David Tame, in his 1984 book, The Secret Power of Music, not only demonstrates the moral nature of music, but he also reveals extensive medical research demonstrating the destructive effects of rock music (on both the mind, emotions, and the body):

(a) In commenting on the origin and the morality of rock music, Tame says, "... a certain cross-fertilization was becoming apparent between the 'new music' and the general jazz and rock style. It came to be seen that the technical differences between 'serious' music, jazz, rock, or any other form of modern music were less important than the underlying factor that their philosophical basis was more or less one and the same: hedonism and anarchy" (p. 103). (Emphasis added.)

(b) "In the rock industry, money is basically what it is all about; and thus music is directed, not upward ... but to the lowest common denominator. The question of questions is Will it sell? The standard of artistry could not be less relevant" (p. 116).

(c) "Were we to scour the globe in search of the most aggressively malevolent and unmistakably evil music is existence, it is more than likely that nothing would be found anywhere to surpass voodoo in these attributes ... as the rhythmic accompaniment to rituals and orgies, voodoo is the quintessence of tonal evil. ... Its multiple rhythms [score], rather than uniting into an integrated whole, are performed in a certain kind of conflict with one another. ... What is certain is that to hear this music is to become instantly encompassed by the sound of its raw, livid power. ... Musicologists and historians are in no doubt that the drum rhythms of Africa were carried to America and were transmitted and translated into the style of music which became known as jazz. Since jazz and the blues were the parents of rock and roll, this also means that there exists a direct line of descent from the voodoo ceremonies of Africa, through jazz, to rock and roll and all the other forms of rock music today" (pp. 189-190). (Emphasis added.)

(d) "In the one corner: the ancients and traditionalists; the conviction that music affects character and society, and that therefore the artist has a duty to be responsibly moral and constructive, not immoral and destructive. In the other corner: the materialists; disclaiming responsibility and the need for value judgments, paying no heed to the outcome of their sounds. The second camp contains not only the radical avant-garde, but the entire mass of the much more popular and culturally significant jazz and rock musicians. Who, then, is correct? ... Do life patterns follow music patterns or do they not? " (p. 136). Tame goes on to cite extensive research that overwhelmingly supports the contentions of the traditionalists: that music in general can be, and rock music specifically is, a negative influence on both the physical body and moral nature of man.

(e) "To the question, 'Does music affect man's physical body?' modern research applies in the clear affirmative. There is scarcely a single function of the body which cannot be affected by musical tones [score] ... Investigation has shown that music affects digestion, internal secretions, circulation, nutrition and respiration. Even neural networks of the brain have been found to be sensitive to harmonic principles" (p. 136). (Emphasis added.)

(f) "Researchers have discovered that consonant and dissonant chords, different intervals, and other features of music [score] all exert a profound effect upon man's pulse and respiration-upon their rate and upon whether their rhythm is constant, or interrupted and jumpy. Blood pressure is lowered by sustained chords and raised by crisp, repeated ones. [It has also been found that the tension of the larynx is affected by melodies, that sound stimuli can have a negative effect upon the skeletal muscles, that rock rhythms cause the heart beat to lose its perfect rhythm, and that certain rhythms can even cause a rare malady known as "musicogenic epilepsy" (76 documented cases as of 1984), with which some of its victims have been tormented to the point of committing suicide or murder.] ... We can see, then, that music affects the body in two distinct ways: directly, as the effect of sound upon the cells and organs, and indirectly, by affecting the emotions, which then in turn influence numerous bodily processes" (p. 137). (Emphasis added.)

Julius Portnoy has also found that not only can music [score] "change metabolism, affect muscular energy, raise or lower blood pressure, and influence digestion," but "It may be able to do all these things more successfully ... than any other stimulants that produce those changes in our bodies" (p. 138).

Musicologist Alice Monsarrat points out that it "is precisely at this point that rock 'n' roll ... becomes potentially dangerous. This is because, to maintain a sense of well-being and integration, it is essential that man is not subjected too much to any rhythms not in accord with his natural bodily rhythms" (p. 199).

(g) Extensive research has also been conducted on the effects of music upon non-human life, both animals and plants. Paradoxical as it may seem, plant experiments concerning the effects of music upon life are even more convincing than human experiments: that music does affect life, including human life. This is because in plant experiments the effect of the mind's subjective preconditioning and subjective reaction to the music, or one's "feeling" for the music, or one's personal tastes in music have obviously all been removed; i.e., if music [score] can be shown to affect plants, then such effects have to be due to the objective influence of the musical tones and rhythms directly upon the cells and processes of the life-form itself. (It is also easier to set-up a valid, scientifically controlled experiment with plant life than with human life.)


The plant research findings are solidly in the traditionalist camp: not only did rock music stunt the growth of a wide variety of plants, but if played long enough, the plants actually died. And even more startling were the findings of Dr. T.C. Singh, head of the Botany Department at Annamalia University, India. His experiments demonstrated that not only did certain forms of music and certain musical insturments (specifically, classical music and the violin) cause plants to grow at twice their normal speed, but that later generations of the seeds of musically stimulated plants carried on the improved traits of greater size, more leaves, etc.! Presumably, the same effect can result in the negative sense, from bad music. The possible significance of Dr. Singh's findings to human life is evident, and should be at least a little disconcerting to rock music fans (pp. 141-145).

(h) "Like human nature itself, music cannot possibly be neutral in its spiritual direction ... ultimately all uses of tone [score] and all musical lyrics can be classified according to their spiritual direction, upward or downward. ... To put it plainly, music tends to be of either the darkness or of the light" (p. 187). In his famous work, Laws, Plato lamented the musical revolution of his time and its "unmusical anarchy": "Through foolishness they deceived themselves into thinking that there was no right or wrong in music-that it was to be judged good or bad by the pleasure it gave. By their work and their theories they infected the masses with the presumption to think themselves adequate judges. ... As it was, the criterion was not music, but a reputation for promiscuous cleverness and a spirit of law-breaking" (p. 189).

(i) In his closing comments on the roots of music styles and rhythms, David Tame, with a keen "spiritual" insight often lacking in many believers today, takes particular offense with rock music: "More than any other form of the misuse of sound, it is rock with which we must deal today. ... It is a global phenomenon; a pounding, pounding destructive beat which is heard from America and Western Europe to Africa and Asia. Its effect upon the soul is to make nigh-impossible the true inner silence and peace necessary for the contemplation of eternal verities. ... How necessary is it in this age for some to have the courage to be the ones who are 'different', and to separate themselves out from the pack who long ago sold their lives and personalities to this sound. ... I adamantly believe that rock in all its forms is a critical problem which our civilization must get to grips. ... if it wishes long to survive" (p. 204). (Emphasis added.)

More recent medical research (than that cited by Tame) also disputes the notion of the supposed "neutrality" of music:

(a) Dr. John Diamond, a medical doctor, has conducted extensive research on the medical effects of music. He has noted that man is rhythmic in respiration, heartbeat, pulse, speech, and gait, and when the rhythm of music corresponds to the natural body rhythms, it produces feelings of ecstasy, alertness, and peace, and it energizes the mind and body, and facilitates balance and self-control.

(b) Dr. David Nobel, another medical doctor and an authority on music, has done extensive research on the value of music rhythms [score] corresponding to body rhythms. He writes that, "None of these qualities accrue to the rock sound. Instead, rock contains harmonic dissonance and melodic discord while it accents rhythm with a big beat. In fact, the anapestic beat [two short beats, a long beat, then a pause] used by many rock musicians actually is the exact opposite of our heart and arterial rhythms [thereby causing an immediate loss of body strength]."

[Dr. Diamond confirms Dr. Nobel's findings and adds that the stopped anapestic rhythm "heightens stress and anger, reduces output, increases hyperactivity, and weakens muscle strength." (Admittedly, the technological ability to objectively measure stress and anger is problematical at best, while the measurement of muscle strength is quite precise and meets all the requirements of scientific reliability and statistical significance.)]

(c) The power of music to communicate is demonstrated in an article "Music's Surprising Power to Heal," by David Mazie, in the August 1992 Reader's Digest: "Music reduces staff tension in the operating room," says Dr. Clyde L. Nash, Jr. ... "and also helps relax the patient." [He uses classical music such as Vivaldi and Mozart.] Nash is one of many physicians around the country who are finding that music, used with conventional medical therapies, can help the sick in the healing process.

(d) Clinical researchers at the U.C.L.A. School of Nursing in Los Angeles, and at Georgia Baptist Medical Center in Atlanta, found that premature babies gained weight faster and were able to use oxygen more efficiently when they listened to soothing music mixed with voices or womb sounds. At Tallahassee (Fla.) Memorial Regional Medical Center, premature and low-birth-weight infants exposed to an hour and a half of soothing vocal music each day averaged only 11 days in the Newborn Intensive Care Unit, compared with 16 days for a control group. At Baltimore's St. Agnes Hospital, classical music was provided in the critical-care units. "Half an hour of music produced the same effect as ten milligrams of Valium," says Dr. Raymond Bahr, head of the coronary-care unit.

How does music help? Some studies show it can lower blood pressure, basal-metabolism and respiration rates, thus lessening physiological responses to stress. Other studies suggest music may help increase production of endorphins (natural pain relievers) and S-IgA (Salivary immunoglobulin A). S-IgA speeds healing, reduces the danger of infections, and controls the heart rate. Studies indicate both hemispheres of the brain are involved in processing music. Dr. Sacks explains, "The neurological basis of musical responses is robust and may even survive damage to both hemispheres" ("Music's Surprising Power to Heal," 8/92 Reader's Digest).


"In conclusion, we can say that insofar as the physical body is concerned, the notion that music has no effect upon man, or that all music is harmless, is ABSOLUTELY IN ERROR" (Tame, p. 141). (Emphasis added.) "No longer [can] modern musicians possibly claim that music is a matter of 'taste,' or that the musician should be allowed to perform anything he chooses ... Every moment of music to which we subject ourselves may be enhancing or taking away our ... clarity of consciousness, increment by increment " (Tame, p. 144).


In essence, what the medical experts are saying is that today's rock sound (irrespective of the lyrics tacked-on to it) fights against the rhythmic nature of man's creation.

In the face of such evidence, it is difficult to understand how anyone can maintain that the music itself is neutral.