Music as Creative Force

    The Ainulindalë is Tolkien’s creation myth, told by the Valar to the Elves, and passed down by men to our time, published posthumously in the Silmarillion. As Tolkien continuous to craft a mythology for his own time and people, contiguous with the mythology he knew and loved, the story naturally parallels exactly the creation myth of the Bible. Tolkien takes the existing narrative of how the world came into being, and presses it through the filter of his extrapolation of this same mythology, through the game of telephone of the Valar and the Elves, to present a new version of what is essentially the same myth found in Genesis. There are two striking points of departure (elaboration?) from the account in Genesis, and these are the concept of sub-creation and the use of music. Sub-creation is detailed in previous posts. The participation of the Ainur in creation is more prevalent in Tolkien’s account, though its roots can certainly be found in Job, or even arguably in Genesis, with God’s “let us create.” The participation of the Ainur also comes from medieval Christian mythology, in which angels are understood to have been created first, and to have participated in the act of creation. The creation of the angels is also detailed in the book of Jubilees. The use of music strikes me in a particularly profound way. The trajectory of my undergraduate career is focused on music: what it is, how it affects us, and why it is so important. Tolkien situates music in mythology with a profoundly significant role: it is the tool and method of creation itself

    When any novice reads any of Tolkien’s work, the use of music is immediately relevant. At times it is even tedious. In The Lord of The Rings, or even The Hobbit, one can find lines of verse supposedly set to a tune that stretch on sometimes for pages. It is obvious that Tolkien finds music to be significant. In readingThe Lord of The Rings, there are many oddities like this which are not what a reader might expect. The genius of Tolkien is such that each one is justified and explained in his greater mythology. The explanation for the importance of music in Tolkien’s ancient world, of course, is found in the Ainulindalë. Music, in Tolkien’s mythology, is the language and method of creation. This has huge significance for Tolkien’s world. If creation is riddled with music, or indeed if music is the very fabric of creation itself, then the presence of music throughout Tolkien’s work is the characters reaching into a primeval language that pervades all of creation. In a real sense the world is made up of music. In singing, the characters participate in the creation. This also mirrors the idea of Tolkien’s sub-creation. To make music is to participate in creation in a significant way. It represents the act of creation itself, and creates something real. In the same way that Tolkien sees his writing as creating something “real” in a meaningful sense, by participation in God’s own creation, when the characters create music they are participating in the creation of the Ainur and creating something “real” in their music.

    Tolkien’s creation myth is inspired by the Christian creation myth, but also by medieval Christian mythology, in particular the idea of the music of the spheres and medieval angelology. In the middle ages the idea that the universe was one big instrument was very popular. The notion of the circular and rhythmic motion of the planets naturally led to the popular idea that the universe produced a music that could not be identified, but if all else was silent would be easily audible. This music was seen as an integral part of the world. It was the music of existence and of the universe. Thus the significance of music is drawn from the fact that all the world is an instrument and creates its own music, so the music is a participation in the vibration of the universe, and by extension of our souls. Essentially music is the resonant frequency of creation. It is obvious how Tolkien weaves this idea into his mythology, and this is the significant point of departure from the genesis account. Tolkien directly says that all of creation is a song, or a “theme” as it says in his text: a theme created by Ilúvatar but participated in by the Ainur. If all of creation is simply a song, and this creation is a song, then it makes sense that creation would continue to ring with this music. Beautiful music is in harmony with this “music of the spheres”, and there is music, such as the music of Melkor, which is not in harmony with this music. 

    Music is undoubtably a hugely powerful force, even today. Tolkien, in the Anulindalë, provides a fascinating explanation for why this is, in situating music is as the form and fabric of creation. But Tolkien is not inventing this idea, drawing the concepts from scripture, faith, and medieval mythology. But the real incredible work of Tolkien is in his synthesis, creating a new interpretation of existing material that is contiguous, consistent, and self contained, lining up seamlessly with existing mythology while also adding new depth. Tolkien’s work of a mythology for England is accomplished in his modern yet ancient interpretation of existing mythology. Even more significantly, he expands on mythology, weaving antiquated Christian thought into his own mythology. Tolkien’s creation and writing is a deep understanding of existing thought and mythology, in a true sense creating something very real out of what already exists, describing how he invented nothing, but received everything and only had to write what already existed.

—CO