Music: Objective or Subjective?
When is music objective, when is it subjective, and can it be both at the same time?
Music can be understood from two distinct perspectives: the objective, based on theory and mathematics, and the subjective, shaped by individual experience and emotion. These aspects are not mutually exclusive but often coexist, influencing both musicians and listeners alike.
From the perspective of a musician or composer, music often involves a combination of these approaches. The objective side includes music theory—harmony, rhythm, and form—which can be analyzed, quantified, and applied systematically. Composers may follow specific rules of tonality, chord progressions, or counterpoint. On the other hand, subjective aspects of music are tied to intuition and creativity, where personal expression and emotional resonance take precedence over strict adherence to rules.
Listeners experience this distinction as well. For most, music is primarily a subjective experience, where emotional responses, memories, and personal preferences shape perception. However, informed or trained listeners might engage with music on a more analytical level, applying academic standards, while still appreciating the emotional content. In this way, listening can alternate between an emotional response and an intellectual exercise.
Improvisation is a key example of the balance between objectivity and subjectivity. A musician improvising over chord changes might consciously analyze the harmonic structure in real-time, carefully choosing notes based on theoretical knowledge. Conversely, the same improvisor might enter a more intuitive “zone”, playing music they “hear” in their mind rather than working through chord changes logically. While the end result may sound equally cohesive to the average listener, the process is fundamentally different for the musician: one approach is analytical, the other is driven by creative spontaneity.
For many musicians, overthinking while playing may diminish the emotional impact of their performance. Analyzing every note as it is played can interfere with the flow of creativity, turning what could be a natural and expressive moment into a more constrained, mechanical process. As a result, many musicians prefer to rely on intuition during improvisation, allowing the subconscious to guide their choices, while still operating within the boundaries of musical logic.
The contrast between human musicians and artificial intelligence (AI) is another area where objectivity becomes clear. Current AI systems generate music entirely through algorithmic processes. These systems analyze millions of recorded songs and use the data to construct and output music, but they lack any subjective experience. AI-produced music, while often “correct” and technically proficient, is devoid of emotional input or creative intuition. It is a product of pure algorithmic processing rather than lived experience.
In conclusion, music can function both objectively and subjectively, depending on how it is approached. For musicians, these two aspects are often intertwined—objective knowledge informs creative choices, while emotional expression gives music its human dimension. For listeners, the experience can be purely subjective or informed by an understanding of musical structure. While AI can replicate the technical aspects of music, the subjective, emotional depth remains uniquely human.
For a detailed explanation of the high-school-level math used in creating the Harken Music system, please read, “The Future of Music is Math” by Mitch Kahle.
See also: “Harken Music: A New Mathematical Framework for 12-Tone Harmony”, by ChatGPT 4o, and for an even deeper dive into the mathematics, read Factorials and Fractions “Navigating the 12-tone matrix,” by Mitch Kahle.
Please try our free open-source demo* at harkenmusic.com. You can choose any combination size (from 1 to 12 notes) from the pull-down menu; then select any particular combination from the numbered list, to see and hear all permutations, reflections (inversions), and rotations (transpositions).
*Note: a desktop or laptop computer and current web browser (Chrome, Safari, etc.) are required for using the demo; however there are no downloads, sign-up, or subscription requirements.