Indirect evidences of several kinds remain to be briefly pointed out. One of them is the difficulty, not to say impossibility, of otherwise accounting for the expressiveness of music. Whence comes it that special combinations of notes should have special effects upon our emotions?—that one should give us a feeling of exhilaration, another of melancholy, another of affection, another of reverence? Is it that these special combinations have intrinsic meanings apart from the human constitution?—that a certain number of aerial waves per second, followed by a certain other number, in the nature of things signify grief, while in the reverse order they signify joy; and similarly with all other intervals, phrases, and cadences? Few will be so irrational as to think this. Is it, then, that the meanings of these special combinations are conventional only?—that we learn their implications, as we do those of words, by observing how others understand them? This is an hypothesis not only devoid of evidence, but directly opposed to the experience of every one. How, then, are musical effects to be explained? If the theory above set forth be accepted, the difficulty disappears. If music, taking for its raw material the various modifications of voice which are the physiological results of excited feelings, intensifies, combines, and complicates them—if it exaggerates the loudness, the resonance, the pitch, the intervals, and the variability, which, in virtue of an organic law, are the characteristics of passionate speech—if, by carrying out these further, more consistently, more unitedly, and more sustainedly, it produces an idealised language of emotion; then its power over us becomes comprehensible. But in the absence of this theory, the expressiveness of music appears to be inexplicable.
Again, the preference we feel for certain qualities of sound presents a like difficulty, admitting only of a like solution. It is generally agreed that the tones of the human voice are more pleasing than any others. Grant that music takes its rise from the modulations of the human voice under emotion, and it becomes a natural consequence that the tones of that voice should appeal to our feelings more than any others; and so should be considered more beautiful than any others. But deny that music has this origin, and the only alternative is the untenable position that the vibrations proceeding from a vocalist's throat are, objectively considered, of a higher order than those from a horn or a violin. Similarly with harsh and soft sounds. If the conclusiveness of the foregoing reasonings be not admitted, it must be supposed that the vibrations causing the last are intrinsically better than those causing the first; and that, in virtue of some pre-established harmony, the higher feelings and natures produce the one, and the lower the other. But if the foregoing reasonings be valid, it follows, as a matter of course, that we shall like the sounds that habitually accompany agreeable feelings, and dislike those that habitually accompany disagreeable feelings.
Once more, the question—How is the expressiveness of music to be otherwise accounted for? may be supplemented by the question—How is the genesis of music to be otherwise accounted for? That music is a product of civilisation is manifest; for though savages have their dance-chants, these are of a kind scarcely to be dignified by the title musical: at most, they supply but the vaguest rudiment of music, properly so called. And if music has been by slow steps developed in the course of civilisation, it must have been developed out of something. If, then, its origin is not that above alleged, what is its origin?
Thus we find that the negative evidence confirms the positive, and that, taken together, they furnish strong proof. We have seen that there is a physiological relation, common to man and all animals, between feeling and muscular action; that as vocal sounds are produced by muscular action, there is a consequent physiological relation between feeling and vocal sounds; that all the modifications of voice expressive of feeling are the direct results of this physiological relation; that music, adopting all these modifications, intensifies them more and more as it ascends to its higher and higher forms, and becomes music simply in virtue of thus intensifying them; that, from the ancient epic poet chanting his verses, down to the modern musical composer, men of unusually strong feelings prone to express them in extreme forms, have been naturally the agents of these successive intensifications; and that so there has little by little arisen a wide divergence between this idealised language of emotion and its natural language: to which direct evidence we have just added the indirect—that on no other tenable hypothesis can either the expressiveness or the genesis of music be explained.
And now, what is the function of music? Has music any effect beyond the immediate pleasure it produces? Analogy suggests that it has. The enjoyments of a good dinner do not end with themselves, but minister to bodily well-being. Though people do not marry with a view to maintain the race, yet the passions which impel them to marry secure its maintenance. Parental affection is a feeling which, while it conduces to parental happiness, ensures the nurture of offspring. Men love to accumulate property, often without thought of the benefits it produces; but in pursuing the pleasure of acquisition they indirectly open the way to other pleasures. The wish for public approval impels all of us to do many things which we should otherwise not do,—to undertake great labours, face great dangers, and habitually rule ourselves in a way that smooths social intercourse: that is, in gratifying our love of approbation we subserve divers ulterior purposes. And, generally, our nature is such that in fulfilling each desire, we in some way facilitate the fulfilment of the rest. But the love of music seems to exist for its own sake. The delights of melody and harmony do not obviously minister to the welfare either of the individual or of society. May we not suspect, however, that this exception is apparent only? Is it not a rational inquiry—What are the indirect benefits which accrue from music, in addition to the direct pleasure it gives?
But that it would take us too far out of our track, we should prelude this inquiry by illustrating at some length a certain general law of progress;—the law that alike in occupations, sciences, arts, the divisions that had a common root, but by continual divergence have become distinct, and are now being separately developed, are not truly independent, but severally act and react on each other to their mutual advancement. Merely hinting thus much, however, by way of showing that there are many analogies to justify us, we go on to express the opinion that there exists a relationship of this kind between music and speech.
All speech is compounded of two elements, the words and the tones in which they are uttered—the signs of ideas and the signs of feelings. While certain articulations express the thought, certain vocal sounds express the more or less of pain or pleasure which the thought gives. Using the word cadence in an unusually extended sense, as comprehending all modifications of voice, we may say that cadence is the commentary of the emotions upon the propositions of the intellect. The duality of spoken language, though not formally recognised, is recognised in practice by every one; and every one knows that very often more weight attaches to the tones than to the words. Daily experience supplies cases in which the same sentence of disapproval will be understood as meaning little or meaning much, according to the inflections of voice which accompany it; and daily experience supplies still more striking cases in which words and tones are in direct contradiction—the first expressing consent, while the last express reluctance; and the last being believed rather than the first.
These two distinct but interwoven elements of speech have been undergoing a simultaneous development. We know that in the course of civilisation words have been multiplied, new parts of speech have been introduced, sentences have grown more varied and complex; and we may fairly infer that during the same time new modifications of voice have come into use, fresh intervals have been adopted, and cadences have become more elaborate. For while, on the one hand, it is absurd to suppose that, along with the undeveloped verbal forms of barbarism, there existed a developed system of vocal inflections; it is, on the other hand, necessary to suppose that, along with the higher and more numerous verbal forms needed to convey the multiplied and complicated ideas of civilised life, there have grown up those more involved changes of voice which express the feelings proper to such ideas. If intellectual language is a growth, so also, without doubt, is emotional language a growth.