Even if you don’t know Beethoven’s Ninth Symphony, you probably know its finale, the famous “Ode to Joy.”

Written 200 years ago, the “Ode” is crafted like the best of pop songs, with easily hummable, simple phrases that use the same techniques you hear in a Taylor Swift hit today.

But the “Ode” is more than pop. It’s a supranational anthem that aspires to a world in which “all men become brothers,” as its lyrics say. Its message, taken from a poem by Friedrich Schiller, is so broad and welcoming, so unspecific, that it has been taken up by an extraordinarily broad array of people and political causes.

Since its premiere, the “Ode” has become shorthand for unity and hope, whether sincere or ironic. Sunny lyrics like “Be embraced, oh you millions!” and “Here’s a kiss for the entire world” have made it a fixture of the Olympics. It has been adopted by both oppressive regimes and the people who protest them. It sarcastically accompanies terror in “A Clockwork Orange” and “Die Hard,” but innocently entertains infants on “Baby Einstein” albums and in a sketch by the Muppets.

Why does this song still have such a hold on the world?

The answer starts with the music. Beethoven didn’t always write tuneful melodies, but he certainly knew how. He arranged popular songs, and composed memorable themes like the four-note opening of the Fifth Symphony. Nothing, though, is as brazenly catchy as the “Ode to Joy.”

Beethoven designed it to be easily sung and hard to forget. It is in common time, with four beats per measure, and unfolds in neat, four-bar phrases. Often, there is one note for each syllable of text, and, crucially, the range is an octave, with the melodic line moving either up or down the scale. People with no musical training can learn this almost immediately, unlike with most national anthems. “The Star-Spangled Banner,” for example, has a wide range and awkward leaps that trip up even professional singers.

New York Times