In this article, the authors address the conversation that, given the recent developments in the philosophy of mind, especially in terms of its cognitive turn, one task for philosophers of music might be to begin to speculate about the properties of music and organized sound that enable them to perform their various moral and cultural roles. The authors start by canvassing transhistorically and cross-culturally a range of examples where music does participate in or contribute to the moral life of the culture. First, they provide some descriptive, prescriptive, and evaluative caveats. They also provide a catalogue of some of the ways in which music does in fact function in the moral world. They separate these various functions out for the purposes of analysis and identification. In the complexity of real life, people can expect that they will overlap, reinforce one another, or sometimes be mutually antagonistic. (Contains 21 notes.)