Recent critiques of organicism in music studies have assumed that such features as part–whole integration and end-oriented development are essential to comparisons between music and the organic realm. Yet if what is thought to constitute organicism varies with perspectives on organisms in general, then perhaps it is time to take a different view of organicism’s historical legacy. What if the problem is not with the impression that music presents a semblance of the organic, but with the models of the organism brought in to give content to that semblance? In light of novel accounts of organic life currently being formulated by both scientists and thinkers affiliated with post-humanism, I propose to imagine an organicism that dispenses with humanistic conceits and prompts creative reflection on the points of connection between music and organic processes. To that end, this essay first dismantles conventional notions of wholeness and development before going on to consider aspects of the Western musical tradition through the twin lenses of self-organization and the systems theory of German sociologist Niklas Luhmann. In sum, the essay seeks to conserve affinities between music and the organic domain intuited by nineteenth-century listeners while transposing organicism into a register more in tune with contemporary scientific and philosophical thought. By adding new nodes to a critical network established over two centuries ago, this article argues that a post-humanist organicism challenges us to think afresh about what our bodies, our sociality, and our creativity share with non-human entities and ecologies.
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