a. Reflex or physiological; soothing or stimulating.
b. General euphoria.
c. Stimulation of thought and wandering of attention.
d. Emotional moods of interpretation of the so-called “meaning” of music.
e. Dramatic visual images of day-dreams.
f. Awareness that sounds are going on, but no further response.
g. Lapsing of this awareness into the “margin” of consciousness.
He found reactions a. and b. among primitives and infants; and reactions c. f. and g. among the untrained.
Schoen[71] found that response to music is related to the psychologic levels at which they occur, and to sensation, perception, and imagination. The sensorial response is physiologic and possessed by all. It is the source upon which all other musical development depends. It requires a minimum amount of mental effort, and its effects are within the easy reason of the intellectually inferior and superior alike. As a sensation, music is either pleasant or unpleasant. Training and experience may lead to higher types of response, depending upon individual desire and ability to develop musical taste and education. The next higher response is perceptual and its distribution level adds excitement or repose. The highest level of response is imaginal.
“Much of the music we hear we have heard before, and because of this fact we have associated it with a host of memories with pleasant or unpleasant coloring. The hearer may not recall the exact time or occasion on which he heard the selection before and yet he may have a group of images which are definitely referred to his own past.”