music and morality. A great deal can and must be learned from observing not only the music in its natural habitat but also the performers and the consumers. Some would object to a consideration of association as evidence of musical meaning and influence, but we cannot ignore the fact that man tends to be very pragmatic in his behavior. He is inventive and selective. He uses that which best suits his purposes. This is a reason for the close affinity of certain kinds of music with certain activity. It cannot be mere coincidence.

Recently the Blue Cross Insurance Company issued a study of the youth scene in America entitled Adolescence for Adults. Believing that "public health education starts with understanding," Blue Cross commissioned a group of sociologists, psychologists, and writers from various educational institutions to make an in-depth study of the youth culture, its philosophy, mores, and morals. The anaylsis of the musical scene entitled "Songs of the Hang-Loose Ethic" begins with this provocative statement:

"Popular music has troubled Americans ever since the turn of the century when ragtime and jazz first began to evolve and be played in the off-limits of Southern and Eastern cities. From its inception, it was colored with some of the ill repute of the peoples from which it sprang . . . and ever since . . . many people have worried over the vulgarizing and immoralizing influences of the wild new music." ³

History bears out the accuracy of this statement with one exception, the dating of ragtime. According to the black music historian, Eileen Southern, piano ragtime developed during the years 1865 to 1875. Minstrel shows (vaudeville theater) also emerged at this time. Significantly, it was during these years that Ellen C. White first warned the church against theater and dance music that would ex cite certain organs of the body and would allow Satan to gain access to the mind. ⁴ Around 1896 she saw in vision a party and a keyboard performance that had an "abundance of enthusiasm, and a kind of inspiration; but the joy was such as Satan only is able to create." This enthusiasm she declared, "prepares the participants for unholy thought and action." ⁵

According to Southern, "the fusion of blues and ragtime with the brass-band and syncopated dance music resulted in the music called jazz." ⁶ Descriptive names for functional music are common and the etymology of the name jazz is doubtless significant. Many of the ingredients of jazz, as well as jazz itself, were so closely associated with the immoral subculture of which jazz was a part that it was only natural that a term with this connotation should be chosen.

Webster's New World Dictionary is more explicit. "Jazz [Creole patois /ass, sexual term applied to the Congo dances (New Orleans); present use from Chicago, c. 1914, but? from earlier similar use in the vice district of New Orleans]." Borroff confirms that /ass was a "four-letter word" common in New Orleans brothels. ⁷ Later it became a common slang expression for sexual intercourse in many parts of the United States.

Some have attempted to equate the entire popular jazz-rock musical scene with folk music. Some folk-type elements such as the field hollers, work songs, and spirituals were among the elements that contributed to jazz, but the result was not more folk music. Jazz has no parallel any where in the world. It is a distinctive musical manifestation whose style and development bear no resemblance to any body of folk literature anywhere. This and its universality is affirmed by Southern. "The black musician has created an entirely new music in a style peculiarly Afro-American that today spreads its influence over the entire world." ⁸ The success of the many State Department tours of jazz groups to all parts of the world is convincing evidence of the universal appeal of jazz. The eminent music therapist Gaston recognized the influence of dance music when he observed, "During a dance, a man and woman who have just met put their arms around each other in an intimacy that would never be tolerated by the two, or the public, but is acceptable in the dance as long as the music continues." ⁹

Jazz (also known as Afro-American music) continued as an integral part of the entertainment world and was readily accepted in all economic levels of society. It evolved and changed with the social climate and created a lucrative industry largely financed and disseminated by the white business establishment. However, even though new styles emerged, the old ones continued to be used. A sequence of styles followed in this order: Dixieland jazz (New Orleans, then Chicago), boogie woogie, swing (various styles and tempos), be-bop, cool jazz, rhythm and blues, funky, soul, and then in the late 50's the emergence of rock and roll. Again, a new form of music needed an appropriate title. It was supplied by a flamboyant disc jockey, Allan Freed, who christened the new music "rock and roll," an expression for sexual intercourse he picked up from the ghetto. ¹⁰

It should not be surprising then that the Blue Cross report should analyze the meaning of rock and roll in this way:

"Taken as a whole, the new music embodies two messages: 'Come Swing with me.' The crooning invitation to romance that was the mainstay of popular music during the 30's and 40's and the essence of rock and roll in the 50's, has become more a direct invitation to dance the dance of life. This invitation expressed in so many songs by the shout 'c'mon' is sometimes aimed specifically at a possible sex partner and is a thinly disguised proposition.

"Many parents and others are concerned that the music may be too suggestive, downright sexually arousing for young people listening and dancing to the sounds and lyrics. Many who are real believers in the new music would rather not defend them selves against such positions for, it is their feeling, the notes and words are accurate presentations of their attitudes and emotions. As for those who claim that the music replaces intimate sexual relations by providing mass scenes of rhythmic orgasms, they respond, 'Look again. . . . And, while you're at it, look at your own generation's music and the inhibitions it covered up.' " ¹¹

Many people, including psychiatrists and sociologists, recognize the sensual implication of the rhythm of rock music even if they are unconcerned about the moral values involved. "Most sociologists, who take this sort of thing seriously, agree that the sensuality of rock 'n' roll is 'safe sex.' . . . 'These dances,' says Harvard Psychiatrist Philip Solomon, 'are outlets for restlessness, for unexpressed and sublimated sex desires. This is quite healthy.' " ¹²

Others, however are concerned. "The highly sensual implications of big-beat dancing have some psychiatrists worried. Says one: 'It's sick sex turned into a spectator sport.' " ¹³ Dr. Matterson, head of the Adolescent Out- Patient Clinic at Payne-Whitney Psychiatric Clinic, adds:

"The music is not only a physical outlet, but, in a way, a kind of sexual expression. The beat has genuine sexual implications, and affords one means to work out their feelings." ¹⁴

How does this music affect young people? David Wilkerson, author of The Cross and the Switchblade, recorded this inter view with a young man who explained how rock music influenced him in his early and mid teens: "It's completely riotous and uninhibited and you can't help but let yourself go. Just a 'rock out/ so to speak. . . . Sometimes I would dance in front of a mirror and work out all kinds of contortions and movements. I found myself getting deep into the music." ¹⁵

Frank Carlock, chairman of the music theory department of Bob Jones University and director of brass ensembles, has lectured extensively in schools and clubs. He relates: "A young man who was noted for his many 'conquests' of teen-age girls told me that he found the best way 'to get the chicks turned on is to make love to the rhythm of rock 'n' roll. Any girl will go all the way under the right circumstances.' " ¹⁶

How do entertainers themselves regard their role? Morrison of the Doors: "Think of us as erotic politicians." ¹⁷ Marty Balin of the Jefferson Airplane: "We're not entertaining, we are making love." ¹⁸ Jagger of the Rolling Stones: "You can feel the adrenalin going through your body. It's sort of sexual." ¹⁹ Arthur Brown: "All soul music is sex." ²⁰ Zappa of Mothers of Invention: "To deny rock was to deny sexuality." ²¹ "Hendrix' music is very interesting. The sound of his music is extremely symbolic: orgasmic grunts, tortured squeals, lascivious moans. ._. . Boys will bring girls backstage for autographs. While signing their scraps of paper, shoulder blades, handbags and pants, Hendrix will frequently be asked: 'Do you think of any particular girl while you're playing, or do you just think of sex itself?'. . . The boys seem to enjoy the fact that their girl friends are turned on to Hendrix sexually." ²²

Bob Larsen's career as a rock musician gave him an unusual firsthand experience in observing the effects of rock music. His experiences led him to investigate possible physiological explanations for the behavior patterns he observed in young people.

In his book The Day Music Died, Mr. Larson theorizes that the low frequency of the electronic bass and the driving beat of music affects the pituitary gland and the cerebro-spinal fluid and thus alters the chemical balance of hormone secretion, particularly that of the sex glands. When one is aware of this kind of stimulation, Larson says, "It is not difficult to see why these [rock 'n' roll] dances involve such erotic movements." His personal observation combined with medical counsel led him to conclude that the hysterical indecent behavior that some girls exhibit is a result of their "undergoing a sexually climactic condition." ²³

In the face of this evidence, it should be impossible to deny the sensual implication of certain mu sic. Many consumers seem to understand its meaning; evidently they get the message the entertainers intend. Psychiatrists recognize it as do most disc jockeys. "Satan knows," ²⁴ do we?