Introduction
People often refer to music as the universal language of humankind. Music is defined as sounds that produce beauty of form, harmony, or expression of emotion, which sometimes contain lyrics (Oxford English Dictionary). Historians have debated whether music has been used as a “window” that can offer novel views on the nature of society, or simply a “mirror” reflecting the status of society. However, it may seem difficult to find a musical “window” impactful enough to significantly change the course of history. This is because it would require music to prove a dominant force in changing the status quo. To understand music’s role in history, social influence is a crucial concept, which states that individual opinions and beliefs are shaped by their surrounding community and social conditions. Consequently, music’s power to resonate with the public often shapes people’s perception of the world and their place in it, making music a key factor in limiting or provoking public opinion, thus significantly changing the course of history at various times.

The Power of Music in China Through the Ages
Many governments have censored music to tamp down on political activism, making it difficult for people to challenge established traditions and norms. For instance, Chinese government officials censored public access to Chinese folk music to promote music that encourages traditional values (Amar 22-33). The Chinese people had realized the power of music exceedingly early in the nation’s history, as Confucius, one of its most influential philosophers, once said in his Book of Rites that “music produces a kind of pleasure which human nature cannot do without”. This adulation of music may explain why it was a significant factor in preserving Confucianism in China for over two thousand years. In Confucianism, Li (rites) and Yue (music) were considered essential to securing social harmony and order, where music fostered peace by unifying people’s voices (Huang 51). The government achieved this cultural reservation through heavy music censorship. As A. Thrasher states, the musical compositions were expected to express ideas in old forms and styles, limiting creativity within the traditional Confucian networks and suppressing many other forms of folk music (“The Sociology” 27). An example of this is a song that has been played during many major Confucian rituals, including at the Taipei Confucian Temple in the 2010s, called “Ying Shen,” which translates to “Welcome the Spirit of the Sage.” Its lyrics include:
This is indicative of the kind of music promoted in China, with lyrics expressly exalting Confucius and his ideologies. In turn, the overwhelming use of music with this kind of lyrics has subtly suppressed countless attempts to reorganize society and move forward.
Additionally, according to Thrasher, Chinese music theory served not only to explain the logic of tonal systems but also to “rationalize the entire cosmic order and [the officials’] high position within it” (“The Role” 3). In Confucius’ book, each note in the Chinese musical scale—the same as the Western pentatonic scale—was allocated a particular social class: the tonic being the emperor, the supertonic the nobles, and the other three notes representing different classes among the ordinary people. These notes became a fundamental part of Chinese culture with the spread of Confucian ideology, serving to justify the social structure. Hence, while dynasties continually replaced the previous in succession, they challenged the fundamental structure of society or rarely challenged the authoritarian form of government, relying on the existence of an emperor for over two thousand years. These traditions only began to change after the United Kingdom initiated the Opium War in 1840 and forced China to open its economy. As a result of the society not progressing or developing, caused in part by music censorship, China was forced to grant the British Empire a whole host of benefits while its own citizens suffered further from opium addiction and extreme poverty (Suwanthanin 8). Therefore, the control of music played a huge role in Chinese history, preventing significant structural changes to its society with severe socio-political consequences.

Music as a Tool of Nationalist Propaganda in Nazi Germany
The Nazi regime in Germany also used music censorship to increase nationalism among the soldiers and the public, creating strong public support for their heinous agenda. The music censorship of the Nazi regime was meticulously documented, allowing only military propaganda music or Aryan music, a genre of German classical music popularized by composer Richard Wagner. Jewish music, in stark contrast, was strictly prohibited, along with some modern genres and opera (Korpe et al. 252). The regime went further to alter some of the classic compositions that were considered not Aryan enough: Mendelssohn’s music was completely replaced while Mozart’s and Handel’s were distorted and “purified” to be more Aryan (Levi 23). This rigorous music censorship was the primary social influence that enabled Nazi officials to indoctrinate their soldiers and civilians, serving to stimulate a strong nationalist feeling and complete belief in the government. Its ability to unite the people together via national pride led them to instigate the second World War which impacted the world profoundly. Therefore, the principle of social influence emphasizes that officials often attempt to manipulate societies through heavy control of music. As evidenced by China before 1840 and Nazi Germany during the interwar period, these attempts largely succeeded due to music’s ability to significantly influence the thoughts of the people within the community.

Music as a Catalyst for Revolution
On the contrary, freedom of expression through music can often facilitate awareness in public opinion and may prove to be decisive in the course of history. A famous example of this is the Rite of Spring by Russian composer Igor Stravinsky, written in 1913. It famously caused a riot at its premiere between the conservationists and the activists due to its aggressive musical composition and performance, both of which spearheaded the Russian Revolution four years later. According to music Professor Daniel Chua, the new “Augurs” chord in the “Augurs of Spring” section directly challenged traditional Russian music patterns. Traditionally, Russian music, influenced by the Western classical period, relied heavily on harmonies and concordances, which can only be achieved through using certain chords. By contrast, the “Augurs'' chord consists of a stack of F♭, E♭, and B♭ major triads, creating an acutely sharp dissonance that disobeys traditional musical rules. Additionally, Vaslav Nijinsky’s choreography was “an incitation of the riot in musical terms,” completely transforming the chaos created by the “Augurs” chord into the disorganization on stage (Chua 63). As a result, the crowd, having heard nothing as dissonant as this piece, adopted polarized opinions towards the performance, which incited a riot, providing the foundation for the Russian Revolution. The breaking of tradition expressed dissatisfaction with the state of the arts and society in Russia, causing the breakthrough where musicians could express their fury towards the state of Russia. Hence, while it may seem of little importance, the Rite of Spring was the first weapon that the activists used to persuade the public to revolt.

Music’s Role in Social Movements
More recently, music for social and cultural movements has also proved thought-provoking. By the mid-20th century, with the new power of radio and television, musicians in the United States became mega celebrities who could influence millions. As the Anti-War Movement continued to capture more public attention, John Lennon, Bob Dylan, and Marvin Gaye all released songs expressing their strong opinions of support. Bob Dylan’s song “Blowing in the Wind,” released in 1963, was notably used as both an anthem for the Civil Rights Movement and the Anti-War Movement. It was even played during the famous March on Washington in 1963, where more than 200,000 protestors watched during the protest as it was simultaneously televised across the country (Lemieux 11). Bob Dylan, a white, Jewish celebrity, took a stand in the protest and encouraged people to fight bravely for their rights, which further raised public awareness of the movement quite significantly. Further influential was the Punk Movement, which burst out of Britain with the rise of the Sex Pistols and The Clash. A trend dedicated to true self-expression emerged due to the sharp and direct style of the punk genre, leading to a massive rebellion against authority. Thus, from the Rite of Spring to more recent protest songs, music served as an initiator for challenging authority by raising social consciousness and inspiring people to join causes and make change.

Debating Music’s Role
Despite these historical events, many may simply consider all music to be a mere reflection of society and not important enough to cause real change. In the debate of whether music has served as a “window” or “mirror” of history, neither side has a very compelling argument as there is little direct evidence that can demonstrate a relationship between the two. Many argue, for instance, that the Rite of Spring had only served to aggravate the tension which was already strong enough to cause a riot itself. Yet while music may not have the power to initiate a movement, it should still receive the credit that it deserves. Both the use of chords and the choreography caused the uproar in the crowd and the riot that followed, a compelling example of music making a statement in the course of history. Additionally, in protest movements, music has often sustained public morale and maintained public awareness, such as the songs during the Anti-War Movement in the 1960s. As a result, music has served as a crucial factor in enticing the public to be more active in the political situation.
Others may argue that while music has impacted history, it has never created a noteworthy influence, as few single musical works have been groundbreaking alone compared to a series of musical compositions or events. For instance, the song “We Are the World” written by Michael Jackson and Lionel Richie and performed by forty-five of the most influential artists at the time, was produced as a charity single for the 1983-1985 Ethiopian famine. While it was successful enough to raise awareness for its cause, the charity concert Live Aid in 1985, organized by Bob Geldof, profoundly influenced the entire course of African history. The concert featured many of the most famous celebrities, including Queen, The Beach Boys, Madonna, and many other musical celebrities, while also featuring a live performance of “We Are the World”. It is estimated that over 1.5 billion audience members from over 150 countries watched the live concert, with the public collectively raising up to $140 million for Ethiopia. Following the money raised by Geldof, the starvation in Ethiopia was relieved significantly (Krieger 860). In this event, music was the glue that gathered the public and pushed the public to contribute to this cause. Arguably, when music promoting a cause is heard by many people, it can create a significant and lasting impact on the entire course of history.

Music’s Enduring Influence on History
In conclusion, due to music’s quick accessibility and relatability among the people, it can often act as a medium used to activate or maintain a person’s thoughts. As such, new and innovative music can inspire creative and fresh ideas about society, while music censorship can instigate a feeling of nationalism and be used to control public consciousness. This is arguably true in our own contemporary time, as seen with the ban of Pussy Riot in Russia and the controversies and political battles caused by the Dixie Chicks in America. There are, evidently, still attempts to control the music that we hear to maintain power structures and public thought. Ultimately, music is an inseparable part of our daily lives now. Can you imagine a world without music? It certainly would not be the world we know today.

Works Cited

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Krieger, Jörg. "Sport Aid: Famine Relief, Fun Runs, Fundraising." International Journal of the History of Sport, vol. 35, no. 9, 13 June 2018, pp. 858-73. Taylor and Francis Online, https://doi.org/10.1080/09523367.2018.1472584.

Lemieux, Nicole. Bob Dylan and the Sixties: A Social Commentary Reflecting Politics and Existentialism. 2006. Pace University, Honors College Theses. Paper 39. Pace Digital Repository. https://digitalcommons.pace.edu/cgi/viewcontent.cgi?article=1037 &context=honorscollege_theses.

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“Music.” Oxford English Dictionary, Oxford University Press, 2024, https://www.oed.com/dictionary/music_n?tab=factsheet#35555906.

Suwanthanin, Waroonporn. "Closed-Door Policy of the Qing Dynasty and China's Defeat in the 1 First Opium War." Journal of ASEAN PLUS+ Studies, vol. 3, no. 2, Fall-Winter 2022, pp. 1-12. PDF.

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"Ying Shen" ["Welcome the Spirit of the Sage"]. Sihaishuyuan, 24 Sept. 2015, www.sihaishuyuan.com/archives/artical4860.html. Accessed 15 Apr. 2024.