From the early medieval period to the late eighteenth century, the dominant metaphor for relationships between created beings was not song, but the Great Chain of Being; the superior being properly uses and governs the inferior. Thus, Thomas Aquinas considered it natural that man should be masters over animals. This proprietorial language of use reached its present form when integrated into Enlightenment instrumentalism. Many nonconformists found in biblical texts a different way of speaking, one which preserved the tacit harmony of a chain of being but without its hierarchy of perfection. Creation sings one song, each creature one note in the harmony; diversity in the unity of a chord. Goodness is not distributed hierarchically, but resides in the music of all that God had made. The harmonious song of creation is simultaneously a satisfaction of individual and relational meaning, expressing the good and preservation of the universe. Each creature contributes to the beauty of the whole according to its kind; this is what they are for, this is their meaning. The associations of music with joy, harmony, and love, fitted it to describe the communion of praise. This chapter explores this alternative cultural imaginary, in which the nonconformists found a point of resistance to the dominant and exploitative discourse of their day.