The simultaneous elaboration of myths relating to trees and birds as objects of worship, as beneficent or malign powers, and as the transmitters of oracles, necessarily confirmed and extended the personifications of speech and song, and were fused through many sources into a whole, which represented a supernatural agent, endowed with the power of a mediator, of a good or evil spirit or idol. This ultimately led to a universal conception of the efficacy of sound, considered as the manifestation of occult powers. In this mythically spiritual atmosphere, all peoples formerly lived and in great part still continue to live.
As the innate impulse led to the entification of speech and of the singing of men and animals, so it also led to the mythical personification of dancing and instrumental music, in which nearly all peoples have recognized a demoniac and deliberate power. For this reason, dancing and the noise of rude instruments generally accompanied solemn religious and civil ceremonies, and any remarkable cosmic, astral, or meteorological fact; and in polytheistic times the deities of poetry, dancing, and music served to accentuate and classify ideas.
The instrument became a fetish, and was invested with a mysterious power resembling that which was supposed to exist in all utterances of the animal world. Indeed, instruments were, and still are among savages, regarded as sacred and as an integral part of public worship, so that each had its definite function and office. This need not surprise us, since for such men every object is a fetish, which contains a soul. The Karens, a tribe in Burmah, believe that their arms, knives, utensils, etc., have all a kelap or soul, which is termed a wong by the negroes of West Africa. The same belief is found in a more explicit form among the Algonquins, the Fijians, and the aforesaid Karens, whose beliefs are characteristic of all peoples which have reached this stage of mythical conceptions. The different objects belonging to a dead man, and his instruments, arms, and utensils, are laid in his tomb, or burnt with his body, and this is owing to the belief that the souls of these objects follow their possessor into another life. The same custom unfortunately extends to persons, and there are instances of this evil practice among relatively civilized nations; the massacre which takes place at the death of a king of Dahomey is well known, and is revolting from the number of victims and from the mode of their sacrifice. It is therefore easy to imagine the way in which musical instruments and the sounds produced by them were personified, since these manifestations seemed to approximate more closely to those of animals.
Fetishtic beliefs concerning magic songs or sounds were, as we have seen, confirmed by the influence naturally exerted on men and animals in their normal or abnormal state by rhythmic and musical sounds, however rude and unformed they may be. Theophrastus tells us that blowing a flute over the affected limb was supposed to cure gout; the Romans recited carmina to drive away disease and demons: the old Slav word for physician, vraçi, comes from a root which means to murmur; in Servian, vrac is a physician, and balii, an enchanter or physician. The use of incantations as a remedy prevailed among the Greeks in Homer's time. The Atarva-Veda retains the old formula of imprecation against disease, and the Zendavesta divides physicians into three classes, those which cure with the knife, with herbs, and with magic formulas. Kuhn believes that the Latin word mederi refers to these proceedings, comparing with it the Sanscrit méth, mêdh, to oppose or curse. Pictet traces the meaning of exorciser in another Sanscrit word for a physician: Bhisag from sag, sang, tojurbo gate.
As the civilization of the historic races advanced, poetry, singing, and musical instruments became more perfect, and were classified as reflex arts. Among the more intellectual classes the earlier fetishtic ideas connected with them almost disappeared, while in the case of the common people, the fetish was idealized, but not therefore lost; it persisted, and still persists, under other forms. Polytheism, modified to suit the place, time, and race, and yet essentially the same, offers us a more ideal form of the arts, each of which was personified as a god, and taken together they formed a heavenly company, which generated and presided over the arts. The greatest poets and philosophers of antiquity retained a sincere belief in the inspiration of every creation of art; and this was only a more noble and intellectual form of the first rude and indefinite conception by which the arts were embodied in a material shape.
Of all the Aryan peoples, Greece represented her Olympus in the most glorious mythical form, set forth by all the arts of description. From the polytheistic point of view, nothing can be æsthetically more perfect than the myths of Apollo and the Muses, which personify harmony in general, and whatever is peculiar to the arts. Such conceptions, by which the arts of speech, song, vocal and instrumental music were embodied in myths, did not disappear as time went on, but were perpetuated in another form. Music, which was always becoming more elaborate, continued to be the highest inspiration, a divine power, an external and harmonious manifestation of celestial beings, of eternal life, and the order of the world. This conception was shadowed forth in the Pythagorean theory of the mythical harmony of the spheres: that school regarded the world as a musical system, an harmonious dance of planets.
The fetishtic and mythical origin common to all the arts is clearly shown by the fact that at a period relatively advanced, but still very remote, they were formulated in the temple, a symbolic representation of their deities, to be found even among the most primitive peoples. The evolution of the arts towards a more rational conception, divested of mythical and religious influence, took the form of releasing each art from bondage to the temple, and enabling it to assume a more distinct, free, and secular personality, an evolution which was however somewhat difficult and slow in the case of vocal and instrumental music. Although in our own time it has achieved a field for itself, yet in oratorios and ecclesiastical music the old conception remains.
The joys of the Elysian fields and of Paradise, as rewards of the good and faithful after death, varying in details with the moral and mythical beliefs of various peoples, were heightened by concerts and musical symphonies, as, owing to natural evolution and the introduction of Oriental ideas, if appears even in the Christian conception of Paradise. For the great majority of believers, earthly music is only an echo of that celestial music, and participates in its divine efficacy. In the Christian Paradise there were saints to preside over the instruments, the singing, and music; the visions of the ecstatic, the hallucinations of the mystic, and the precious memories and images of the dead, are often combined with sweet and heavenly music, and this completes the fetishtic idea which enters into every phenomenon with which man has to do. For if inanimate objects and instruments were supposed by the primitive savage to have a soul which followed the shade of the dead man into the mythical abode beyond the grave, in modern religions the earthly instruments, the fanciful idols of the common people and of mystics, also resound in Elysium and the heavens, touched and inspired by choirs of angels and by seraphic powers.
The deep and sonorous music of bells, of organs, and other ecclesiastical instruments, the chants which resound through vaulted roofs amid the assembled worshippers, ecclesiastical lights, and the fumes of incense, inspire many Christians with a deep and æsthetic sense of the divine presence; and at such moments their vivid faith joins heaven and earth in the same harmonious emotion. The music, chants, and harmony, combined with other solemn rites, are unconsciously embodied by us, entering into our hearts as they circle round the church, and they become the mysterious language of celestial powers. We are once more immersed in the world of fancy and of myth, purified however by the evolution it has undergone. This exalted state of mind is also experienced by those who listen to profane music, since the harmony and modulation of sound, and the expression given to it by the combination of various instruments, immediately affect the soul of the listener as a whole, without the aid of reflection, and a substantial entity which deliberately fulfils its spontaneous cycle of development is thus created; in a word, the harmonies they hear are unconsciously personified. Any one who makes a deep and careful analysis of his states of consciousness in these circumstances will admit the truth of this assertion.
The ordinary modes of expression respecting music, which are in use not only among uneducated people, but among those who are educated and civilized, display the earlier and innate belief in the mythical representations of this art. The expressions may be often heard: What divine music! What angelic harmony! This song is really seraphic! and the like. Such expressions not only bear witness to the old mythical sentiment, and to the ultimate development of its form, but they also indicate the actual sentiments of the speaker. The personifying power of the human intelligence is such as to recur spontaneously, even in one who has abandoned these ancient illusions, if he surrenders himself for a while to his natural instinct. It has often happened that a man who listens to a melodious and beautiful piece of music is gradually aroused and excited by its sweet power, so as to be carried away into a world of new sensations, in which all our sentiments and affections, our deepest, tenderest, and dearest aspirations blossom afresh in our memory, and are fused into and strengthened by these harmonies; we seem to be transported into ethereal regions, and unconsciously surrender ourselves to their influence. This kind of natural ecstasy is not produced merely by the physiological effects of music on the organism, by the education of our sense of beauty, and of our reminiscences of earlier mythical emotions, but also by the innate impulse which still persists, leading us to idealize and vivify all natural phenomena, and also our own sensations.