About CMA:
Founded in 1958, the Country Music Association (CMA) is the premier trade association of the Country Music industry. Representing professionals making a living in Country Music globally, the organization serves as a critical resource of support and information, honors excellence in the genre and provides a forum for industry leadership. CMA is dedicated to expanding Country Music around the world through a number of core programs and initiatives including the organization’s three annual television properties—the CMA Awards, “CMA Fest” and “CMA Country Christmas,” all of which air on ABC. The organization’s philanthropic arm, the CMA Foundation, works tirelessly to provide equitable access to music education in order to create impactful change for students and teachers across the United States.

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Philosophy of Music

Music is a form of sound that is meaningfully arranged and evokes emotional reaction. It has been a protean art, readily making alliances with words (in song and musical theatre) or with physical movement (ritual and ceremonial dance, folk and other entertainment, the orchestral and the “background” music of modern commercial popular culture). It has also been widely credited with influencing human emotions and attitudes. Such a claim is evident in the wide use of music in psychotherapy, geriatrics and advertising and in the fact that music has permeated every society.

The earliest philosophical accounts of music’s nature and function have been concerned with its relation to human life. For Plato, music was a shadow of the divine and possessed the power to mold character. Aristotle followed the Platonic ideal, but thought that music could express the universal and was therefore a truer mirror of human life than any other art.

In contrast, Christian philosopher Martin Luther and his successors were cautious and distrustful of the influence of music in moral and spiritual matters. They emphasized the importance of a strict moral code for musicians and warned against voluptuous, effeminate or disorderly music.

In the 18th and 19th centuries, speculations about the intrinsic nature of music grew more numerous and profound. The most influential of these were not formulated by musicians, however, but by investigators with extramusical preoccupations. The philosopher-mathematician Gottfried von Leibniz, for example, believed that music reflected a rhythm of the universe and was fundamentally mathematical.

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