Abstract

Many people claim that music is a universal language considering the impact and beneficial results that it usually triggers, whereas others reject the idea due to contextual or cultural sentiments and parameters that must be considered. Both sides’ arguments make sense but, despite skepticism, music should be considered as a universal language, which becomes clear by depicting it in the context of peacebuilding and by exploring its linguistics and therapeutic effects, through various domains such as philosophy, music theory and the contemporary world. The author argues that considering the counter-arguments and balancing it with this central claim, it is possible to reach an inspiring and complementary common ground between performing arts as music and philosophy.