A fact of life for musicians is inherent tension in how meaning in music is interpreted. Music has been understood as an aesthetic object, which can be sold, passed on from person to person and put on a shelf. This is music as a commercial object, music as a book of graphics on a page, music as a round — shiny thing you put in a machine. The problem is, as musicians we understand this perception of music, but in reality it is not our experience, or the experience of our listeners. In actual fact music is us, music is a social process, it is what happens between you and me. Music can not be pinned down to materialism, it floats on the air, it acts in the space between us.
This tension is persistent in contemporary western society, as musicians we are constantly juggling with it. Frequently our highest aim is to create a place of connection with others, that is our success. The Finnish music researcher Hytonen-ng (2013) writes about intense moments of connection in Jazz music. She explains how for Jazz musicians creating and seeking out incredible moments of connections with others through Jazz is the most motivating factor there is to keep on playing. Music therapists are experts in creating these sorts of connections for people on the margins and edges of society. The profession of music therapy highlights the social view of music. That is why music therapists have so much to contribute to the music industry, to music academia and music performance. Music therapists are trained in music as social interaction, music as communication, music as the sounding of souls.
Musicians know the true value of music is to be found in being-us, being together. They frequently come across assumptions, that to be a successful musician is to be famous, to play big venues, to be signed with a record company. If you think of music, as a social phenomenon, then these ideas about success make no sense. I would choose every time the close connection in the music therapy room with a child with autism, or playing to a small group of people in a living room, cafe or local pub.
Hytonen-ng, E. (2013) Experiencing ‘Flow’ in Jazz Performance. Hampshire: Ashgate Publishing Limited.