Philosophical Theories of Processes in Contemporary Music

Introduction

Philosophical reflection on music has deep roots tracing back to ancient thinkers such as Pythagoras, who, according to legend, discovered the mathematical foundations of harmony while passing by a smithy and noticing different pitches of hammer sounds [Rychter, 2019]. This discovery laid the foundation for understanding music as a reflection of universal mathematical structures of the cosmos. In the Middle Ages, for example, Guido of Arezzo in his "Micrologus" [d'Arezzo, 1026] and Giuseppe Zarlino in "Harmonic Foundations" [Zarlino, 1558] continued to develop theoretical aspects of music, linking it with cosmology and ethics. However, while traditional philosophy of music often focused on its ontological status, aesthetic categories, and connection with metaphysics, the modern era demands a rethinking of these approaches, considering radical changes in the production, dissemination, and consumption of music.

In the context of contemporary music, both popular and academic, new philosophical questions arise that go beyond classical aesthetics. These questions concern not only the nature of the musical work itself but also its functioning in society, its interaction with technologies, its role in identity formation, and even its capacity to influence consciousness. As A.S. Klujev notes, the contemporary era is characterized by a global crisis of culture and humanity, manifested in the degradation of personality, total technicism, and oblivion of traditions, and music possesses extraordinary potential to elevate the spiritual needs of humans. The task of this lecture is to consider how various philosophical and related theories help us understand the complex processes occurring in the contemporary musical landscape, from postmodern deconstruction to the influence of digital technologies and globalization.

Detailed Exposition

The Role of Music in Identity Formation and Social Dynamics

Music may seem like just a set of sounds, but why is it capable of penetrating so deeply into our essence, shaping not only personal preferences but entire social groups? This question lies at the heart of understanding music's role in constructing identity and social dynamics. A musical work, whether an ancient ritual or a modern pop hit, never exists in a vacuum; it is always woven into the complex fabric of human experience, reflecting and simultaneously shaping it.

Historically, music has always been a powerful tool for expressing and reinforcing collective identity. A.S. Klujev, referring to Frazer, notes that "the effect (of music – A.K.) on the soul... was attributed to the direct influence of the Deity... Music... played a significant role in the formation and expression of religious emotions, more or less deeply modifying the structure of faith... Each faith is expressed through corresponding music..." This observation emphasizes how musical practices, from shamanic chants to Christian hymns, served not merely as background but as active components of rituals, enhancing their impact and contributing to the maintenance of the 'humanity of the world.' Music acted not only as a means of communication with the transcendent but also as a cementing element for communities sharing common beliefs.

However, the role of music is not limited to religious contexts. It actively participates in the formation of national and social identity, especially noticeable during periods of political and cultural transformations. For example, Smyth and Johnstone describe how Irish music after the political revolution of the early 20th century became an integral part of Irish identity. Musical works, their performance, and even simple listening were perceived as part of a "centuries-old, continuous tradition" that confirmed the validity of both the individual and the nation [Smyth, 2004]. Here, music acts as a living archive of collective memory, constantly recreated and reinterpreted by each new generation.

Beyond the macro-level of nations and religions, music also plays a decisive role in shaping group tastes and behavior at a more local level. Johnstone and Katz point out that if neighborhoods and popularity within groups play a role in forming preferences for popular songs, then the finer details of group life mechanisms that generate similar opinions, attitudes, tastes, and habits must be more thoroughly studied in relation to the world of popular music. This means that musical preferences do not arise spontaneously but are formed through complex interactions of social factors such as place of residence, subcultural affiliation, or simply social circles. Music becomes a marker of belonging, a kind of password that allows identifying "one's own" and distinguishing them from "others."

At the same time, music serves as a powerful means of expressing individuality. Composer Dmitry Stefanovich, quoted by Klujev, notes: "I am an individualist. But, let's say, an individualist with a sense of belonging to the common time with my listener. There is a certain connectedness with people." This statement highlights the paradoxical nature of music: it allows a person to express their uniqueness but always presupposes the presence of a listener, a certain "common time" in which this individuality finds resonance. Musical creativity becomes an act of self-expression that simultaneously strives for communication and participation.

The sociology of music, as Lee Marshall notes, faces the challenge of interdisciplinarity in trying to understand how musical preferences relate to social structures [Marshall, 2011]. He argues that sociological understanding of popular music must consider "musical specificity" and not be limited to social aspects alone. This means that for a complete analysis of music's role in identity formation, it is necessary not only to study social contexts but also to delve into the structure of the musical work itself, its aesthetic features that may influence perception and taste formation.

Applied musicology, as proposed by Ivana Medić, seeks to go beyond the academic "ivory tower" and actively engage with the surrounding world, listening to sounds emerging in various communities [Medić, 2022]. This approach emphasizes the need to study music not only as an object of analysis but as a living, dynamic process constantly shaped and reshaped in social interaction. Researching soundscapes, for example, in the Belgrade district of Savamala, allows one to see how music and the sound environment as a whole influence people's daily lives and self-perception [Medić, 2022]. Music acts as a complex medium that simultaneously reflects and shapes both collective and individual identity. It is not merely a background for our lives but an active participant in constructing meanings, values, and belonging. From ritual chants to modern genres, musical practices create shared spaces for experiences, strengthen social bonds, and allow everyone to find their place in the world. However, to fully understand this process, not only sociological but also deeper, possibly psychoanalytic reflection on how sound affects the human psyche is necessary, which leads us to the next question about the interrelation of physiology, acoustics, and musical aesthetics.

The Interrelation of Physiology, Acoustics, and Musical Aesthetics

Music, as discussed earlier, plays a key role in identity formation and social dynamics, but its impact is not limited to cultural and psychological aspects. At the core of this impact lies a complex interrelation between the physiology of human perception, acoustic properties of sound, and aesthetic principles we apply to music. Hermann von Helmholtz, already in the 19th century, attempted to connect the boundaries of two sciences that, although united by many natural relations, remained quite distinct—the boundaries of physical and physiological acoustics on one side, and musical science and aesthetics on the other [Helmholtz et al., 1875]. This ambitious task remains relevant today, as understanding how physical air vibrations are transformed into meaningful musical experiences requires an interdisciplinary approach.

The physiological basis of tone perception studied by Helmholtz concerns how our auditory apparatus decodes complex sound waves. He showed that the ear does not merely register sound but analyzes its harmonic content, isolating overtones that form the timbre of an instrument or voice. This ability to analyze overtones is fundamental to our perception of consonance and dissonance, and thus to the formation of musical harmony. Without this physiological capability, musical aesthetics based on intervals and chords would be impossible.

However, music perception goes beyond purely physiological decoding. It includes cognitive processes that give sounds meaning and emotional coloring. As A.S. Klujev notes, "the noise spectrum of the city, village, travel in transport, cries of people and animals combine in my head into a certain musical, meaningful construct." This means that even unorganized sounds can be perceived as part of a musical landscape if our brain actively interprets and systematizes them. This process of systematization and meaning-making is key to understanding how we perceive music not just as a set of sounds but as an organized whole.

The idea of the "musically extended mind," proposed by Krueger, suggests that music not only reflects our emotions but actively forms new emotional experiences that would otherwise be inaccessible [Krueger, 2014]. He introduces the concept of "musical affordances"—opportunities music provides for interaction and engagement. These affordances invite us to various forms of "entrainment," whether synchronization of movements with rhythm or emotional empathy with melody. Music becomes not a passive object of perception but an active participant in expanding our emotional and cognitive experience.

The psychoanalytic perspective on sound and music, presented by Francesco Barale and Vera Minazzi, also emphasizes the deep, often unconscious influence of sound experiences [Barale et al., 2008]. They explore how early sound impressions, starting from the prenatal period, shape our psyche and affect subsequent music perception. Sound, in this context, can be not just an aesthetic object but a powerful trigger for memories, emotions, and even traumas. This raises the question of how much our aesthetic judgment of music is conditioned not only by its acoustic properties but also by deeply rooted psychophysiological reactions.

Confucian aesthetic philosophy, as noted by Wenpeng Yang, also emphasizes music's role in character formation and moral qualities [Yang, 2024]. Confucius said: "The mind is awakened by poetry. Character is established by rules of propriety. Perfection is completed by music" [Yang, 2024]. Here, music is seen not merely as a source of pleasure but as a tool for achieving harmony and balance, both external and internal. This idea resonates with modern notions of music's therapeutic potential, where its rhythmic and melodic structures can influence our physiological and emotional state.

Contemporary music science, particularly "applied musicology," strives to go beyond the academic "ivory tower" and actively interact with the surrounding world, listening to sounds emerging in various communities [Medić, 2022]. Ivana Medić emphasizes that musicologists should not only analyze music as an artifact but also study its influence on everyday life, on the "soundscapes" of cities and communities. This means that music aesthetics cannot be detached from its social and physical context.

Nicolas Donin, studying musicology of the compositional process, points to the need to integrate historical and cognitive approaches [Donin, 2018]. Understanding how a composer creates music involves not only their individual creative decisions but also how these decisions are conditioned by their physiological perception of sound, cognitive models, and cultural context. A musical work is the result of a complex interaction between the creator's inner world and external acoustic and cultural realities. Musical aesthetics is not an abstract category detached from the material world. It is deeply rooted in our physiology, in how our auditory apparatus processes sound waves, and how our brain interprets these signals, giving them meaning and emotional coloring. From physical sound properties to complex cognitive and cultural interpretations—each level contributes to shaping our musical experience. This multifaceted interaction leads us to the idea that music does not merely exist in the world but actively shapes it, and our understanding of this process requires constant expansion of boundaries between sciences. This interaction between physical, physiological, and cultural aspects of music is the starting point for studying its evolution and origin, as these aspects are inseparably linked with the development of the human species and its ability to create and perceive complex sound structures.

Evolution and Origin of Music

If in the previous section we delved into the physiological and acoustic foundations of musical perception, now it is worth asking a more fundamental question: how did music arise at all? This question, seemingly purely historical, is actually deeply philosophical, as it concerns the very nature of humans, their evolution, and music's place in the formation of human consciousness and society. Various theories of music's origin offer not just chronology but conceptual models explaining its functions and significance.

One of the best-known theories, proposed by Charles Darwin himself, links the origin of music with sexual selection. As Rehding notes, "Darwin himself proposed a theory of the origin of music in his work 'The Descent of Man' (1871), succinctly summarized by the statement: 'At the beginning was love'" [Rehding, 2000]. According to this hypothesis, music initially developed from courtship displays similar to those observed in birds, serving the purpose of attracting a mate and species preservation. Music in this context appears as a kind of "ornament," signaling fitness and health of the individual, making it not just a pleasant pastime but a tool for survival and reproduction.

However, not everyone agreed with Darwin's "love" version. Herbert Spencer, for example, proposed an alternative evolutionary theory, which Rehding summarizes as "At the beginning was language" [Rehding, 2000]. Spencer believed that music developed from emotionally colored intonations of speech, which over time became more rhythmic and melodic. In this perspective, music is inseparably linked with communication, with expressing feelings and meanings that could not be fully conveyed by ordinary speech. It becomes an enhanced, aestheticized form of language, capable of evoking deeper emotional responses and conveying more complex states.

There was also a third influential theory, put forward by German researcher Karl Bücher in his work "Labor and Rhythm" (1896). Bücher argued that music arose from repetitive movements of physical labor [Rehding, 2000]. Rhythmic shouts, songs, and sounds accompanying collective work helped synchronize efforts, relieve fatigue, and increase productivity. In this case, music appears as a pragmatic tool embedded in everyday life and social organization. It not only decorates life or expresses emotions but actively shapes it, becoming part of production relations and collective existence.

These three classical theories, despite their differences, converge on one point: music is not a random phenomenon but deeply rooted in human nature and social practice. They show that music could perform multiple functions simultaneously, and its origin was likely multifactorial. For example, the psychoanalytic approach, as noted by Barale and Minazzi, can also offer interpretations, viewing sound and music through the prism of unconscious processes and early childhood experiences, where rhythm and melody may be linked to primary sensations of safety or anxiety [Barale et al., 2008].

Contemporary research, including in applied musicology, seeks to go beyond purely academic discussions and actively engage with the surrounding world. Ivana Medić calls on musicologists to "leave their academic 'ivory tower,' actively engage with the surrounding world, and listen to sounds emerging in various communities" [Medić, 2022]. This approach allows not only studying music's historical roots but also understanding its current significance in identity formation and social dynamics. If music arose from human needs, then today it continues to respond to them, albeit in changed forms.

Confucian aesthetic philosophy, for example, emphasizes music's role in moral education and personality cultivation. As Yang writes, from a Confucian perspective, aesthetic education is not only a form of education but a way of cultivating life and upbringing [Yang, 2024]. Music, along with poetry and rules of propriety, contributes to forming a harmonious person, cleansing the mind, and sublimating personality. This resonates with ideas that music from the very beginning could have been not just entertainment but a powerful tool of social regulation and spiritual development.

In the context of music evolution, it is also important to consider how the very concept of the compositional process has changed. Nicolas Donin notes that musicology traditionally focused on studying "traces of the handwritten activity of 'great composers' of the past" [Donin, 2018]. Studying sketches and drafts allows understanding how a work was formed, how the composer overcame creative challenges. This is not just a philological interest but an attempt to penetrate the cognitive processes underlying musical creativity. Understanding how composers of the past thought and worked gives a key to comprehending the evolution of musical language and forms.

However, as A.S. Klujev emphasizes, in the modern era we face a "global crisis of culture, humanity," characterized by human degradation—the dominance of the animalistic in man; total technicism; oblivion of national traditions and sacred things. In this context, the question of music's origin becomes especially acute. If music initially served elevated goals—love, communication, labor, spiritual development—what happens to it now? Klujev argues that music possesses "extraordinary possibilities for elevating the spiritual needs of humans" and can contribute to overcoming this crisis. Music evolution is not only a history of sounds and forms but a history of humanity, its needs, aspirations, and crises. From primitive rhythms to complex symphonies, from ritual chants to digital experiments, music has always been a mirror of the human spirit. Understanding its origins helps us better realize its current state and potential. However, if we speak of crisis, the question arises: how does this crisis manifest itself in music itself and in the role of the composer in the modern world?

Crisis of Contemporary Musical Culture and the Role of the Composer

If in the previous section we spoke about music evolution as a process rooted in deep antiquity and shaping humanity, today we face the question of its current state. To what extent does the music we create and consume correspond to its purpose? The contemporary era, according to some researchers, is characterized not just by changes but by a deep crisis affecting both culture as a whole and the place of humans within it [Klujev, 2021]. This crisis manifests in the degradation of human nature, dominance of technical principles, and oblivion of traditions.

Indeed, Alexander Klujev notes that despite the variety of terms such as postmodernism, post-postmodernism, digitmodernism, or metamodernism, they all point to a "global crisis of culture, humanity" [Klujev, 2021]. He identifies three key signs of this crisis: "1) degradation of humans—the dominance of the animalistic in them; 2) total technicism; 3) oblivion of national traditions and sacred things" [Klujev, 2021]. If humans increasingly focus on satisfying basic needs and technologies become an end in themselves, what is the role of art, and particularly music, in this context?

The technicism Klujev speaks of does not merely change the ways music is created and disseminated but transforms its very perception. Heidegger, reflecting on "techne," pointed out that it is not just skill or craftsmanship but "the revealing of the hidden" through nature and art [Klujev, 2021]. However, when technology becomes self-sufficient, it risks overshadowing the true essence of art, turning it into something utilitarian or superficial. We observe "the distressing situation when in the face of bare technology... we do not see the essence of technology; when in the face of bare aesthetics... we cannot feel the essence of art."

In this context, the question of the composer's role arises. If earlier the composer was perceived as a kind of demiurge creating unique works, today their status is being reconsidered. Nicolas Donin criticizes the "sacralization of the composer" in classical musical culture, calling for a deeper study of the compositional process itself rather than only its final result [Donin, 2018]. Social sciences of music rightly point to the normative foundations underlying such a cult and propose shifting the focus from the figure of the author to the practice of music creation.

However, as Donin notes, it is not enough to simply criticize the academic invisibility of previously "illegitimate" musical forms. It is necessary to understand what composition as a practice is, what knowledge it involves, and what models of music it embodies [Donin, 2018]. This requires a change of perspective, approaching composition as a process rather than an act of genius inspiration. Even when attempting to reconstruct the process of creating a work, we inevitably face implicit models of creative cognition that often remain unspoken [Donin, 2018].

The problem is exacerbated by the rarity of research on the compositional process. Donin points to the paradox: despite the abundance of studies on the genesis of individual works, there is a deficit of works devoted to general mechanisms of composers' creative activity [Donin, 2018]. This may be due to the lack of an explicit theory of composers' activity among musicologists. Studying activity implies analyzing documents of the creative process not only from the perspective of the final work but as temporal and partial carriers of cognitive activity unfolding in interaction with a specific social and technical environment.

The difficulty of studying contemporary composers also lies in the fact that their activity often remains more mysterious than that of their predecessors. Unlike archives of past eras, traces of modern authors' activity are not always preserved in museums or libraries, and composers themselves are not always willing to provide full access to their creative process [Donin, 2018]. This leads to the psychology of composition being long considered a dead-end field, too complex and intimate for scientific research.

Nevertheless, some researchers, such as John Sloboda, have attempted to study composition and improvisation, though facing methodological difficulties. Donin notes that among the few works, studies based on simple compositional tasks performed by students predominate rather than studies of socially recognized composers [Donin, 2018]. This reflects the influence of the myth of the "solitary creator" who must not be disturbed, which is surprising in an era when musicology seeks to deconstruct myths of Western musical tradition.

At the same time, Confucian aesthetic philosophy offers a different view on the role of music and its influence on humans. In it, music is seen not merely as an art form but as a manifestation of social ethics and morality, capable of "awakening deep emotional resonance" and "elevating the state of mind" [Yang, 2024]. The concept of "beauty of harmony" in Confucianism emphasizes that beauty must be balanced and reflect harmony between humans and nature, humans and society, as well as the inner world of humans [Yang, 2024]. This sharply contrasts with the crisis moods described by Klujev.

The pursuit of perfection, or "the pursuit of perfectness," in Confucianism means that beauty and goodness are closely linked, and beauty is the external manifestation of goodness [Yang, 2024]. In this sense, music is called not only to provide aesthetic pleasure but also to guide humans toward ethical ideals. This approach may offer a way out of the crisis Klujev speaks of through the revival of music's spiritual potential.

However, for music to fulfill this role, musicologists need to leave the "ivory tower" and actively interact with the surrounding world, listening to sounds emerging in various communities [Medić, 2022]. This means not only studying classical forms but also analyzing popular music, its influence on social structures and identity, as Simone Varriale does by studying the role of the music press in forming cultural fields [Varriale, 2014]. The crisis of contemporary musical culture calls into question not only the role of the composer but also music's very function in society. From human degradation and total technicism to oblivion of traditions—these challenges require musicology not just to state facts but to actively seek solutions. Perhaps the answer lies in rethinking music's role as a tool of ethical and aesthetic education, as well as in a deeper understanding of the process of its creation, inevitably leading us to consider the influence of technologies and institutional factors on music.

Influence of Technologies and Institutional Factors on Music

The crisis of contemporary musical culture discussed earlier and the changing role of the composer are inseparably linked with profound transformations caused by technological progress and institutional shifts. Whereas earlier a musical work existed mainly as a score or live performance, today it takes many forms, each influencing its perception and meaning in its own way. Technologies do not just change the ways music is created and disseminated; they redefine its very nature, and institutional frameworks dictate which music will be heard and which will remain in the shadows.

The spread of recording and playback technologies, especially after 1922, became a powerful factor in identity formation, as Smyth notes [Smyth, 2004]. Music, previously limited by geographical and social barriers, could now be distributed among vast numbers of people through new media. This meant, for example, that "Irish music" could reach the diaspora and strengthen a sense of community or, conversely, become part of the global cultural landscape, losing its original connotations. Technologies transformed music from a local phenomenon into a global one, capable of shaping and transforming collective identities at a distance.

However, this process was not neutral. Jacques Attali in his work "Noise" (Bruits) argues that listening to music means listening to all noise, and that its appropriation and control reflect power, that it is essentially political [Smyth, 2004]. In other words, which music is recorded, disseminated, and becomes popular is not accidental but the result of certain power relations and economic interests. Technologies, providing new opportunities, simultaneously create new levers of control and manipulation, determining what will be considered "music" and what will remain "noise."

In the context of academic music, these institutional and technological factors manifest especially sharply. Klujev [Klujev, 2021] points to the absence in Russia of a worthy system of support for academic music and the composer community. He notes that "the content of exclusively branded ensembles does not allow Russian music of the 21st century to develop fully." This means that even with talented composers and new ideas, the institutional structure oriented toward already recognized names and forms hinders the emergence and dissemination of new academic music. Here we see how institutional decisions directly affect which music gets a chance to be performed and heard.

The problem is not only the lack of support but also the conservatism of the performing environment. Klujev [Klujev, 2021] cites the words of one of the chief conductors of a philharmonic orchestra: "I do not see modern Shostakoviches; when they appear, I will perform them." This position, according to Klujev, "has destroyed a couple of generations of composers," creating a vicious circle where the absence of new music performances leads to its invisibility, and invisibility leads to the absence of performances. Here we face a paradox: music essentially exists only in performance, as Klujev emphasizes [Klujev, 2021], but the path to this performance is often blocked by institutional barriers and prejudices.

Technologies, in turn, offer alternative paths for composers, though not without their difficulties. Digital platforms and tools for music creation allow authors to bypass traditional institutions but also generate new challenges related to information overload and difficulty breaking through the "noise." Marcin Rychter [Rychter, 2019] notes that postmodern music seems to naturally fit into the technological and media structure of contemporary digital and internet culture. This indicates that new technologies are not just tools but an environment shaping the aesthetics and modes of music existence.

The influence of technologies on the compositional process also becomes a subject of research. Nicolas Donin [Donin, 2018] describes various approaches to studying the compositional process, including research inspired by Piaget's psychology, music semiology, and cognitive ergonomics. These studies show how composers interact with technological tools, how they use them to shape their ideas, and how these tools influence the final result. For example, the possibility of instant recording and editing changes approaches to improvisation and structuring a work.

Institutional factors also determine how music is evaluated and criticized. Simone Varriale [Varriale, 2014], in her study of the Italian popular music press, shows how popular music criticism formed as a separate cultural field dependent on broader institutional and social transformations. Magazines such as Ciao 2001, Muzak, and Gong not only reflected public tastes but actively shaped them, creating symbolic boundaries and defining what is "good" music. This demonstrates how media institutions, using printing and distribution technologies, become powerful actors in shaping musical culture.

At the same time, Confucian aesthetic philosophy, as described by Wenpeng Yang [Yang, 2024], offers a different view on music's role, where it is inseparably linked with moral education and harmony. Music, according to Confucianism, "embodies the beauty of harmony" and "serves the function of emotional expression" [Yang, 2024]. In this context, technologies and institutions could be used to disseminate music that promotes not only aesthetic enjoyment but also ethical development. However, the modern music industry is generally oriented toward other goals. Technologies and institutional factors do not merely accompany music development but actively shape it. They determine what music is created, how it is disseminated, who listens to it, and how it is perceived. From the possibility of recording and distribution to institutional support or its absence, these elements create a complex network of influences that define the landscape of contemporary musical culture. Understanding these interrelations is critically important for comprehending how music continues to evolve and what challenges lie ahead.

Criticism and Limitations

Limited Empirical Data in the Study of the Compositional Process

One significant limitation in the philosophical reflection on contemporary music is the lack of empirical data concerning the compositional process itself. As Nicolas Donin notes [Donin, 2018], despite traditional musicological attention to composers and their works, studies aimed at investigating the specifics of compositional practice, its knowledge, and models remain rare. Most works focus on analyzing completed works or studying archives of "canonized" composers, which does not provide a full picture of the dynamics of the creative process. If we had a deeper understanding of the cognitive and practical aspects of music creation, this could significantly change our views on the "death of the author" or the influence of technologies on creativity, since we would see not only the result but also the path to it.

Ideological Bias in Theories of the Origin of Music

Another limitation is related to the ideological bias of theories of music's origin. Alexander Rehding [Rehding, 2000] points out that the search for music's origins often says more about the ideology of the musicological enterprise itself than about the supposed truth of music. For example, Darwin's theory of sexual selection, Spencer's theory of music developing from speech, and Bücher's theory linking music with labor each reflect certain scientific and cultural attitudes of their time. This means that conclusions drawn from such theories may be distorted by biased views on evolution or social organization. If we could fully abstract from these ideological influences, perhaps we would discover entirely different, more complex and less linear models of music's emergence, which, in turn, would affect our understanding of its fundamental functions and significance in the modern world.

The Gap Between Academic Musicology and Real Musical Practice

There is also a noticeable gap between academic musicology and real musical practice, especially in the field of popular music. Ivana Medić [Medić, 2022] calls on musicologists to leave their academic "ivory tower" and actively engage with the world, listening to sounds emerging in various communities. Traditional musicology often focuses on classical music, ignoring or underestimating popular genres, which leads to an incomplete understanding of contemporary musical processes. If academic research more actively included analysis of popular music and its influence on everyday life, it would allow creating more relevant philosophical theories capable of explaining, for example, the phenomenon of K-Pop or the role of samples in hip-hop, which today shape the musical landscape for millions of people.

Conclusions

• Contemporary musical culture is in a state of deep crisis characterized by human degradation, total technicism, and oblivion of traditions, requiring a rethinking of music's role in society.
• Technologies and institutional factors not only influence music but actively shape its nature, methods of creation, dissemination, and perception, determining which music becomes accessible and recognized.
• The role of the composer is transforming from a demiurge figure to a participant in a complex process where the focus shifts to studying the practice of composition itself rather than only the final result.
• Music is a powerful tool for forming both individual and collective identity, as well as social behavior, confirmed by research on the influence of musical preferences on group dynamics.
• Physiological and acoustic bases of sound perception are inseparably linked with aesthetic principles of music, and the concept of "musical affordances" points to music's active role in forming new emotional experiences.
• Applied musicology calls for leaving academic isolation and actively interacting with the real world, studying music in its everyday functioning and influence on communities.
• How can the spiritual potential of music be used to overcome the contemporary cultural crisis if institutional and technological structures are often oriented toward commercialization and standardization?