[382] Des Körpers. I am not sure that I quite follow the meaning of this second moment of negation. If it means the reaction or synthetic process of human hearing it removes in great measure the objection above. We then have as the twofold negation the negation by the ideality of sound and that through the human sense. But owing to Hegel's use of Material to indicate the medium which is subject to oscillation, it would rather appear to mean that one vibration is cancelled by another.
[383] Das an und für sich schon etwas Ideelleres ist. This would correspond to the ideality of the first negation of spatial condition.
[384] He means its own ideal existence. Aufgeben must here be used in the primary sense of "delivers." He does not mean that it gives expression to the ideality of spirit; this is added by the next clause.
[385] This is, I think, Hegel's meaning for das an sich selbst Subjektive. Its content is also formally ideal or abstract as above explained, but to express this he would rather have used the word ideell or innerlich. It is also, as I have pointed out, in great measure ideal in the sense that as musical tone it is not natural even in the qualified sense that colour is. It is even more dependent on the human organism for its quality and synthesis. But I do not think Hegel means subjective in this sense, but that it directly expresses human emotion.
[386] Both ideas are contained in the word Verschweben, which means to hover and slowly vanish away.
[387] Figurationen. Their modal combinations.
[388] It is obvious that in this respect music to some extent infringes on the distinction Hegel has already pointed out between its content and that of poetry.
[389] By verständige Formen Hegel means, of course, forms that express an artistic, that is, an intelligible purpose. The whole passage is not very clearly expressed. The general meaning is, however, that as architecture surrounds its statues with a medium of material environment co-ordinated by artistic design and invention, so, too, music in its medium of emotional content is equally indefinite and may be used as an accompaniment (as architecture is a kind of accompaniment to statuary) in the melodic play of its harmonies to definite ideas in uttered speech. The reader of Browning will doubtless recollect the fine use made of architecture as metaphorical illustration in the poem "Abt Vogler." I think it was Schopenhauer who first spoke of architecture as frozen music. But Schelling speaks of it in the same way.
[390] I presume Hegel here refers primarily to scholastic music, musical exercises intended to exhibit the structure of music. The exercises, for example, of Cramer or Fuchs. Bach's forty-eight fugues would occupy a transitional place.
[391] Tonseele. There is, of course, something almost mystic in Hegel's conception of musical sound as the ideality issuing from the material world.