Essays: Scientific, Political, and Speculative, Volume II

Have we not here, then, adequate data for a theory of music? These vocal peculiarities which indicate excited feeling, are those which especially distinguish song from ordinary speech. Every one of the alterations of voice which we have found to be a physiological result of pain or pleasure, is carried to an extreme in vocal music. For instance, we saw that, in virtue of the general relation between mental and muscular excitement, one characteristic of passionate utterance is loudness. Well, its comparative loudness is one of the distinctive marks of song as contrasted with the speech of daily life. Though there are piano passages in contrast with the forte passages, yet the average loudness of the singing voice is much greater than that of the speaking voice; and further, the forte passages of an air are those intended to represent the climax of its emotion. We next saw that the tones in which emotion expresses itself, are, in conformity with this same law, of a more sonorous timbre than those of calm conversation. Here, too, song displays a still higher degree of the peculiarity; for the singing tone is the most resonant we can make. Again, it was shown that, from a like cause, mental excitement vents itself in the higher and lower notes of the register; using the middle notes but seldom. And it scarcely needs saying that vocal music is still more distinguished by its comparative neglect of the notes in which we talk, and its habitual use of those above or below them; and, moreover, that its most passionate effects are commonly produced at the two extremities of its scale, but especially at the upper one. A yet further trait of strong feeling, similarly accounted for, was the habitual employment of larger intervals than are employed in common converse. This trait, also, every ballad and aria systematically elaborates: add to which, that the direction of these intervals, which, as diverging from or converging towards the medium tones, we found to be physiologically expressive of increasing or decreasing emotion, may be observed to have in music like meanings. Once more, it was pointed out that not only extreme but also rapid variations of pitch, are characteristic of mental excitement; and once more we see in the quick changes of every melody, that song carries the characteristic as far, if not farther. Thus, in respect alike of loudness , timbre , pitch , intervals , and rate of variation , song employs and exaggerates the natural language of the emotions; – it arises from a systematic combination of those vocal peculiarities which are the physiological effects of acute pleasure and pain.

Besides these chief characteristics of song as distinguished from common speech, there are sundry minor ones similarly explicable as due to the relation between mental and muscular excitement; and before proceeding further, these should be briefly noticed. Thus, certain passions, and perhaps all passions when pushed to an extreme, produce (probably through their influence over the action of the heart) an effect the reverse of that which has been described: they cause a physical prostration, one symptom of which is a general relaxation of the muscles, and a consequent trembling. We have the trembling of anger, of fear, of hope, of joy; and the vocal muscles being implicated with the rest, the voice too becomes tremulous. Now, in singing, this tremulousness of voice is effectively used by some vocalists in pathetic passages; sometimes, indeed, because of its effectiveness, too much used by them – as by Tamberlik, for instance. Again, there is a mode of musical execution known as the staccato , appropriate to energetic passages – to passages expressive of exhilaration, of resolution, of confidence. The action of the vocal muscles which produces this staccato style, is analogous to the muscular action which produces the sharp, decisive, energetic movements of body indicating these states of mind; and therefore it is that the staccato style has the meaning we ascribe to it. Conversely, slurred intervals are expressive of gentler and less active feelings; and are so because they imply the smaller muscular vivacity due to a lower mental energy. The difference of effect resulting from difference of time in music, is also attributable to this same law. Already it has been pointed out that the more frequent changes of pitch which ordinarily result from passion, are imitated and developed in song; and here we have to add, that the various rates of such changes, appropriate to the different styles of music, are further traits having the same derivation. The slowest movements, largo and adagio , are used where such depressing emotions as grief, or such unexciting emotions as reverence, are to be portrayed; while the more rapid movements, andante , allegro , presto , represent successively increasing degrees of mental vivacity; and do this because they imply that muscular activity which flows from this mental vivacity. Even the rhythm , which forms a remaining distinction between song and speech, may not improbably have a kindred cause. Why the actions excited by strong feeling should tend to become rhythmical, is not obvious; but that they do so there are divers evidences. There is the swaying of the body to and fro under pain or grief, of the leg under impatience or agitation. Dancing, too, is a rhythmical action natural to elevated emotion. That under excitement speech acquires a certain rhythm, we may occasionally perceive in the highest efforts of an orator. In poetry, which is a form of speech used for the better expression of emotional ideas, we have this rhythmical tendency developed. And when we bear in mind that dancing, poetry, and music are connate – are originally constituent parts of the same thing, it becomes clear that the measured movement common to them all implies a rhythmical action of the whole system, the vocal apparatus included; and that so the rhythm of music is a more subtle and complex result of this relation between mental and muscular excitement.

But it is time to end this analysis, which possibly we have already carried too far. It is not to be supposed that the more special peculiarities of musical expression are to be definitely explained. Though probably they may all in some way conform to the principle that has been worked out, it is impracticable to trace that principle in its more ramified applications. Nor is it needful to our argument that it should be so traced. The foregoing facts sufficiently prove that what we regard as the distinctive traits of song, are simply the traits of emotional speech intensified and systematized. In respect of its general characteristics, we think it has been made clear that vocal music, and by consequence all music, is an idealization of the natural language of passion.

As far as it goes, the scanty evidence furnished by history confirms this conclusion. Note first the fact (not properly an historical one, but fitly grouped with such) that the dance-chants of savage tribes are very monotonous; and in virtue of their monotony are more nearly allied to ordinary speech than are the songs of civilized races. Joining with this the fact that there are still extant among boatmen and others in the East, ancient chants of a like monotonous character, we may infer that vocal music originally diverged from emotional speech in a gradual, unobtrusive manner; and this is the inference to which our argument points. From the characters of the intervals the same conclusion may be drawn.

“The songs of savages in the lowest scale of civilization are generally confined to the compass of few notes, seldom extending beyond the interval of the fifth. Sometimes, however, a sudden transition into the octave occurs, especially in sudden exclamations, or where a word naturally dictates an emphatic raising of the voice. The fifth especially plays a prominent part in primitive vocal music… But it must not be supposed that each interval is distinctly intoned: on the contrary, in the transition from one interval to another, all the intermediate intervals are slightly touched in a way somewhat similar to a violinist drawing his finger rapidly over the string from one note to another to connect them; and as the intervals themselves are seldom clearly defined, it will easily be understood how nearly impossible it is to write down such songs in our notation so as to convey a correct idea of their natural effect.” 53

Further evidence to the same effect is supplied by Greek history. The early poems of the Greeks – which, be it remembered, were sacred legends embodied in that rhythmical, metaphorical language which strong feeling excites – were not recited, but chanted: the tones and cadences were made musical by the same influences which made the speech poetical. By those who have investigated the matter, this chanting is believed to have been not what we call singing, but nearly allied to our recitative – nearly allied but simpler. Several facts conspire to show this. The earliest stringed instruments had sometimes four, sometimes five strings: Egyptian frescoes delineate some of the simpler harps as thus constituted, and there are kindred representations of the lyres and allied instruments of the Assyrians, Hebrews, Greeks and Romans. That the earliest Greek lyre had but four strings, and that the recitative of the poet was uttered in unison with its sounds, Neumann finds definite proof in a verse ascribed to Terpander, celebrating his introduction of the seven-stringed lyre: —

“The four-tonèd hymns now rejecting,And yearning for songs new and sweet,With seven strings softly vibrating,The lyre anon shall we greet.”

Hence it follows that the primitive recitative was simpler than our modern recitative, and, as such, much less remote from common speech than our own singing is. For recitative, or musical recitation, is in all respects intermediate between speech and song. Its average effects are not so loud as those of song. Its tones are less sonorous in timbre than those of song. Commonly it diverges to a smaller extent from the middle notes – uses notes neither so high nor so low in pitch. The intervals habitual to it are neither so wide nor so varied. Its rate of variation is not so rapid. And at the same time that its primary rhythm is less decided, it has none of that secondary rhythm produced by recurrence of the same or parallel musical phrases, which is one of the marked characteristics of song. Thus, then, we may not only infer, from the evidence furnished by existing barbarous tribes, that the vocal music of pre-historic times was emotional speech very slightly exalted; but we see that the earliest vocal music of which we have any account, differed much less from emotional speech than does the vocal music of our days.

That recitative – beyond which, by the way, the Chinese and Hindoos seem never to have advanced – grew naturally out of the modulations and cadences of strong feeling, we have indeed current evidence. There are even now to be met with occasions on which strong feeling vents itself in this form. Whoever has been present when a meeting of Quakers was addressed by one of their number (whose practice it is to speak only under the influence of religious emotion), must have been struck by the quite unusual tones, like those of a subdued chant, in which the address was made. On passing a chapel in Wales during service, the raised and sing-song voice of the preacher draws the attention. It is clear, too, that the intoning used in churches is representative of this mental state; and has been adopted on account of the congruity between it and the contrition, supplication, or reverence, verbally expressed.

And if, as we have good reason to believe, recitative arose by degrees out of emotional speech, it becomes manifest that by a continuance of the same process song has arisen out of recitative. Just as, from the orations and legends of savages, expressed in the metaphorical, allegorical style natural to them, there sprung epic poetry, out of which lyric poetry was afterwards developed; so, from the exalted tones and cadences in which such orations and legends were delivered, came the chant or recitative music, from which lyrical music has since grown up. And there has not only thus been a simultaneous and parallel genesis, but there has been reached a parallelism of results. For lyrical poetry differs from epic poetry, just as lyrical music differs from recitative: each still further intensifies the natural language of the emotions. Lyrical poetry is more metaphorical, more hyperbolic, more elliptical, and adds the rhythm of lines to the rhythm of feet; just as lyrical music is louder, more sonorous, more extreme in its intervals, and adds the rhythm of phrases to the rhythm of bars. And the known fact that out of epic poetry the stronger passions developed lyrical poetry as their appropriate vehicle, strengthens the inference that they similarly developed lyrical music out of recitative.

Nor indeed are we without evidences of the transition. It needs but to listen to an opera to hear the leading gradations. Between the comparatively level recitative of ordinary dialogue, the more varied recitative with wider intervals and higher tones used in exciting scenes, the still more musical recitative which preludes an air, and the air itself, the successive steps are but small; and the fact that among airs themselves gradations of like nature may be traced, further confirms the conclusion that the highest form of vocal music was arrived at by degrees.

We have some clue to the influences which have induced this development; and may roughly conceive the process of it. As the tones, intervals, and cadences of strong emotion were the elements out of which song was elaborated; so, we may expect to find that still stronger emotion produced the elaboration; and we have evidence implying this. Musical composers are men of acute sensibilities. The Life of Mozart depicts him as one of intensely active affections and highly impressionable temperament. Various anecdotes represent Beethoven as very susceptible and very passionate. Mendelssohn is described by those who knew him as having been full of fine feeling. And the almost incredible sensitiveness of Chopin has been illustrated in the memoirs of George Sand. An unusually emotional nature being thus the general characteristic of musical composers, we have in it just the agency required for the development of recitative and song. Any cause of excitement will generate just those exaggerations which we have found to distinguish the lower vocal music from emotional speech, and the higher vocal music from the lower. Thus it becomes credible that the four-toned recitative of the early Greek poets (like all poets, nearly allied to composers in the comparative intensity of their feelings), was really nothing more than the slightly exaggerated emotional speech natural to them, which grew by frequent use into an organized form. And we may infer that the accumulated agency of subsequent poet-musicians, inheriting and adding to the products of those who went before them, sufficed, in the course of many centuries, to develope this simple four-toned recitative into a vocal music having great complexity and range.

Not only may we so understand how more sonorous tones, greater extremes of pitch, and wider intervals, were gradually introduced; but also how there arose a greater variety and complexity of musical expression. For this same passionate, enthusiastic temperament, which leads the musical composer to express the feelings possessed by others as well as himself, in more marked cadences than they would use, also leads him to give musical utterance to feelings which they either do not experience, or experience in but slight degrees. And thus we may in some measure understand how it happens that music not only so strongly excites our more familiar feelings, but also produces feelings we never had before – arouses dormant sentiments of which we do not know the meaning; or, as Richter says – tells us of things we have not seen and shall not see.

Indirect evidences of several kinds remain to be briefly pointed out. One of them is the difficulty, not to say impossibility, of otherwise accounting for the expressiveness of music. Whence comes it that special combinations of notes should have special effects upon our emotions? – that one should give us a feeling of exhilaration, another of melancholy, another of affection, another of reverence? Is it that these special combinations have intrinsic meanings apart from the human constitution? – that a certain number of aërial waves per second, followed by a certain other number, in the nature of things signify grief, while in the reverse order they signify joy; and similarly with all other intervals, phrases, and cadences? Few will be so irrational as to think this. Is it, then, that the meanings of these special combinations are conventional only? – that we learn their implications, as we do those of words, by observing how others understand them? This is an hypothesis not only devoid of evidence, but directly opposed to the experience of every one; and it is excluded by the fact that children, unconventionalised though they are, show great susceptibility to music. How, then, are musical effects to be explained? If the theory above set forth be accepted, the difficulty disappears. If music, taking for its raw material the various modifications of voice which are the physiological results of excited feeling, intensifies, combines, and complicates them – if it exaggerates the loudness, the resonance, the pitch, the intervals, and the variability, which, in virtue of an organic law, are the characteristics of passionate speech – if, by carrying out these further, more consistently, more unitedly, and more sustainedly,it produces an idealized language of emotion; then its power over us becomes comprehensible. But in the absence of this theory the expressiveness of music appears inexplicable.

Again, the preference we feel for certain qualities of sound presents a like difficulty, admitting only of a like solution. It is generally agreed that the tones of the human voice are more pleasing than any others. If music takes its rise from the modulations of the human voice under emotion, it is a natural consequence that the tones of that voice appeal to our feelings more than any others, and are considered more beautiful than any others. But deny that music has this origin, and the only alternative is the untenable one that the vibrations proceeding from a vocalist’s throat are, objectively considered, of a higher order than those from a horn or a violin.

Once more, the question – How is the expressiveness of music to be otherwise accounted for? may be supplemented by the question – How is the genesis of music to be otherwise accounted for? That music is a product of civilization, is manifest; for though some of the lowest savages have their dance-chants, these are of a kind scarcely to be dignified by the title musical: at most, they supply but the vaguest rudiment of music, properly so called. And if music has been by slow steps developed in the course of civilization, it must have been developed out of something. If, then, its origin is not that above alleged, what is its origin?

Thus we find that the negative evidence confirms the positive, and that, taken together, they furnish strong proof. We have seen that there is a physiological relation, common to man and all animals, between feeling and muscular action; that as vocal sounds are produced by muscular action, there is a consequent physiological relation between feeling and vocal sounds; that all the modifications of voice expressive of feeling are the direct results of this physiological relation; that music, adopting all these modifications, intensifies them more and more as it ascends to its higher and higher forms; that, from the ancient epic poet chanting his verses, down to the modern musical composer, men of unusually strong feelings prone to express them in extreme forms, have been naturally the agents of these successive intensifications; and that so there has little by little arisen a wide divergence between this idealized language of emotion and its natural language: to which direct evidence we have just added the indirect – that on no other tenable hypothesis can either the expressiveness of music or the genesis of music be explained.

And now, what is the function of music? Has music any effect beyond the immediate pleasure it produces? Analogy suggests that it has. The enjoyments of a good dinner do not end with themselves, but minister to bodily well-being. Though people do not marry with a view to maintain the race, yet the passions which impel them to marry secure its maintenance. Parental affection is a feeling which, while it conduces to parental happiness, ensures the nurture of offspring. Men love to accumulate property, often without thought of the benefits it produces; but in pursuing the pleasure of acquisition they indirectly open the way to other pleasures. The wish for public approval impels all of us to do many things which we should otherwise not do, – to undertake great labours, face great dangers, and habitually rule ourselves in ways that smooth social intercourse; so that, in gratifying our love of approbation we subserve divers ulterior purposes. And, generally, our nature is such that in fulfilling each desire, we in some way facilitate fulfilment of the rest. But the love of music seems to exist for its own sake. The delights of melody and harmony do not obviously minister to the welfare either of the individual or of society. May we not suspect, however, that this exception is apparent only? Is it not a rational inquiry – What are the indirect benefits which accrue from music, in addition to the direct pleasure it gives?

But that it would take us too far out of our track, we should prelude this inquiry by illustrating at some length a certain general law of progress; – the law that alike in occupations, sciences, arts, the divisions which had a common root, but by gradual divergence have become distinct, and are now being separately developed, are not truly independent, but severally act and react on one another to their mutual advancement. Merely hinting thus much, however, by way of showing that there are many analogies to justify us, we go on to express the opinion that there exists a relationship of this kind between music and speech.

All speech is compounded of two elements, the words and the tones in which they are uttered – the signs of ideas and the signs of feelings. While certain articulations express the thought, certain modulations express the more or less of pain or pleasure which the thought gives. Using the word cadence in an unusually extended sense, as comprehending all variations of voice, we may say that cadence is the commentary of the emotions upon the propositions of the intellect. This duality of spoken language, though not formally recognized, is recognized in practice by every one; and every one knows that very often more weight attaches to the tones than to the words. Daily experience supplies cases in which the same sentence of disapproval will be understood as meaning little or meaning much, according to the vocal inflections which accompany it; and daily experience supplies still more striking cases in which words and tones are in direct contradiction – the first expressing consent, while the last express reluctance; and the last being believed rather than the first.

These two distinct but interwoven elements of speech have been undergoing a simultaneous development. We know that in the course of civilization words have been multiplied, new parts of speech have been introduced, sentences have grown more varied and complex; and we may fairly infer that during the same time new modifications of voice have come into use, fresh intervals have been adopted, and cadences have become more elaborate. For while, on the one hand, it is absurd to suppose that, along with the undeveloped verbal forms of barbarism, there existed developed vocal inflections; it is, on the other hand, necessary to suppose that, along with the higher and more numerous verbal forms needed to convey the multiplied and complicated ideas of civilized life, there have grown up those more involved changes of voice which express the feelings proper to such ideas. If intellectual language is a growth, so also, without doubt, is emotional language a growth.