Music, the universal language: Fact or fallacy?

In this era of internationalism and multiculturalism, some music programmes may be hanging by this very thread: the belief that through the mere exposure of students to ‘songs from many lands’, a cultural harmony and a multicultural understanding might be achieved. Yet the question must arise among educators as it has frequently done among ethnomusicologists throughout the twentieth century. Is music, in fact, universally understood? And with little or no formal education to undergird the culture-specific meanings that music may encompass? This paper will review relevant ethnomusicological literature from the turn of the century onward, in an attempt to make sense of the truth or deception behind the statement music, the universal language’, and as a means of seeking out why romantic notions and politically-correct directives may be driving the continuance of the premise that ‘all music is created equal’. Emic and etic views of music, and issues of bimusicality and multimusicality are also addressed relevant to teaching music from the perspective of diversity (culture-specific distinctions) or universality (homogenous properties).