Why We Love Music

by Carl E. Seashore

These ventures digress from my habitual style of writing, as a technical psychologist, in that I frequently indulge in generalizations and predictions in a practical and popular vein. The attempt to interpret and evaluate present tendencies in the region of forward movements in music naturally takes me into unexplored territory and will stimulate questioning on the part of promoters of various interest in the field. I hold no brief for infallibility of the positions taken, except to say that they are my convictions at the present moment. While they are not direct reports of scientific experiments in the laboratory or the studio, they may be regarded as an extension or interpretation based upon scientific experiments and observations. It is hoped that they may serve as hypotheses or at least a challenge for investigation and practical trial. The reader must judge what is new and what is true from his point of view. Many of the things I advocate are in an experimental stage and in advance of current prevailing practice. This is the reason for presenting them. My aim has been to tease out those elements in the musical situation which help to make music function in our lives and be appreciated.

The following chapters have appeared in magazines: Ch. I, The Etude (brief summary); Ch. II, The Parents' Magazine; Ch. III, National Parent Teacher, under the title, "On Their Musical Way"; Ch. IV, The School Review; Ch. VI, The Scientific Monthly. For permission to bring these chapters into this volume I herewith express my appreciation to the publishers.

Carl E. Seashore,

Iowa City, Iowa,

March 1, 1940.

---

[A]. McGraw-Hill, 1938

[B]. Music Educators Journal, Sept. 1938

CONTENTS

Chapter				Page
I	Why Do We Love Music?			[1]
		The Musical Medium		[2]
			Organic response, [2]; Sounds in themselves, [3]; Music proper, [3]; Music with words and action, [3]; Symbolism, [4].
		The Musical Motives		[4]
			Musical knowledge, [5]; Musical feeling, [5]; Musical action, [6]; Music as play, [7]; Musical imagination, [8]; Who loves music?, [8].
		Thought Review		[10]
II	Music Before the Age of Six			[12]
			From smile to music, [12]; Music in play, [14]; Environment, [15]; Music and speech, [16]; Musical talent, [17]; Musical education, [18].
		Thought Review		[19]
III	Music Between the Ages of Six and Ten			[21]
			A broadened conception of music, [22]; The analysis of talent, [23]; Group instruction, [24]; Formal lessons delayed, [25]; A sympathetic listener, [26]; Music lovers vs. virtuosi, [27].
		Thought Review		[27]
IV	Music and Youth			[29]
		Youth, The Age of Music		[29]
			The emotional age, [29]; The age of serious play, [30]; The age of decision and eliminations, [30]; The educational age, [30]; The age of leisure, [32].
		Music For Youth		[34]
			Music, an academic subject, [34]; Orientation in the grades, [35]; Group activities in voice and instrument, [35]; Contests, [36]; The hearing of music, [37].
		Thought Review		[39]
V	The Musical Temperament			[41]
			Physiological irritability, [43]; Tonal sensitivity, [43]; Artistic license, [44]; Ear-mindedness, [45]; Affective response, [45]; The esthetic mood, [46]; Exhibitionism, [46]; Symbolism, [47]; Precocity, [47].
		Thought Review		[48]
VI	Musical Inheritance			[50]
		Essential Premises		[50]
		Psychophysical Measurements		[54]
		Thought Review		[59]
VII	The Future of Musical Instruments			[62]
		Possible Lines of Development		[63]
			The improvement of existing instruments, [64]; New substitutes for existing instruments, [65]; New ensembles, [66].
		New Music		[67]
		Playing		[69]
		Specifications for Instrument Construction		[70]
			Pitch, [70]; Loudness, [70]; Time, [71]; Timbre, [71].
		Thought Review		[72]
VIII	Praise and Blame in Music			[74]
		Vantage Grounds		[75]
			Artistic insight, [75]; The scientific attitude, [76]; Terminology, [76]; Musical talent, [77].
		Parties Concerned		[77]
			The pupil, [77]; The teacher, [78]; The critic, [79]; The public, [80].
		Thought Review		[81]