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How to Listen to Music, 7th ed. - Hints and Suggestions to Untaught Lovers of the Art by Henry Edward Krehbiel
page 34 of 278 (12%)
recession of blood from the face, or an equally sudden suffusion of
the same veins, a contraction of the scalp accompanied by chilliness
or a prickling sensation, or that roughness of the skin called
goose-flesh, "flesh moved by an idea, flesh horripilated by a
thought."

[Sidenote: _Origin of musical elements._]

[Sidenote: _Feelings and counterpoint._]

It has been denied that feelings are the content of music, or that it
is the mission of music to give expression to feelings; but the
scientific fact remains that the fundamental elements of vocal
music--pitch, quality, and dynamic intensity--are the results of
feelings working upon the vocal organs; and even if Mr. Herbert
Spencer's theory be rejected, it is too late now to deny that music is
conceived by its creators as a language of the emotions and so applied
by them. The German philosopher Herbarth sought to reduce the question
to an absurdity by expressing surprise that musicians should still
believe that feelings could be "the proximate cause of the rules of
simple and double counterpoint;" but Dr. Stainer found a sufficient
answer by accepting the proposition as put, and directing attention to
the fact that the feelings of men having first decided what was
pleasurable in polyphony, and the rules of counterpoint having
afterward been drawn from specimens of pleasurable polyphony, it was
entirely correct to say that feelings are the proximate cause of the
laws of counterpoint.

[Sidenote: _How composers hear music._]

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