1. Music is a collective good. It belongs not to institutions, academic hierarchies, or credentialed gatekeepers, but to humanity itself. Access to musical creation—not merely consumption—is a fundamental cultural right.
2. All people possess innate musical understanding. The rules of music reside in our subconscious, acquired through direct exposure to sound and musical experience from infancy. This foundational musicality is universal and indelible.
3. The distinction between “musicians” and “non-musicians” is a false dichotomy. It rests not on inherent capacity but on training and social permission. This artificial boundary has historically excluded the majority from recognising their own musical agency.
4. All people are inherently musical beings. Some have become consciously aware of this capacity through formal training; the majority remain unaware, not through lack of ability, but through absence of opportunity. Musical consciousness is dormant, not absent.
5. Dormant musicality can be awakened through guided compositional practice. When a trained, specialised composer engages with individuals using the Brainarm methodology—a systematic process of reverse-engineering the composer’s creative cognition—it unlocks latent compositional ability. This praxis, termed “Full Compositional Coaching,” demonstrates that composition is not an elite skill but a recoverable human capacity.
6. The “music singularity” represents a civilisational threshold. It is the moment when the categorical boundary between musicians and non-musicians dissolves entirely—when all people acknowledge, practise, and integrate compositional creation into their cultural reality. What remains will be distinctions of degree rather than kind: differences in accumulated musical knowledge, technical mastery across diverse stylistic idioms, and the capacity for innovative expression. These distinctions will be cultural and technical in nature—matters of cultivated depth and creative reach—rather than ontological barriers to participation. At that point, the old binary becomes historically obsolete and psychologically irreversible.
7. This transformation must be realised by 2030. The infrastructure, methodology, and evidence exist. What remains is collective commitment and scaled implementation. The music singularity is not utopian speculation—it is an achievable, necessary evolution in human cultural consciousness.