Opinion: it is important to remember that it is how music is used that creates torture, discomfort and humiliation, not the music itself
Music has long been used to promote health, harmony and well-being. Nearly everyone listens to music at some stage of their life and it plays a key role in rituals (such as weddings and funerals), bonding in early life (the singing of lullabies to babies in nearly every culture) and bonding social groups (teenagers whose music preference unites them, football fans singing together at mathces) One of the most universal questions that exists is 'what music do you like?'
But philosophers dating back to Confucius and Plato also acknowledged that music has the potential to cause harm. Music-induced harm is an under-researched area and the aspects of music stimuli responsible for harm are not fully understood. Too often we read anecdotal reports of wonderful music programmes in hospital or nursing homes, with little critique of potential noise pollution, poor quality performance or lack of choice for service users.
Music therapists are professionally trained music experts, whose job is to select the right music, at the right time, for the right person in health and social care settings. With the right selection, music can make significant differences to people with acquired brain injury, dementia, cancer and long Covid to name but a few of the many evidenced benefits of music therapy.
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From RTÉ Radio 1's Today With Claire Byrne, Dr Hilary Moss and broadcaster Rick O'Shea on the important role music can play in times of crisis
Unfortunately for all the benefits, there are also many examples of poor music performances and noise pollution in hospitals, such as well-meaning volunteers who fail to offer a choice of repertoire or play out of tune. Few hospitals have written guidelines or directions for the aesthetic dimensions of hospital and this is arguably a neglected field.
Arnold Berleant identified two instances of negative aesthetics: firstly, the absence of positive aesthetics (for example, bland, colourless environments, too often a feature of nursing homes of the past) and secondly, negative aesthetic experiences such as traffic noise or beeping machines. We regularly observe both in healthcare settings. Blandness, boredom, and lack of creative stimulation are commonplace in nursing homes and hospitals. Noise pollution is common on hospital wards. My own research found that less than 50% of older people in an acute hospital ward in Dublin had control over whether the radio or television was on or off and whether they had choice of what to listen to or watch.
As much as music is used to heal, restore beauty and calm, music is also used to control and reinforce social division. A Westlife song was used to torture a prisoner by the CIA. It was played too loudly, too much and was offensive to the prisoner’s culture, taunting them about people they loved at home. During the Holocaust, musicians in the Belzec concentration camp were forced to play a popular German song, Es geht alles vor ü ber, es geht alles vorbei (Everything passes, everything goes by), to ‘greet’ new arrivals.
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From CNN, how the CIA uses music to torture prisoners at Guantanamo Bay and elsewhere
In these cases, music was a weapon of war. In sport and divided societies, songs can be used to demarcate social groups and exclude others. For example, in Northern Ireland folk music claims territory and choosing politically or culturally insensitive songs can alienate certain groups. Similarly, the British Union of Fascists gradually introduced musical signifiers of their regime. An anthem was chosen, and only British and fascist music could be played by members. Eventually the organisation set up BUF choirs and even developed its own orchestra in 1934. Music was not only part of the BUF’s socialising, but became an integral part of its public persona, reinforcing their views on racial superiority.
My career has involved using music to assist people to improve their health and wellbeing. Changes can be dramatic, but this relies on specialised selection of music, based on evidence of benefit and always personally meaningful and chosen by the client. At Christmas time, we can see the error of imposing music without choice. Christmas songs played repetitively in shops can be highly irritating and annoying for shoppers, and the effect is no doubt even worse for retail workers.
Music should always be chosen by the person listening and should never be imposed. It should be selected carefully and always be of high quality. We should ban the out of tune ukulele players from hospitals and ensure no-one in a nursing home is forced to listen to music they don’t like.
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From RTÉ Radio 1's Liveline, music therapist Tommy Hayes talks about what's involved in music therapy
The value and appreciation of high-quality and trained musicians should be as important in hospitals as it is in the concert hall, and we should not expect or allow lower standards in healthcare settings. In an age of financial austerity, it is tempting to think of beauty, music, and art as needless decorative expenses.
However, the issue of most concern for music therapists is where auditory regulation is indicated in clinical settings. Neonatal units and rehabilitation units for people with disorders of consciousness are specialised areas where music can be a necessary stimulation, but can also cause distress if over-used or too loud.
It is important to remember that it is how music is used that creates torture and humiliation, not the music itself. A suitably trained clinical professional is required to select music sensitively and, more importantly, to be able to support people who have an unexpected or unusually strong reaction to music.
There are so many health and wellbeing benefits available through music that it's time to demand high quality, high standard provision in our health and social care services. It’s also important to remember that silence is golden and to know when to turn music off. As Will Rogers said, "never miss a good chance to shut up".
The views expressed here are those of the author and do not represent or reflect the views of RTÉ
