Here I would like to advance the admittedly speculative hypothesis that the peculiar quality of music lies in its ability to produce a highly specific form of relating to the world, one in which our relationship to the world as a whole becomes tangible and thus can be both modulated and modified. Music in a way negotiates the quality of relation itself, whereas languages and sign systems can only ever thematize one particular relationship to or segment of the world at a time… [Listening] to music has a different orientation than seeing, grasping, or feeling. The experience of music suspends the division between self and world, transforming it in a way into a pure relationship. Music is the rhythms, sounds, melodies, and tones between self and world, even if these of course have their source in the social world and the world of things. The universe of sound consists in its ability to express or generate all manner of different and differently nuanced relationships: strife, loneliness, desolation, resentment, alienation, and tension, as well as yearning, refuge, security, love, responsivity. This pure relational quality adheres to music in all of its manifestations, high culture as well as pop culture, and allows us to comprehend how it is that music and dance have always been so closely linked. …

[95] Only from this perspective can we understand how, on the one hand, music possesses the power to change the way we are situated in the world (our “attunement”), while, on the other hand, we crave different kinds of music depending on our relationship to the world at a certain moment. Even (and especially) music that expresses sadness, melancholy, hopelessness, or strife is capable of moving us, because we are able to experience it as resonating with our own sadness, melancholy, or strife, i.e. with our own relationships to the world. We experience being moved by such sounds as something positive (even and especially when we are brought to tears) and not at all as something that itself makes us depressed. To the contrary, it is when we are no longer touched, moved, or gripped by music that we experience alienation or, in extreme cases, depression, as it is then that we experience the world as mute, even as it is still so loud. …

If my contention is correct that music negotiates the quality of relation (to the world) itself, then we can begin to understand the eminently important function that it is capable of fulfilling in modern society. Music affirms and potentially corrects, moderates, and modifies our relation to the world, repeatedly re-establishing it as the “ur-relationship” from which subject and world origi-nate… Seen from this perspective, the “musicalization” of the world since the twentieth century seems to be an almost inevitable correlate (because complementary in its effects) to the growing reification of our two-sided bodily relationship to the world[.]

— Hartmut Rosa (tr. James C. Wagner), Resonance: A Sociology of Our Relationship to the World (London: Polity, 2019), 94–95