Introduction

According to a famous writer, "Music is the soul's primitive and primary speech or reason." Our main thesis statement is also on the same topic i.e. on the music & God. The question about God, have caught our minds for gobs of years in many form, like what is God? Does he really exist? Why people are in search for God? Do all faiths consider in one God or same God? Same questions are asked again and again by masses, now relating it to the music some people says that music makes them feel rest but some relates to God Some treat music as worshiping, some find God in music, and some relates it with the religion.

As is known, the question of the meaning of music is one of the oldest and most controversial issues related to this mysterious art, and probably the most headaches has given to all those authors who have wanted to approach him. Composers, philosophers, sociologists, anthropologists, musicologists and writers, each from their respective areas and approaches have been drawn by the siren song of a question (What is music?) remains resistant to theorizing, in search of an answer that may never arrive

Discussion

This is precisely what Oliver Sacks at the beginning of this book: keep wondering (and we with him) as something that has no concepts, it does not make proposals, which lacks the power of representation and that bears no logical relationship to the world, is so necessary and essential to human life. To explain, he resorts to the fiction (a science-fiction, to be exact), commenting on the confusion that Supercentres the novel by Arthur C. Clarke Childhood's End feel to see the human species playing and listening to tonal patterns devoid of meaning, occupying much of his time and effort to what they call "music." Moved by curiosity, these alien beings greatly brain down to Earth decide to attend a concert, listen politely, but they see something completely absurd(Andrew, 2005). They do not understand what happens to humans when they make or listen to music, because to them nothing happens. They are, as a species, things devoid of music, that is, beings "unmusical." For Sacks, few humans who, like the Supersenores Clarke's novel, lacking the nervous apparatus allows them to appreciate tones and melodies. For most of us, music has an enormous power, intended or not, and we consider ourselves people especially "musical" or not. This propensity for music, Sacks called "Musicophilia," emerges in our childhood, occurs in all cultures, and probably goes back to our beginnings as a species. So music is not only an aesthetic phenomenon, not just one way the system of "fine art" that was forming in the mid eighteenth century (Trias, 2007), but something that goes beyond all this and that is so ingrained in human nature that one is tempted to regard it as something innate, as innate as is "Biophilia" or our affinity for living things. The "Musicophilia" is then defined as our propensity or affinity with ...