Most process philosophers and theologians love music. At least they love the music they love. Who doesn't?

It is obvious to many of them that process philosophy and theology offer a distinctive understanding and appreciation of music. Process thought offers, as it were, a musical approach to the world, seeing the world itself as composed of momentary events, connected to one another, like the notes of music. It pictures the universe as a creative advance into novelty, much like an improvisational jazz concert. And it speaks of a divine eros at work in the universe - a lure toward flourishing - that is itself in process with the world in a musical way. They likewise imagine this divine eros as a harmony of harmony, a deep listening, in which all things are heard and transformed into a certain kind of beauty, a certain kind of music. They understandably wish for a book on process and music that would be available to the general public, showing these connections.

​Perhaps less obvious is that there is so much more to discuss than metaphysics, and that the very subject of music can happily stretch process philosophy and theology to deal with subjects such as music and the body, music and technology, music and therapy, music and ecology, music science, and the like.

Below I imagine a book on process and music which has ten sections, each with chapters dealing with subjects well worthy of exploration and further discussion. Perhaps it can function as a preliminary for a collectively written book by process philosophers and theologians interested in music. Following that, I identify 20 key ideas that would find their way into a book of this sort. Thanks for taking a look.

- Jay McDaniel
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​Prospectus for a Book

​"Process and Music: An Exploration"
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Part I: Foundations
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1. Introduction: Music and Process Thought
   • Overview of process philosophy and theology
   • Introduction to the relationship between process thought and music
2. Metaphysics of Music in Process Philosophy
   • Music as an event and becoming
   • The interconnectedness of musical elements
3. Musical Epistemology
   • Sound as a form of knowledge
   • Events and connections in music and life

Part II: Music and the Body

1. The Embodiment of Music
   • How music is experienced in the body
   • The physical and emotional effects of music
2. Dance and Movement
   • The relationship between music and dance
   • Process philosophy's view on the body in motion

Part III: Music and Technology

1. Music and Technological Innovation
   • The evolution of music technology
   • Process thought on the role of technology in music creation
2. The Shifting Nature of 'Live' Performance
   • Virtual performances and their impact on live music
   • The role of the internet in contemporary music

Part IV: Music and Therapy

1. Music and Mental Health
   • The therapeutic benefits of music
   • Music and dementia, anxiety, and depression
2. Music in Social Work
   • Music therapy in community settings
   • Case studies and practical applications

Part V: Music and Ecology

1. Nature's Sounds as Music
   • Environmental awareness through music
   • The intersection of music and ecology
2. Music and Ecological Civilization
   • Music's role in promoting ecological awareness
   • Process philosophy's contribution to eco-musicology

Part VI: Music Science

1. The Science of Music
   • Acoustic properties and the physics of sound
   • Cognitive science and music perception
2. Music, Mathematics, and Complexity
   • The mathematical foundation of music
   • Complexity theory and musical composition

Part VII: Cultural Identity and Heritage

1. Folk Music and Cultural Heritage
   • The role of folk music in preserving cultural identity
   • Process thought on tradition and change
2. Patriotic and Military Music
   • Music's role in national identity and military contexts
   • Process philosophy's critique and appreciation
3. Subculture Music
   • Music in subcultures and its community-building role
   • Process thought on cultural diversity

Part VIII: Political and Social Commentary
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1. Music as Social Commentary
   • Music's role in political and social movements
   • Process thought on music's transformative potential
2. Music as Dialogue Across Cultures and Religions
   • Using music to bridge cultural and religious divides
   • Examples and case studies

Part IX: Music and Spirituality

1. Music and Spiritual Experience
   • The role of music in spiritual practices and experiences
   • Process thought on the transcendent and immanent aspects of music

Part X: The Future of Music

1. Music and Emerging Technologies
   • The impact of AI and machine learning on music
   • Electronic Music
     
   • Process thought on the future of music creation
2. Conclusion: The Ongoing Journey of Music and Process Thought
   • Reflections on the journey through music and process philosophy
   • Future directions and open question

Process and Music
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Twenty Key Ideas

"I don't believe in God, but I believe in Bach, potluck suppers, and service to others."

So a churchgoing friend said to me. For her, music is the closest thing she knows to an ultimate reality that is fluid, flowing, palpable, beautiful, and trustworthy, but not graspable with the hands. "Listening to music is like being touched by a holy spirit," she adds. "You can feel it but not grab it." For her, music connects with the beauty of nature, an appreciation of community, and a desire to serve others. She and I go together, along with others, to local memory care centers and sing along with friends with dementia. She goes to church for the music, community, and service, not the creeds or the sermons.

What my friend doesn't believe in is a personal God who hears prayers. The idea of God as a person, even if everywhere at once, doesn't make sense to her. When she hears ministers speak, they often speak of God as "he" or "she." For her, God is not a person in this sense. The ultimate reality is more like an energy than a person: an energy that connects things together and continuously moves forward into newness. "If God exists," she says, "God is music."

Process philosophy is sympathetic to her outlook. It is an implicitly musical philosophy insofar as it sees the entire universe in musical, event-like terms. In process philosophy, the ultimate reality of the universe is creativity, and it is a lot like music. It is the creative advance of the universe into novelty, says Whitehead, and music is likewise such a creative advance.

To be sure, and contrary to my friend, process philosophy also speaks of God, who is the ultimate actuality, the living whole of the universe. But God is musical in nature, flowing with the universe as a deep listening and lure for feeling, much as music is a lure for feeling. You can experience God and respond to God without believing in God. Or at least without being sure what you believe about God. My friend is right: God is more like the wind, or a spirit, than like a solid object to be grasped with the hands.

However, there is much more to say about process and music than what I've just said. It is a subject waiting to be explored in a sustained way by groups of people around the world, within and beyond the process community. Below, I offer twenty key ideas for thinking about process philosophy and music, each a springboard for reflection and further study. If a book is written on process philosophy and music, these might be its chapters. And if study groups emerge, these are among the subjects well worth discussion.


1. The Nature of Music

• Music is Organized Sound: Music is structured, arranged sound that creates meaning and evokes emotion through its patterns and forms.
• Music is what Feelings Sound Like: Music transforms energy into an audible form, making the invisible aspects of our emotional and experiential lives tangible. It acquaints us with the many forms of feeling that populate human life and the natural world.

2. Aesthetics

• Music as Harmony: Music brings together diverse elements—melody, harmony, rhythm—into a coherent whole, reflecting the way disparate elements of experience are integrated into a unified aesthetic expression.
• Music as Rhythm: Rhythm reveals the temporal structure and pattern within music, emphasizing the flow of time and creating a sense of stability and predictability within the continuous flux of existence
• Music as Melody: Melody provides a linear sequence of notes that are perceived as a single entity, evoking emotional responses and serving as the main theme or identity of a musical piece.
• Music and Tension: Music as needing tension, the resolution of tension, and the creation of new tensions. This mirrors the notion of "contrast" in process philosophy, wherein beauty in the universe occurs through (and only through) the creation of meaningful contrasts between past and present, present and future, form and feeling, sound and silence.
• Music as Bodily: Music deeply engages the body, whether through dance, movement, or physiological responses such as changes in heart rate and breathing. It connects the mind and body, highlighting the embodied nature of musical experience and the physicality of sound. Whitehead's notion of the "withness of the body" points to the fact that all experience, including musical experience, has a bodily dimension and that the "aesthetics" of music and musical experience has a bodily side, influenced by what Whitehead calls "the physical pole" of a moment of experience.

3. Temporality

• Music as Process: Music is a dynamic process of becoming. Each note, rhythm, and harmony is a moment of creativity, an event that comes into being, contributing to the ongoing flow of experience.
• Music as Temporality: Music unfolds in time, embodying Whitehead's concept of temporality. Each musical moment is a synthesis of past influences, present creativity, and future potential, illustrating the process of becoming through temporal experience.

4. Relational and Communal Aspects

• Music as Relational: Music exemplifies the relational nature of reality. It is an interplay of sounds and silences, musicians and listeners, each influencing and being influenced by the other, creating a web of interconnected experiences.
• Music as a Communal Experience: Music creates a shared emotional space where individuals can connect through common feelings. Concerts, singalongs, and even casual listening sessions become communal rituals where collective emotions are felt and shared, reinforcing social bonds, Music can build and strengthen communities. It serves as a means of bringing people together, fostering a sense of belonging and shared identity. Community music-making can enhance social cohesion and collective well-being.
• Recorded Music: Recorded music plays a significant role in contemporary life, making music accessible to a wider audience and preserving performances for posterity. It allows for the sharing and experiencing of music across different cultures and time periods, contributing to the global exchange of musical ideas and the formation of diverse musical communities.
• Karaoke: Karaoke provides a unique platform for social interaction and self-expression, allowing individuals to perform their favorite songs in a supportive environment. It fosters community bonding, boosts confidence, and offers a fun, participatory way to enjoy music together.
• "Live" and "Virtual" Performance: The rise of virtual performances on the internet has transformed the concept of "live" music. Artists can now reach global audiences in real-time through live streaming, breaking geographical barriers and creating new forms of engagement and interaction between performers and listeners.

5. Emotional and Psychological Impact

• Music as Lure: Music acts as a lure for feeling, drawing listeners into a particular mood or emotional state. It guides our emotions and thoughts, shaping our responses and inviting us into new ways of experiencing the world.
• Music as a Vehicle for Emotional Expression: Through melody, harmony, rhythm, and dynamics, music conveys emotions that words often cannot fully capture. It provides a direct line to the heart, bypassing intellectual filters that can sometimes inhibit emotional expression.
• Music as a Healing Force: Music has the power to heal by bringing suppressed emotions to the forefront, allowing for emotional release and catharsis. It provides solace, comfort, and a sense of connection, contributing to emotional and psychological well-being.

6. Cognitive and Unconscious Dimensions

• Music as a Language of the Unconscious: Music taps into the unconscious mind, revealing deep-seated feelings and memories that might not be accessible through conscious thought. It can evoke powerful emotional responses that bring awareness to aspects of the self that lie below the surface of everyday awareness.
• Music as a Journey Through Feelings: Listening to or creating music is often a journey through a landscape of emotions. As music progresses, it guides the listener through various emotional states, creating a narrative that mirrors the complexities of human emotional life.

7. Educational and Cognitive Development

• Music as a Tool for Cognitive Development: Music enhances cognitive functions such as memory, attention, and problem-solving skills. Learning and playing music stimulates brain regions involved in these processes, promoting intellectual growth and development.
• Music and Education: Music plays a crucial role in education by enhancing learning experiences, fostering creativity, and improving academic performance. An integral part of a well-rounded education, it is especially helpful as a tutorial in human feeling. It helps people understood emotions, acoustically expressed, that they might not otherwise understand.

8. Cultural Identity and Heritage

• Music as Cultural Expression: Music embodies and preserves cultural identity and heritage. It reflects the values, history, and traditions of different communities, serving as a medium for cultural transmission and continuity.
• Folk (Traditional) Music: Folk (traditional) music is a vital part of cultural heritage, representing the traditions, stories, and values of a community. It is often passed down through generations, preserving historical narratives and fostering a sense of identity and continuity.
• Patriotic and Military Music: Patriotic and military music plays a significant role in fostering national identity and unity. These genres evoke a sense of pride, honor, and solidarity, often commemorating historical events and celebrating national achievements.
• Subculture Music: Subculture music provides a sense of community and identity for people who are out of the mainstream. These musical genres and scenes offer an alternative cultural space where individuals can express their distinct values, experiences, and styles, fostering a unique sense of belonging.

9. Innovation and Creativity

• Music as a Catalyst for Innovation: Music encourages creativity and innovation, both within the realm of music and beyond. It inspires new ideas, artistic expressions, and technological advancements, fostering an environment of creative exploration.
• Music as Improvisation: Music can be improvisational, created on the spot, in light of what comes before with a "score" that is indeterminate. This reflects the spontaneous and dynamic nature of life and creativity.

10. Therapeutic and Social Work

• Music as a Therapeutic Tool: Music therapy utilizes music to address physical, emotional, cognitive, and social needs of individuals. It supports mental health, aids in rehabilitation, and enhances the quality of life for people with various conditions.
• Music and Dementia: Music has been shown to have profound effects on individuals with dementia, helping to unlock memories, improve mood, and enhance cognitive function. Musical activities can provide a sense of familiarity and comfort, aiding in emotional well-being and social interaction for those with dementia.
• Music and Anxiety: Music can help reduce anxiety by promoting relaxation and lowering stress levels. Listening to calming music or participating in music-making activities can provide a sense of control and comfort, alleviating symptoms of anxiety.
• Music and Depression: Music has therapeutic benefits for individuals suffering from depression. It can elevate mood, provide emotional expression, and foster a sense of connection. Engaging with music can be a valuable tool in the management and treatment of depressive symptoms.

11. Interdisciplinary Connections

• Music as an Interdisciplinary Bridge: Music connects with other disciplines such as mathematics, science, and literature. It provides a unique lens through which to explore concepts and ideas across different fields, enriching our understanding of each.
• Music and Science: Music intersects with scientific fields such as physics, biology, and neurology. It involves the study of sound waves, auditory perception, and the effects of music on the brain and body, highlighting the deep connections between music and scientific inquiry.
• Music and Poetry: Music and poetry share a deep, intrinsic connection, both relying on rhythm, sound, and emotion to convey meaning. Poetry often draws inspiration from musical forms, while music can enhance the lyrical quality of poetry. Together, they create a powerful synergy that enhances the expressive potential of both art forms, offering profound insights into human experience and emotion.

12. Environmental and Ecological Awareness

• Music as a Reflection of Nature: Music can mirror and draw inspiration from natural sounds and rhythms, fostering a deeper appreciation for the environment. It raises awareness about ecological issues and promotes a sense of connectedness with the natural world.
• Nature's Sounds as Music: The sounds of nature, such as birdsong, rustling leaves, flowing water, and wind, can be heard as forms of music, or organized sound, albeit "organized" without the obvious accompaniment of conscious agency. A leading edge of ecological awareness is to hear the sounds of the more than human world, and the sounds of daily life, as music. 
  

13. Political and Social Commentary

• Music as a Medium for Social Change: Music has historically been a powerful tool for political and social commentary. It can raise awareness, inspire movements, and influence public opinion on various social issues.
• Music as Context for Dialogue Across Cultures and Religions: Music provides a unique and powerful platform for fostering dialogue and understanding between different cultures and religions. Through shared musical experiences, individuals can find common ground, appreciate diverse perspectives, and build bridges across cultural and religious divides.
  

14. Power, Domination, and Deception

• Music as a Tool for Power and Domination: Music can be used to exert control and influence over others. It has been utilized in propaganda, advertising, and political campaigns to manipulate emotions and reinforce power structures, demonstrating its capacity to dominate and sway public perception.
• Music as a Tool for Deception: Music can function to deceive people, to take them away from their better selves into forms of illusion and addiction.

15. Personal Identity and Self-Expression

• Music as a Form of Self-Expression: Music allows individuals to express their personal identities, emotions, and experiences. Through creating and engaging with music, people can communicate their inner thoughts and feelings, asserting their uniqueness and individuality.

16. Music as Entertainment

• Music as Entertainment: Music provides enjoyment, relaxation, and amusement. It serves as a source of pleasure and fun, whether through dancing, listening to a favorite song, attending a concert, or participating in musical activities. As entertainment, music enriches life, offering a break from daily routines and stresses.

17. Music as a Substitute for Religion

• Music as a Substitute for Religion: Music can serve as an alternative to traditional religious practices, providing a sense of meaning, community, and transcendence. For some, music becomes a spiritual practice that fulfills the same needs for connection, purpose, and understanding that religion traditionally offers.
• Popular Music as an Emerging Religion: Popular music now functions in the lives of many people as a context for community, moments of ecstasy, and personal identity, and ritual expression. Genres include rap, hip-hop, country, rock, and pop. 

18. Mysticism and Spiritual Experience

• Music as Mysticism and Spiritual Experience: Music serves as a spiritual language that can facilitate profound experiences of the divine and induce mystical states. It can evoke a sense of the sacred, helping individuals connect with God on a deeply emotional and transcendent level, and create states of deep meditation, unity, and spiritual insight, revealing dimensions of reality beyond everyday awareness.

19. Music as a Language of God

• Music as the Language of God: Music can be experienced and felt as the voice of the divine, a medium through which God communicates with humanity. It transcends human language, touching the soul and conveying spiritual truths, emotions, and insights that words alone cannot express. Through music, people can feel a direct and profound connection with the divine.

20. Music and Philosophy

• Music and Cosmology: Music can represent and express the structure and order of the universe. It reflects cosmic rhythms and patterns, offering insights into the nature of reality and our place within it. Music can evoke a sense of the grand harmony and interconnectedness of all things, aligning human experience with the larger cosmic order.
• Music and Philosophy: Music can reveal the fundamental nature of being and existence (Ontology). It demonstrates how dynamic processes and relationships form the core of reality. Music embodies values and ethics (Axiology), reflecting and shaping what is considered good, beautiful, and meaningful. Through its creation and perception, music shows how entities emerge, interact, and evolve, offering insights into the nature of existence and guiding behavior and cultural norms.
• Music and Theology: Music serves as a powerful medium for theological expression and experience. It allows individuals to connect with the divine, offering a means of worship, reflection, and spiritual transformation. Music can convey theological truths and narratives, creating a shared experience of faith and devotion. It transcends language, reaching the depths of human emotion and connecting the worshipper with the sacred. In liturgical settings, music enhances rituals, marking sacred time and space, and facilitating communal participation in religious practices. Theologically, music embodies the immanence and transcendence of God, expressing divine mystery and beauty. 

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​Concluding Reflection: Music and Goodness

A final reflection: please note that most of the ideas above present music in a positive light, but a few of them—number 14, for example—present the more problematic side of music. The fact is that music is used for torture and for leading people into war and violent tribalisms, no less than for mutual enhancement and peace. To this can be added the fact that music can deceive as well as enlighten, leading people into false and self-destructive consciousness; and music can become an object of addiction, closing people off from one another and their better selves. 

This is what leads some people to distinguish between healing and whole-making music on the one hand, and harmful and whole-destroying music on the other. From a process perspective, music is healing and whole-making when, in combination with other factors, it leads to creativity, compassion, humility, gratitude, and service to the world. Goodness can certainly be found in music, but the goodness transcends music. The need for spiritually minded people is to find the goodness in music, all the while knowing that there is more to goodness than music.

This is one reason it can be important for people who believe in a God of goodness to recognize that God transcends music, even as music is, or can be, a language of God.  It is natural for those who believe in God to think of divine transcendence in terms of divine agency: that is, God as an inwardly felt lure toward flourishing. But this transcendence can also be conceived on the analogy of what Whitehead calls the consequent nature of God, in which case God is best understood as a "deep listening" or a "pure empathy" who "feels the feelings" of each and all in a sympathetic way and is affected by what is felt. In this case, God is musical in much the way that so many of us are musical; we may or may not create music, but we enjoy listening to it and are affected by what we hear. And so it is with God. Our acts of goodness, of kindness and creativity, are, as it were, music to God's ears. There is no need to imagine God as embodied with physical ears; the deep listening is everywhere at once, in all regions, simultaneously. The listening hears the pain and the joy, the agonies and the ecstasies, and is moved by it all, as are we when our hearts are open.

The work of Andrew Davis and others in the process community also expands horizons to think about the role music might play in other forms of highly sentient life in other solar systems, of which there are billions upon billions. Davis theorizes that such life may well have forms of art and communication paralleling our own on earth, to which we can add the idea that, if there ever emerge contexts for encounter and dialogue, one of the means of sharing might be musical.

​- Jay McDaniel

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