How Is Music Possible?
Listening to a Sámi joik on a forest road, Henrik Karlsson asks why abstract patterns of tone and rhythm can transform how trees look and make strangers feel like kin. He weighs two families of explanations: music as a hack of our evolved sound-processing circuits, and music as a cultural construction, noting that the Kalash of Pakistan rate minor chords as pleasant. Neither satisfies him, so he turns to Schopenhauer and finally to emergence.
If we assume, on the other hand, that something as rich and meaningful as music can arise out of something as pedestrian as neural circuits evolved to infer emotion from speech tone, that is at least miraculous (in the etymological sense of that word: "something to smile at in astonishment").