[58] Stumpf has treated the question most exhaustively (Tonpsychologie, vol. i. p. 202).
[59] H. Siebeck, Das Wesen der Aesthetischen Anschauung, Berlin, 1875, p. 153.
[60] Köstlin, Aesthetik, p. 560.
[61] “Primitive music can not have grown out of the voice modulation in excited speech, because in many cases it has no modulation of tone, but is simply rhythmic movement in a single tone” (Wallaschek, Primitive Music, p. 252).
[62] Op. cit., p. 272.
[63] In a celebrated Chinese poem the effect of music is thus described: “Now soft as whispered words, now soft and loud together—like pearls falling on marble—now coaxing as the call of birds, now complaining like a brook, and now like a mountain stream bursting its icy bounds.” When we recall the great difference in form between Chinese music and our own, the similarity of emotional effect is astonishing.
[64] Compayré, op. cit., p. 41.
[65] H. Gutzmann (Das Kindes Sprach und Sprachfehler, 1894, p. 7) shown that crying is good practice for talking, because, in contrast to the habitual method of breathing, a short, deep inhalation is followed by lingering exhalation, as in speech.
[66] Loc. cit., p. 368. It is, of course, difficult to say at what moment the automatic babbling attains the dignity of speech.
[67] Somewhat akin to inspiratory sounds are the clicking noises which children often produce. These are well known to play a considerable part in the language of the Hottentots. For the influence of the self-originated language of children on the speech of adults, and for the analogy between child-language and that of the lower races, see H. Gutzmann, Die Sprachlaute des Kindes und der Naturvölker, Westermann’s Monatshefte, December, 1895.