JAMA Revisited

July 23, 1898 and that may itself have under some circumstances a morbid
as well as a normal effect, and leaves all the others that have
The Hygiene of Music been built up upon it to be accounted for, with all their possi-
bilities of good or evil. Taking it as we will and assuming
A witty popular writer makes the suggestion that with the
whatever physiologic or other origin for music, there is noth-
growth of utilitarian ideals, music will gradually come to be
ing in it more than a gratification of the senses and an incita-
looked upon, not as a dignified and civilizing art, but as a sort
tion of the feelings. It may be of service as an adjunct to intel-
of minor vice; an amiable but enervating dissipation. While
lectual excitation of the higher emotions as in religious
there is probably little chance that our ideals will become so
music; it may of itself be soothing in certain conditions of
completely utilitarian as he suggests, there is nevertheless
morbid excitement, but it may also be the reverse. The mod-
something in the idea he advances that is perhaps worthy of
ern classic music and the Wagnerian “music of the future,”
consideration. It is certainly a curious fact that one form of sen-
the degenerative tendencies of which have been so vividly
sual indulgence, or perhaps one might say more acceptably,
depicted by NORDAU, are harder to justify as beneficial than is
sensuous enjoyment…should be lauded as in every way meri-
the simpler and more melodious music that appeals to the
torious, even when excessive, while others of far greater real
uneducated ear. It is hard, in fact, to see anything but a sort
utility are considered, if at all overdone, as hardly respect-
of intoxication in the mental state of some of the musical
able, if not absolutely disreputable. This is not because of its
enthusiasts who go wild over WAGNER’S music, if we can
intellectual element, for it has as little of that as any form of
interpret their ideas by the language they employ.…
sensory gratification… It appeals solely to the emotional and
Music in itself is not intellectual…but as an adjunct to
physical sides of our nature and it is a not unreasonable query
poetry in song it often becomes so associated with ideas
whether, in so acting, its effects are always and in every way
that we make the mistake of thinking it conveys them itself.
beneficial or desirable.
As a stirrer of the purely unintellectual emotions it has no
So much has been said of the therapeutic and generally
rival, and in these two ways lie its possibilities of mischief.
salutary effects of music…that it seems unnatural to most
Poetry itself is like music in that it appeals to the rhythmic
individuals to even suggest that it has in it any element of
impulse, but it also appeals to the intellect, and not merely to
evil, any pathologic possibilities. It is nevertheless true that it
the emotions. Its unhygienic possibilities have long been
has such, and that they are serious enough to be worthy of
recognized.… When music and poetry are combined as is
careful attention. It is not hard to see how and why this can
commonly the case the appeal to the emotions is even stron-
be so if we consider the theories of the origin of music as
ger in many instances, and music without words is, from this
given by those whose opinions are best worthy of respect.
common association, most often directly suggestive of ideas
DARWIN’S idea that it originates in the sexual impulse and
is analogous to the love notes of song birds, is in itself sug- that may or may not be healthful.…
gestive of such possibilities, and the same is true of that of Music certainly adds much to the enjoyment of life, but it
HERBERT SPENCER, who believes that it originated from the is not a virtue in itself and good as it is, it is liable to be over-
emotional cadences of speech. WEISMANN has argued that used and abused. Its hygienic requirements have received too
music is a secondary effect on the organs of hearing induced little attention and its pathologic possibilities have been largely
by cultivation, and not in the regular order of nature; in other ignored. It has its uses in therapeutics, but they hardly outbal-
words, that it is abnormal, hence the ready deduction that ance the dangers of its overcultivation, which are real enough
it may be related to or give rise to various abnormal and even with the simpler music of the past. What they will be with
undesirable effects. If we accept it, on the other hand, with the “music of the future” is as yet an unsolved problem.
WALLASCHEK, as satisfying a rhythmic impulse in our consti-
tution, this really only accounts for one element in music, JAMA. 1898;31(4):189-190.

Editor’s Note: JAMA Revisited is transcribed verbatim from articles published Section Editor: Jennifer Reiling, Assistant Editor.
previously, unless otherwise noted.

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