Excerpt from The Thought in Music: An Enquiry Into the Principles of Musical Rhythm, Phrasing and Expression
This book is an attempt to formulate a definite basis on which the musical facts underlying the principles of shape in musical structure may be correlated and codified.
That these facts are the result of the operation of psychological and physiological processes, and therefore amenable and subject to the laws which regulate these two contrasted sides of human activity, is a conception which - so far as the musician is concerned - requires no absolute proof, even if it is incapable of such.
We, who practise this sensitive and beautiful art, realise in proportion to our experience of its ways and affections, that the necessity which accompanies its manifestations is due, not to caprice or accident, but to some deeply underlying principle inherent in the very nature of the human mind. In all its manifestations, in all the varying conditions of place and time, the musical sound in a greater or in a less degree expresses something which is in agreement with the fundamental constitution of the human mind, and expresses this in a way sympathetic to, and conditioned by, the nature of consciousness itself.
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