Music and Its Lovers - An Empirical Study of Emotional and Imaginative Responses to Music Book

MUSIC AND ITS LOVERS AH EMPIRICAL STUDY 0. MOTIONAL AND fif CJINATIVE RESPONSES TO MUSIC VERNQN LEE S LITT. D NEW YORK E. P, DUTTON AND CO, INC lit U.. A, 1933 Ell rigkis PRINTBD IN ORBAT BRITAIN BY UNWIN BROTHERS LTD, WOK11 J DEDICATION AND THANKSGIVING This book based upon their answers to my Questionnaires I dedicate, after more than twenty years, to all my Answerers, known or unknown to me, living and, alas, also dead. But quite specially to the memory of BESSIE AND ISABELLA FORD OF ADEL And now that the book is actually going to the Printers let me also congratulate myself very gratefully that the same admirable collaborator, Irene Cooper Willis, to whom I owe so much help in the early stages of this work, should be able and willing to edit and pass it through the press when finished. CONTENTS PREFACE AIMS AND METHODS 13 PART I LISTENERS AND HEARERS CHAPTER PACE I, VARIETIES OF MUSICAL EXPERIENCE 23 ii. WHAT is LISTENING 35 III. THE EMOTION OF MUSIC, iv, COMPLICATIONS AND ENTANGLEMENTS 59 v. ANCESTORS OF EMOTION 66 VI. EMOTION OF MUSIC VERSUS EMOTIONAL MUSIC 86 is VII. AESTHETIC CONTEMPLATION HIGHER PLANES 97 VIII, ACTIVE AND PASSIVE ATTENTION. A PSYCHOLOGICAL P. S. 107 IX, EPILOGUE TO LISTENERS 115 PART II EMOTIONAL RESPONSES I. THE POWERS OF SOUND-123 II. CECILIA AND CECILIANS 135 in. AMBIENCE 141 iv. CHAOS THE UNINTELLIGIBLE AND THE OVERHEARD. 150 V. INTERMITTENCE AND EVOCATION. CASE OF DONNA TEODORA 158 VI. MUSICAL MEMORY, A PSYCHOLOGICAL P. S. TO DONNA TEODORA. 167 VII. AFFECTIVE MEMORY. RIBOTS HYPOTHESIS . 1 73 VIII. REFERENCE TO HUMAN PERSONALITY. 1 92 io MUSIC AND ITS LOVERS CHAPTER PAGE EX. PARTICIPATION, INTENSIFICATION, PASS MORT AND PASSE VIVANT. ELSA AND THEVIOLINIST 3 202 x. EVOCATION OF PAST AND FUTURE HERR WOLFRAM AMIE DE GABRIELLE MME. LOUISE YOUNG PEOPLE FRANCES 2 7 XI. INTRODUCTION TO DIONYSIACS. THE CUP OF COMUS 228 xii. DIONYSIACS FRANZ PROFESSOR PAUL MASTER HUGUES P. S. ON NIETZSCHE 240 PART III IMAGINATIVE RESPONSES i. INTERPRETATION MUSIC AS A LANGUAGE 259 n. LAPSES IN LISTENING AND THINKING OF OTHER THINGS 273 III. STIMULATION OF THOUGHT POETS, NOVELISTS AND PHILO SOPHERS 28 J IV. INTERPRETATION AS METAPHOR CASE OF SPIRIDION 20 v. MYSTICAL INTERPRETATION THE MICROCOSM RESPONDING TO THE MACROCOSM THE DOCTOR OF PHILOSOPHY 298 VI. THE IMAGINARY COMPOSER 308 VII. THE POWER OF WORDS 325 VIII. INTERPRETATION BY EQUIVALENCE 340 DC. SUGGESTION BY MOVEMENT FRAU MARIA AND BELLA 350 X. INTERPRETATION BY AS IF . ... 359 XI. INTERPRETATION AS ALLEGORY. PICTURES SUGGESTED BY MUSIC 3 3 XII. INTERPRETATION AS DRAMA. CASE OF LADY VENETIA 383 PART IV HAS MUSIC A MEANING COLLECTIVE EXPERIMENTS SOME RESULTS OF COLLECTIVE EXPERIMENTS CONTENTS ii PART V THE COMPOSERS PHENOMENON CHAPTER PAGE I. TRANSLATION INTO MUSIC 445 II. DIVIDED ATTENTION 456 III. AESTHETIC INTEGRATION. A COMPARISON WITH OTHER ARTS 468 iv. SYNTHESIS SOME EXPERIENCES OF MY OWN 478 PART VI HOW MUSIC COMES INTO OUR LIVES I. THE STATE OF AESTHETIC CONTEMPLATION 489 II. MYSELF AS CORPUS VILE 492 in. BETTINA A DUOLOGUE ON MOZART AND BEETHOVEN 510 IV. BEING ATTUNED TO .... 517 PART VII f E GUSTIBUS . . . I. SOME PREFERENCES CLASSIFIED 5 7 II. . . . NQN EST DISPVTANDUM 543 PART VIII BEYOND GOOD AND EVIL i. BEYOND GOOD AND EVIL 551 II. SOME ETHICAL CONSIDERATIONS 554 III. EXCITEMENT AS A VITAL NEED 558 rv. MUSIC VERSUS WORDS 559 ENGLISH QUESTIONNAIRE 563 INDEX 569 PREFACE AIMS AND METHODSI THIS BOOK, which, after so many years of working at it and dropping it, has at last got finished, is neither for Musicians nor for Musical Critics, though dealing with both. Not even for such intelligent Amateurs as have contributed so largely to it. It can teach no one whether any particular music happens to be good or bad still less how to make music which shall be good rather than bad. It tries to understand why the self-same music will, perhaps must, seem good, i, e, worth having, to some people, and bad, i. e...