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This picture was taken of my family and I back when we lived in Houston and life was much simpler. As young as we were, our hearts were pure, our minds free of all evil in the world. We trusted those we loved and our futures were bright. Curiosity reigned over all over thought processes. We desired to learn everything and go through whatever lengths to obtain it. The home created solitude as we grew substantially within its walls.

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A little brick building on Avenue X
Just down the street from where the Red Raiders wreck
Used to be a morgue where the dead went to die
Now it's where dry souls come alive

On the stairs, pass the ghost or Nick Cage Jesus
Might hear Matt Maher or maybe Yeezus
Walking in the footsteps of Catholics before me
To the right, drop a kiss to the Mother who bore me

This is where my home is, more than Psych or Pointe
I learned who I was dropping into this joint
Here lives my family, my faith and my friends
And I'll be grateful to it till my whole life ends

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During my childhood my family owned a vacation house in Santa Fe, NM. I remember my parents would bring me to this park numerous times a week and I slowly grew to love the city. Although we no longer own the vacation house, I still visit Santa Fe a few times a year, and this park is the first place I stop when I arrive.

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Adopted Ollie
Plano Animal Shelter
Cats are a great choice
-Emily Gavaghan

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Under the Friday night lights
Filled with high school angst, what ifs, and mights
We all cheered as our boys in maroon ran out
But for us halftime was what it was about
Generations filled in like they were on a mission
In Pearland, it's a tradition

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It’s been a long time since it all began

Even as a kid, a place where I relaxed and ran

I remember this looking different in the beginning

Looking back now I realize how much I am missing

I wish I could go back in time to make a change

But I know for a fact that it is far within my range

Before I was never viewed the same by my own

Because of a few differences but mainly my tone

I did what I could to be accepted

But as I aged I finally said screw it

Going my own path and not with the crowd

Criticized for doing things different but I was proud

You cannot please everyone not even your closest friend

When I visit back we are at best ok in the end

Not everything from here before was pleasant

But it helped me grow to who I am in the present

No matter where I stay or where I roam

I will always come back to this place I still call home

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Happiness is the reward of hard work

You hit your low for it, cry for it, keep up your flow for it

I travelled the world, pushed myself to my physical and mental limitation

Got uncomfortable, spoke up, cut down on the self-depreciation

Happiness don’t come easy I had to break the routine

The comfort of home and language, food and smells from my teens

Relationships and connections were cut, bridges with my people were burning because I’m on a journey

Changes who I am, how I think, how I see the world and everyone in it

An alteration of my mentality, my power of observation that lifted my spirit

Then you reach enlightenment, you attain your happiness that is no time for a break, this is not something you take for granted. Practice self-care, continue to work on yourself. Remember this is the direct consequence of the effort you started, the work you put in was never half way, was never light hearted. But you persevered, you were driven, you were geared by a need, a will to feel better.

Happiness don’t come easy when you’re watching Netflix for twelve hours, happiness is not when you shop til you drop, or get high and drunk non-stop.

You gotta focus on yourself, have some consciousness, you’ll never be happy if you cruise through life in thoughtlessness.

What do you want? Who are you? Tell me your goals and dreams.

Enough with this childishness, where is your inspiration and self-worth and esteem?

Happiness is the precious moments, the small achievements, aim, attainment, inner fulfilment.

Don’t come to me crying if you wasted

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Willie Nelson Mural on south congress ave one of the more popular murals in Austin

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Art pictures from my hometown

Castle Hill in Austin, its a skate/graffiti park where anyone can go and spray paint designs .

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Peyton Ramsey
There's nothing between where the sky and water meet, the tide rolls in barely hitting your feet. No place was better when I wanted to be with my thoughts, I could sit there for hours watching waves hit the rocks. When I needed an escape the ocean would be there to help clear my mind as the water ran through my hair. There was no judgement, or hate, or boundaries you could see, I knew when I was there I could always be me. Time in the ocean goes by way too fast but the things that I learned there will always last

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As school gets more time consuming, I find myself longing for a place where everyone moves slower, and smiles more. Waking up really early, and traveling for hours on a road that would usually only take minutes. Sweating profusely, but smiling through it because something more worthy than discomfort has caught my attention. The laughter, stories and exhausted faces at dinner because we never ate earlier than 10:30 pm. What a delight that short time was, to create a heart yearning for more.

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This is the one place I can be myself

No judgement

They're just big dogs

They want to be loved

Just like everyone in this world

Whether you're petting them

Or giving them a bath

The hard work helps you find you

No bullies

No judgement

Just me and my horse

Chloe

She was the first

She taught me no matter how hard life is

I am still loved

Unconditional love

Redd

He's the now

He was abused

But that doesn't matter now

He's mine

And he is loved

No matter where we com from

Someone loves us

Love is unconventional

But love is love

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Megan Auld
- Goes with Guadalupe Peak pictures to left.

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This is a picture taken at Guadalupe peak, just below the summit. It was also taken just after Matt (now my husband) proposed to me. The pictures of our hike are very important to me, because they represent one of the biggest changes in my life, and one that will always remain with me. I am no longer just me, it was the beginning of being part of something bigger and something I wouldn’t trade for the world.

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Picture of Art                 - Megan Auld

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Picture of Art                 - Megan Auld

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This is a little pyramid on the top of Guadalupe Peak.
It was build by American Airlines in 1958 to commemorate the 100th anniversary of the route stagecoaches used to take to deliver mail. The three sides have depictions of American Airlines, Pony Express Riders, and the Boy Scouts.

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https://www.youtube.com/watch?v=ZWmrfgj0MZI
From their first album, "Blue Lines" which was considered to be the first "trip-hop" album.

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https://www.youtube.com/watch?v=u7K72X4eo_s
Some quintessential trip-hop.

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https://www.youtube.com/watch?v=zZqA_NqWe6k

This is from Massive Attack's most recent EP. It is remarkable to hear the change their music and production style has undergone throughout the decades.

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https://www.youtube.com/watch?v=9ZJTM03UByU
This is a cover of Public Enemy's "Black Steel in the Hour of Chaos". Tricky was/is a member of Massive Attack, who had his own band on the side.

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That place, that hole

It could try but it won’t

You made me hate

And I couldn’t wait

To get out without

Harboring some sin

You gave me

I don’t like you

But you never liked me

I don’t owe you

Cause you never gave to me

I am not you

And you will never be me

We don’t spell, hell

We don’t speak, we scream

But when my speech didn’t match

You turned it all back at me

You laughed, I cried

I fought, You lost

Rank lowest, but it’s okay because we made state

No, not a sport so it don’t matter

My heroes were shattered

How could you

How could you

How could you

You are not home

And thank god I’m not alone

We don’t like you

We’re not coming back

Because of everything you lack

Goodbye, farewell

I’d say go to hell

But you are already there

Some may mean well

But it isn’t enough to heal

All the wounds you made

But there are some things I wouldn’t trade

Those things stay with me

Even though you tried to tear them from me

Captain America was innocent

But you killed him

You spell Burnet “W-I-N”

But you don’t tell us what we lose

I’m glad I’m gone

You can’t follow me

Screw you

Like you screwed me

Don’t even get me started on the AP

Now make like your name and burn

- Tess Greenlees

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https://www.youtube.com/watch?v=BYfdMzDd9FM

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oB

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"Chief Don't Run" is available at: iTunes - http://smarturl.it/ChiefDontRun Apple Music - http://smarturl.it/ChiefDontRun_AM Spotify - http://smarturl.it/ChiefDontRun_Sptfy Google Play - http://smarturl.it/ChiefDontRun_Google Amazon Digital - http://smarturl.it/ChiefDontRun_Amazon Directed by Alan Ferguson Follow Jidenna here: https://twitter.com/Jidenna https://www.instagram.com/jidenna https://www.facebook.com/jidenna http://www.jidenna.com Also available from Wondaland Records / EpicRecords: "Wondaland Presents: The Eephus" at iTunes: http://smarturl.it/TheEephus Amazon MP3: http://smarturl.it/EephusAmz Spotify: http://smarturl.it/EephusSptfy Google Play: http://smarturl.it/EephusGP (c) 2016 Epic Records, a division of Sony Music Entertainment

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Chance The Rapper 14,400 Minutes Chance The Rapper 14,400 Minutes Chance The Rapper 14,400 Minutes

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Kevin Copley

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JoJo Martis

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https://www.youtube.com/watch?v=eXvBjCO19QY

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https://open.spotify.com/track/3JIqogHHQIQW1uJ5Yivb88
"Otherside"-Macklemore

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Control-Big Sean feat. Kendrick Lamar & Jay Electronica

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Control-Big Sean feat. Kendrick Lamar & Jay Electronica

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Peyton Ramsey

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Big Sean - Control Feat Kendrick Lamar & Jay Electronica, Lyrics on Screen

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Lyrics on Screen, Big Sean - Control Feat Kendrick Lamar & Jay Electronica Copyright Disclaimer Promotional use only. I upload music for the entertainment of myself and others, I do NOT upload music in order to make money unless its music i have produced nor do I upload music to take credit from the Artist.

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Viren Vasandani

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Lil Dicky - $ave Dat Money feat. Fetty Wap and Rich Homie Quan (Official Music Video)

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Adrian Alvarado

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ALLIGATOAH - Willst Du (OFFICIAL VIDEO) 'Triebwerke' Album (HITBOX)

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Allie Balog

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Megan Auld

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For many years, people inside and outside of the culture, have speculated on the importance and impact of Hip Hop on society. Has it been a benefit to have Hip Hop Kulture transmitted to the masses through hip-hop music around the World? What has been the impact of individuals adopting a Hiphop consciousness and lifestyle? To some, the answers are pessimistic. To them, Hip Hop has been a negative influence on society. But to those of us who have lived it sincerely from the roots up, we know of something much deeper.

Real Hip Hop has always been something felt and practiced behind the scenes. The mainstream culture has never really followed Hiphop consciousness. Instead, they have followed celebrity-based rap culture, which is not the same thing. In fact, most people, even in Hip Hop, don't know that on May 16, 2001, members of the inner-core of the Hiphop conscious community came together to present an historic document to the United Nations. The document was the Hip Hop Declaration of Peace, and was presented to UNESCO, (United Nations Educational, Scientific and Cultural Organization) on may 16, 2001, to declare Hip Hop an international culture of peace.

The goals and stances proposed in the document were based on ideas argued about for years within the community and left open for revision for 12 months after the presentation. As one of the inspirational forces behind the document, KRSONE said the following;

Our work, therefore, is to lift Hip Hop out of ignorance and onward toward increased knowledge. Our work is to inspire the Hip Hop community to be a community through a unified understanding of its own existence beyond entertainment. Our work is about building and maintaining a sustainable Hip Hop culture and protecting our people from themselves first, and then from the non-productive forces that tempt us to our own demise. In short, we are cultivating an authentic Hip Hop citizenry.

The document itself is a statement of principles that Hiphoppas could strive toward as a way of leading an ethical lifestyle. However, all of us, may seem to fall short of the lofty goals the document reaches for.

Still, the ethics discussed equally go back to business dealings and suggestions on how to interact within society.

The beauty of the document is in its vision for the future. It asks us to contemplate building a society we can all benefit from, participate in and feel proud to be a part of. Isn't that something worth contemplating? Or would you just rather listen to trap music?

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For many years, people inside and outside of the culture, have speculated on the importance and impact of Hip Hop on society. Has it been a benefit to have Hip Hop Kulture transmitted to the masses through hip-hop music around the World? What has been the impact of individuals adopting...

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Gabriel Billings The Banjo Analysis

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Another good one, not specifically Irish, but Celtic

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Provided to YouTube by CDBaby Aussie Stevie · Molly's Revenge Raise The Rafters ℗ 2006 Molri Music Released on: 2006-01-01 Auto-generated by YouTube.

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A good old Irish song

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The wild Rover done by dubliners good pub song

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Kongar-ol Ondar - Where Has My Country Gone(Kongurei)?

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This is excellent! Nice job! -Prof Brinker

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Autumn Beaupre

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Listening Map: All You Need is Love by The Beatles

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Listening Map: All You Need is Love by The Beatles

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Adrian Alvarado

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0:00-0:08 French National Anthem
0:08-0:26 Intro "Love" Material
0:26-0:44 Verse 1 ("There's nothing you can do..."
0:44-1:01 Verse 2 ("Nothing you can make...)
1:01-1:19 Chorus ("All you need is Love...")
1:19-1:36 Solo (Guitar)
1:36-1:53 Chorus ("All you need is Love...")
1:53-2:10 Verse 3 ("There's nothing you can know...")
2:10-2:27 Chorus ("All you need is Love...")
2:27-2:43 Chorus ("All you need is Love...")
2:43-3:51 Outro (Musicians improvise independently until completion of song)

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Analysis/Listening Map - "All You Need Is Love"

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Analysis/Listening Map - "All You Need Is Love"

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Viren Vasandani

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Listening Map for "All You Need Is Love"

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Listening Map for "All You Need Is Love"

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Emily Gavaghan

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Andrea Duncan

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looks more at the video, history and personal comments about the song

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On June 1st, 1967, the Beatles released Sgt. Pepper's Lonely Hearts Club Band, boosting the sales of vintage military uniforms and further cementing their status as the biggest rock group in the world. Two weeks later, they started work on their next omnipresent musical event: participating in the Our World TV show on June 25th, employing Earth's newly constructed satellite technology to deliver a live global broadcast from locales as far-flung as "Takamatsu and Tunis."

The Beatles agreed to perform a new song as the representatives of the United Kingdom. "It was the first worldwide satellite broadcast ever," Ringo Starr said years later. "It's a standard thing that people do now, but then, when we did it, it was a first. That was exciting - we were doing a lot of firsts."

Engineer Geoff Emerick remembered, "I don't know if they had prepared any ideas, but they left it very late to write the song. John said, 'Oh God, is it that close? I suppose we'd better write something.'" Paul McCartney proposed his composition "Hello, Goodbye," which got released as a single five months later, but the group opted instead for John Lennon's "All You Need Is Love." They started recording the song on June 14th, with Lennon on harpsichord, McCartney on double bass with a bow, George Harrison on violin (for the first time in his life!) and Starr on drums.

The Beatles did 33 takes on June 14th, picked take 10 as the best, and in the following days, overdubbed vocals, piano (played by producer George Martin) and banjo (Lennon), plus guitar and some orchestral passages. Only on June 24th, the day before the broadcast, did they decide that they would release "All You Need Is Love" as a single - meaning that the world would be watching them cut their next record.

The tone of Our World was serious and stately, with announcers making pronouncements such as "art bears witness, as always, in the heart of man." Segments - all live - included an interview with media theorist Marshall McLuhan, an appearance by Pablo Picasso, a rehearsal for Franco Zeffirelli's film of Romeo and Juliet and footage of Spanish fishermen and Japanese construction workers. The two-and-a-half-hour broadcast was estimated to reach 400 million viewers around the world, in 24 different countries. The Soviet bloc countries dropped out of the program a week before its broadcast, in protest of the Six-Day War, in which Israel was victorious over Egypt, Jordan, and Syria.

Preceding the Beatles was a segment from Lincoln Center in New York City: conductor Leonard Bernstein, smoking a cigarette and rehearsing a Rachmaninoff concerto with pianist Van Cliburn. At 8:54 P.M. London time, Our World cut to the Abbey Road studios - about 40 seconds earlier than expected. Producer George Martin and engineer Geoff Emerick, stressed about the high-pressure live mix they were about to execute, were downing a couple of shots of Scotch when they got the word that they were about to go on the air. They scrambled to hide the bottle and glasses under the mixing board.

A BBC cameraman made his way past some helium balloons and swooped in on the Beatles, running through "All You Need Is Love" while sitting on stools, with a small audience sitting on the floor listening. An announcer said, "This is Steve Race in the Beatles' recording studio in London, where the latest Beatle record is at this moment being built up. Not just a single performance, but a whole montage of performances. With some friends in to help the atmosphere, this is quite an occasion." The Our World producers had balked at the Beatles wanting to play to backing tracks, saying that the whole point of the show was to document live events, but Martin had insisted on it, saying, "We can't just go in front of 350 million people without some work."

The Beatles played for about a minute, simulating a rehearsal or a rough take, and then the broadcast cut to the control room. Martin interrupted the Fab Four (and how many people on the planet would dare to interrupt a Beatles performance?), saying on the intercom, "I think that will do for the vocal backing very nicely. We'll get the musicians in."

"Great, great," Lennon replied.

While the tape rewound, thirteen orchestral musicians found their seats and McCartney shook his shoulders to loosen up. Race filled time, saying, "There's several days' work on that tape. For perhaps the hundredth time, the engineer runs it back to the start, to yet another stage in the making of an almost-certain hit record. The supervisor is George Martin, the musical brain behind all the Beatles' records. There's the orchestra coming into the studio now, and you'll notice that the musicians are not rock & roll youngsters. The Beatles get on best with symphony men." Note how as late as 1967, the institutional voice of the BBC was trying to make the Beatles more palatable by claiming their affinity with classical musicians.

"Here we go," Martin told the band. "Here comes the tape."

0:00 A quick glimpse of Martin in the control room, looking stylish in a white jacket. "The man upstairs pointed his finger and that was that," Harrison remembered later. "We did it - one take."

0:01 The song began with the orchestra playing "La Marseillaise," the French national anthem. This nod to the global nature of Our World was the best use of non-French use of the song since Casablanca. It also guaranteed that until the end of time, any Olympic medal ceremony where a French athlete wins gold will sound like a Beatles revival.

0:09 The camera panned over to the Beatles, who were surrounded by balloons and flowers. "Love, love, love," they sang. "Love, love, love." The Our World producers' only request of the Beatles' song selection was to "keep it simple so that viewers across the globe will understand." Mission accomplished: The first time Lennon played the song for the other Beatles, at a crawling tempo, Harrison muttered to McCartney, "Well, it's certainly repetitive."

0:16 McCartney, playing bass and hitting the upper reaches of his vocal range, looked happy to the point of giddiness. The patterns on his shirt were created by the singer himself: "I stayed up all the night before the show, drawing on the shirt that I wore. I had some chemicals called Trichem - you could draw on a shirt with them, and then you could launder the shirt and the pattern stayed on. I used them a lot; many's the shirt or door I've painted with them. It was good fun. That shirt got nicked after the show. Still, easy come, easy go."

0:27 "There's nothing you can do that can't be done," Lennon sang. The footage shifts from black-and-white to color. The Our World broadcast was monochrome; the color was added digitally in 1995 for the TV broadcast of The Beatles Anthology, using photographs taken on that day as reference. Otherwise, the video footage in this clip is as it was broadcast on June 25th, 1967 (the Beatles did some audio overdubs later that night, with Starr recording a snare drumroll for the song's introduction and Lennon punching up his lead vocal).

1:02 "All you need is love," Lennon declared, reaching the chorus and boiling down the spirit of the Summer of Love to its purest essence. McCartney said later, "The chorus 'All you need is love' is simple, but the verse is quite complex. In fact, I never really understood it."

1:17 A laid-back Starr played the drums, although for some reason the cameraman didn't want to shoot above his mustache. Starr's outfit was a combination of silk, suede and fake fur. "It was so bloody heavy," he said after. "I had all this beading on, and it weighed a ton."

1:29 McCartney and Lennon bobbed their heads during the guitar solo; throughout the song, McCartney was either chewing gum or vigorously working his jaw. One week before the broadcast, McCartney had admitted his LSD use to the British press, causing a short-lived media sensation: "BEATLE PAUL'S AMAZING CONFESSION," read one headline. "It seemed strange to me," Harrison said, "because we'd been trying to get him to take LSD for about 18 months - and then one day he's on the television talking about it."

1:50 Harrison looked hunky and brooding, perhaps considering whether love was actually all he needed, or whether he also wanted a new guitar and a curry.

2:38 Mick Jagger, sitting on the floor. Jagger was a semi-regular guest of honor at Beatles sessions: He also turned up for the mixing of Revolver and the recording of the orchestral section of "A Day in the Life." Eric Clapton was also in the crowd - "in full psychedelic regalia and permed hair," Harrison said. Other notables in attendance were Marianne Faithfull, Keith Richards, Keith Moon and Graham Nash, not to mention Mike McCartney (Paul's brother), Patti Boyd Harrison (George's wife) and Jane Asher (McCartney's girlfriend). Moon sat next to Starr's kit, showing allegiance to his fellow drummer.

2:53 The orchestral arrangement in the outro included snatches of Bach's Brandenburg concertos, "Greensleeves" (at half tempo) and Glenn Miller's "In the Mood." Martin had thrown them in, believing that the songs were all old enough to be in the public domain - and although they were, it turned out that the arrangement of Miller's version was not. "The introduction is an arrangement, and it was the introduction that I took," Martin said. "EMI came to me and said, 'You put this in the arrangement, so now you've got to indemnify us against any action that might be taken.' I said, 'You must be joking. I got fifteen pounds for doing that arrangement.'" EMI didn't make Martin pay and duly compensated the publisher of "In the Mood."

2:58 The trumpeter on the left is David Mason, playing the same piccolo trumpet he used for the solo on "Penny Lane." "I've spent a lifetime playing with top orchestras," he said decades later, "yet I'm most famous for playing on 'Penny Lane'!"

3:08 In addition to the placards translating the word "love" into multiple languages, a sign was held up reading "Come Back Milly." This message was directed at McCartney's aunt, who had gone down to Australia to visit her son and grandchildren. (Aunt Milly, the sister of McCartney's father, was married to Albert Kendall - a.k.a. Uncle Albert of "Uncle Albert/Admiral Halsey" fame.) The McCartney family was worried that Milly might not return but knew that the global broadcast provided a unique opportunity to send her a message. It worked: Milly saw the sign and came back to England.

3:15 As confetti flew in the air and men with sandwich boards marched through the crowd, the conductor of the orchestra became visible: Mike Vickers, better known as the flutist/saxophonist in Manfred Mann.

3:23 One more musical quote as the song faded out: "She loves you, yeah yeah yeah." Including the chorus of "She Loves You" was a Lennon improvisation in rehearsal that stuck; he had also experimented with throwing in bits of "Yesterday" and "She'll Be Coming Around the Mountain When She Comes."

3:33 Harrison, who had been looking dour the whole song, finally cracked a smile.

After their guests left, the Beatles stayed at Abbey Road to do some overdubs. The next day, they remixed the single and sent the tapes off so the single could get a rush release. In July, "All You Need Is Love" hit Number One all over the world, providing the sing-song anthem for the Summer of Love, with a sentiment that was simple but profound.

Eighteen years later, Elvis Costello performed "All You Need Is Love" at Live Aid, a song choice that subtly drew a line between two global telecasts, from Our World to the Live Aid broadcast. "I want you to help me sing this old Northern English folk song," he told the crowd - and that's exactly what the song had become, a tune that had gone around the world and belonged to everybody.
John Lennon describes the first time he took LSD. LSD opened the door to the Beatles' masterpiece 'Revolver' - but also opened wounds that never healed. Watch here.

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How the Beatles' 'All You Need Is Love' Made History

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On June 1st, 1967, the Beatles released Sgt. Pepper's Lonely Hearts Club Band, boosting the sales of vintage military uniforms and further cementing their status as the biggest rock group in the world.

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JoJo Martis

The Beatles

“All You Need Is Love”

Analysis

Intro 0-8 sec.

French anthem is playing; the melody seems to be form from a trumpet only with a various harmony taking steps up then down companied by a long blow

8-26

Once the eight second hits vocals sing “Love, Love, Love” reputedly creating the chorus. Going along there is a tapping sounds keeping a beat through the song building a rhythm. By the 19th second a violin fades into the melody leading it to the 26th second where verse 1 comes in.

Verse 1

In a melancholy sounding voice, “there is nothing you can…” is repeated following an idea. “Love, love, love,” is still being repeated in the background of the verse.

39 sec

Here the verse breaks for a couple beats after “It’s easy!” then a bass guitar strums a beat and its harmony is going higher and higher. At 45 seconds the verse continues.

1 minute – 1:19

Chorus

1:19

Guitar comes in with a twang sound of strums then at 1:30 a saw like sound comes in shaking up the beat.

Verse 2

Repeats the first verse. Ends at “Its easy!” at 2:10

2:10

Chorus comes in

2:38

Violin comes in with a high harmony joining the chorus until the song ends a minute or so later.

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Globalization I - The Upside: Crash Course World History #41

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Music is so much a part of almost all our lives that it seems peculiar to stop and ask what it might be for. It just appears straightforwardly to benefit us in ways that are too diverse and ineffable to start to take apart; this might be one arena where we keep the dread hand of the theorists away. Musicians themselves have tended to reinforce such an approach, rarely venturing to supply an additional prose commentary around what their chords are already communicating.

Music opens up channels of feeling dammed by habit, excessive individualism or the demands of daily life

Yet a clearer handle on the theoretical role of music may at times enhance rather than impoverish our capacity to appreciate music. Knowing what music does for us can give us a sharper sense of which of its varieties we might be in particular need of, why and when.

One musician who stands out in the cultural landscape for his profound engagement with the theory as well as practice of music is Peter Gabriel - and what seems especially striking are his repeated pronouncements that music should, to quote his distinctive formulation, provide us with "an emotional toolbox" to which we can turn at different moments of our lives, locating songs to recover, guide and sublimate our feelings.

For example, in explaining the origins of I Grieve (a song which appears on his album Up), Gabriel remarked that he had been driven by a wish to create a song that would help people with the mourning process. The song has gone on to become a standard at many funeral services, a part of our informal collective secular liturgy. The reason is that the song both knows how to release our sadness and yet also channels and contains it. It creates perfect conditions for a catharsis. As psychologists will explain, the grieving process tends to be beset by two dangers: that it cannot begin, or that it will not stop. In this context, I Grieve performs a double manoeuvre for us. It starts with what sounds pure lamentation. The tone is utterly dejected. The loved one has only just breathed their last:

There's nothing yet has really sunk in

Looks like it always did

This flesh and bone

But after several of these tragic verses, there is a shift, subtle and then ever more insistent, towards a note of cautious redemption. Gabriel begins an incantatory repetition of the lines:

Life carries on and on and on and on

Life carries on and on and on

We are urged to accept the constant dispersal and redistribution of energy across the planet.

In all the dogs and cats

In the flies and rats

In the rot and the rust

In the ashes and the dust

We know all this, of course, at a theoretical level. But it is quite a different thing for music to remind us of these lessons in its distinctive emotional idiom. The philosopher Hegel argued that music is so necessary because it rehearses in the language of the body concepts and truths we are in danger of losing touch with when they reach us only through our rational faculties. Music is, he said, "the sensuous presentation of the crucial ideas". We may - for example - know in theory that keeping going is important, but it can take a song like Don't Give Up (from Gabriel's So) to turn a cliche into an effective call for redemption.

At another point, when speaking of his intentions behind Sledgehammer, Peter Gabriel approvingly quotes Nietzsche 's line that art is a mechanism which takes "an icepick to the heart". In other words, there is a role for music in opening up channels of feeling that have become dammed by habit, caution, excessive individualism, or the demands of daily life.

Without music, life would be a mistake

In his book The Birth of Tragedy from the Spirit of Music (1872), Nietzsche described two opposing forces at work in our lives. The first is the pull of the Apollonian ideal, named after Apollo, the god of the sun, order, light, and knowledge. The other, opposing force he termed the Dionysian, after the Greek god of wine, chaos, irrationality and freedom, Dionysus. Nietzsche believed that both forces were highly necessary in individual and collective life: we need to be thoughtful and sober, yet open to the instinctive and the irrational - and it is by combining these two ideals that we stumble towards maturity. This is why music and dance have such importance for Nietzsche ("Without music, life would be a mistake"); they provide us with a setting in which the neglected parts of our personalities can be rediscovered and reconciled. The 'shiver down the spine' we feel at points in music are encounters with our suppressed longings for forgiveness, reconciliation and harmony - returning to us with an alienated majesty.

The great musicians - and Gabriel is among the very best - stock our emotional toolboxes with what we most need to endure life's journey. Though they don't always say it themselves, they are in the very best sense the therapists of our souls.

Alain de Botton is in conversation with Peter Gabriel on 1 March at The School of Life at the Emmanuel Centre, London.

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What's the point of music? Ask Peter Gabriel

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Music is so much a part of almost all our lives that it seems peculiar to stop and ask what it might be for. It just appears straightforwardly to benefit us in ways that are too diverse and ineffable to start to take apart; this might be one arena where we keep the dread hand of the theorists away.