Lovers of classical music may be gripped by emotion as they listen to the 1812 Overture by Tchaikovsky. With battles raging, cannons firing and victory bells ringing, they almost imagine they are there. Yes, music has power.

For centuries, politicians and rulers have used that power to sway people’s hearts. In what way? By means of national anthems and patriotic songs. How Hitler and the Nazi party used the anthem Deutschland, Deutschland über alles (Germany, Germany above all else) to lead the masses along a pathway of death and destruction! Curiously, this anthem was based on classical music composed by Haydn. In answer to it, the British fervently sang “God Save the King.” Hitler, for his part, was greatly enamored also by the music of Wagner.

It can also be the vehicle for advocating a product or a philosophy, or for recommending a life-style, whether the music is accompanied by words or not. This is true today whether we speak of classical or modern music idioms.

For example, the Encyclopædia Britannica, in its biography of Ludwig van Beethoven, “widely regarded as the greatest composer who ever lived,” states: “He revealed more vividly than any of his predecessors the power of music to convey a philosophy of life without the aid of a spoken text.” His universally known Pastoral Symphony is an example of this. It clearly transmits Beethoven’s love for nature. Yes, music can move us and affect our emotions.

Take as another example the works of the Austrian composer Gustav Mahler, now in vogue among classical music lovers. One musicologist speaks of this composer’s “obsession with death” and describes “the unremitting quest to discover some meaning in life that was to pervade Mahler’s life and music.” Speaking of his Symphony No. 1, the writer describes its contents, saying: “The joy of life becomes clouded over by an obsession with death.” He goes on to say: “Symphony No. 2 begins with the death obsession . . . and culminates in an avowal of the Christian belief in immortality. . . . The religious element in these works is highly significant.” So now the question arises, Could Mahler’s religious confusion, obsessions and neurosis affect the listener?

Another case is that of Stravinsky’s The Rite of Spring. This ballet music represents a pagan rite in which a young virgin dances herself to death to propitiate the god of spring. This rite, as one commentator wrote, “is here expressed in music whose most immediately striking characteristic is its rhythmic power​—the hypnotic, compulsive force of rhythmic patterns.” The effect is startling and perhaps disquieting. In fact, “it was calculated to overthrow European certainties about musical tradition.”

So, even classical music should make you pause and ask yourself, Will excessive exposure to a certain type of music tend to depress me or overexcite me? Will the composer’s philosophy creep through and perhaps affect my thinking negatively? Of course, if his music does not undermine faith in the Creator and in His great works, the composer’s influence may turn out to be neutral or even very positive.