Sonny Rollins performing at the Beacon Theatre in New York in 2010.
Photo Credit: Chad Batka for The New York Times
By Sonny Rollins
Mr. Rollins is a musician.
This essay is part of “The Big Ideas” series in The Times’s philosophy section, The Stone, featuring insights from artists, writers, and thinkers exploring the question, “Why does art matter?”
Discussions about art often raise questions centered around origins and ownership. Who first created a piece? Who has the right over a style? How do we determine when borrowing crosses boundaries? These questions tend to belong to a domain driven by political and technological concerns. Often, debates that juxtapose financial outcomes—such as earning $100 versus $1 million through art—lead nowhere.
Aldous Huxley once noted technology merely expedites ignorance. In daily life, we consume food, rest, stare at screens, and generate income. Yet, these interactions with the material world lack deeper significance. In contrast, art embodies infinity and essential immateriality. Without art, our world would exist in an entirely different form. It taps into intuition and inner emotions, transcending fleeting political divides.
Art provides humbling wisdom by presenting recurring themes over lifetimes. These concepts aren’t claimed by any individual. As they evolve, disappear, or resurface, they emphasize our shared existence within a broader tapestry. Astronomers recognize our knowledge of the universe is a mere fraction of its vast mysteries. Art similarly drives exploration and highlights unknown territories.
Though slightly distinct, music reflects this notion. The idea persists that no music is truly original. Following the primal sound—from a spiritual lens, whether termed “om” or “amen”—all follows a shared lineage. Musicians craft unique sounds by merging influences, yet true novelty remains elusive. The compositions of Debussy and Bach may vary in style, but the essence of their creativity had pre-existed.

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