Its emotional charm has struck men
as a great mystery. There appears to be no doubt whatever that it
gets all the marvelous effects it has beyond the mere pleasing of
the ear, from its random, but multitudinous summonses of the
efferent activity, which at its vague challenges stirs
unceasingly in faintly tumultuous irrelevancy. In this way, music
arouses aimlessly, but splendidly, the sheer, as yet unfulfilled,
potentiality within us." (W. Copies, _The Process of Human
Experience_, p. 743.)
The fundamental element of transformed motion in music has been
well brought out in a suggestive essay by Goblot ("La Musique
Descriptive," _Revue Philosophique_, July, 1901): "Sung or
played, melody figures to the ear a successive design, a moving
arabesque. We talk of _ascending_ and _descending_ the gamut, of
_high_ notes or _low_ notes; the; higher voice of woman is called
_soprano_, or _above_, the deeper voice of man is called _bass_.
_Grave_ tones were so called by the Greeks because they seemed
heavy and to incline downward. Sounds seem to be subject to the
action of gravity; so that some rise and others fall.
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