The point then is to teach us that we will never reach that ideal until we learn submissiveness, and that anything we may achieve without it is not an achievement at all. It will think nothing of beating down the music inside us in the defense of music as an ideal. The soul that fails to submit to the right degree only causes the superego to grip tighter, to descend - tho always rising, in its own estimation - from toxic punishment to a kind of sadistic altruism. A punitive attitude is not remarkable in the practice of music - it is very close to sacred, in tradition and socialization if not in any organic function. Not that the superego needs much of an excuse - the punishment is the whole point for it. It creates an all-powerful enemy - a toxic superego that will sour that yearning for beauty and turn it into just another excuse to punish. That's true for the reason that it takes a simple childlike soul to make a noise, but it takes a soul under the control of ideals and standards to make a beautiful noise.Ī musical soul that resists control at any level short of what produces an always beautiful noise, yet continues to harbor a wish for a beautiful noise, is headed for torment. In music I don't think it is understood to be quite so sad, and not thought of at all as a crime.įor centuries, the way to excellence in the craft has been paradoxical - opposed to the love, joy, creativity and sharing of the art. You might think that anything good (eg: these blessings of music) can be ill-used or made bad, and that that is a sadness and a crime. In some of us - I suppose typically those with some inner barrier to developing their talent - it is closer to the heart of music than the love or joy or creativity or sharing of it.
One might wonder whether the toxic or punitive superego (psychology's conception of our moral center, which can take over our psyche with guilt and shame) has a place in the practice of making music.
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