Is music inherently subjective or objective? To clarify, I’m not asking if people can have subjective opinions about music; obviously, they can and do. What I’m trying to understand is whether there are qualities inherent within the music itself that allow for objective assessment, like mathematical relationships, patterns, or harmonic structures that contribute to its value, independent of a listener’s personal taste. Or is musical "value" entirely dependent on individual and cultural interpretation, meaning that there’s no universally applicable standard for judging whether one piece of music is objectively "better" or "worse" than another, beyond its adherence to specific style conventions (which are, themselves, culturally defined)? Furthermore, if objectivity is a factor, where does it intersect with subjective experience, and how can we distinguish between a well-argued objective assessment of music and mere personal preference disguised as objective truth? Could aspects such as technical skill of the performers, complexity of composition, or originality within a genre be considered objective markers of musical quality, even if the listener personally dislikes the genre?

Answer

Music perception and appreciation are complex phenomena involving both subjective and objective elements. While individual experiences with music are undeniably subjective, objective aspects exist in its structure, composition, and historical context.

Subjective Elements:

• Individual Preference: The most obvious subjective element is personal taste. What one person finds beautiful, another might find irritating or uninteresting. This preference is influenced by individual background, cultural exposure, emotional state, and personal experiences. Factors like mood, memory association, and familiarity play a significant role.
• Emotional Response: Music evokes a wide array of emotions, such as happiness, sadness, excitement, nostalgia, or peace. These emotional responses are highly personal and can vary greatly depending on the listener. The same piece of music can elicit different emotions in different people or even in the same person at different times.
• Interpretation: Even when listeners generally agree on the overall feeling of a piece, individual interpretations of its meaning or significance can differ. One listener might interpret a song about loss as a tale of resilience, while another may focus solely on the sadness.
• Cultural Context: Cultural background shapes musical tastes and preferences. Different cultures have distinct musical traditions, scales, rhythms, and instruments. What is considered consonant and pleasing in one culture might sound dissonant and unpleasant in another.

Objective Elements:

• Acoustics and Physics: Music is fundamentally sound, which is governed by physical laws. Pitch, rhythm, tempo, timbre, and dynamics are all measurable and quantifiable. The physics of sound waves and the way the human ear perceives them are objective.
• Music Theory: Music theory provides a framework for understanding the structure and organization of music. Concepts like harmony, melody, counterpoint, form, and orchestration are based on established rules and principles that can be analyzed objectively. Chord progressions, key signatures, and rhythmic patterns can be identified and described using musical terminology.
• Compositional Techniques: Composers employ various techniques to create specific effects, such as creating tension, building to a climax, or establishing a mood. These techniques, whether consciously applied or intuitively developed, can be identified and analyzed objectively.
• Historical Context: Music exists within a historical context, and understanding this context can provide valuable insights into the meaning and significance of a piece. The social, political, and cultural influences that shaped a composer’s work can be studied objectively through historical research. The evolution of musical styles and genres can also be traced objectively.
• Cognitive Neuroscience: Research in cognitive neuroscience has identified brain regions and processes involved in music perception and appreciation. Studies using techniques such as fMRI and EEG have shown that certain musical elements consistently activate specific brain areas, suggesting a degree of universality in how the brain processes music.

Conclusion:

Music exists on a spectrum between purely subjective and purely objective. While personal taste and emotional responses are undeniably subjective, objective elements exist in the physics of sound, musical structure, compositional techniques, and historical context. A comprehensive understanding of music requires appreciating both its subjective and objective aspects. The interplay between these elements is what makes music a rich and complex phenomenon.