Chapter 2

CHAPTER I

PRELIMINARY CONSIDERATIONS

In approaching the study of any subject we may fairly expect
that this subject shall be defined, although some one has iron-
ically remarked that every definition is a misfortune. Music-
lovers, however, will rejoice that their favorite art is spared such
a misfortune, for it can not be defined. We know the factors of
which music is constituted, rhythm and sound; and we can trace
the historic steps by which methods of presentation and of style
have been so perfected that by means of this twofold material the
emotions and aspirations of human beings may be expressed and
permanently recorded. We realize, and with our inborn equip-
ment can appreciate, the moving power of music; but to define,
in the usual sense of the term definition, what music really is,
will be forever impossible. The fact indeed that music—like
love, electricity and other elemental forces—cannot be defined
is its special glory. It is a peculiar, mysterious power;[1] quite in
a class by itself, although with certain aspects which it shares
with the other arts. The writings of all the great poets, such as
Milton, Shakespeare, Browning and Whitman, abound in elo-
quent tributes to the power and influence of music, but it is
noticeable that no one attempts to define it. The mystery of
music must be approached with reverence and music must be
loved for itself with perfect sincerity.

[Footnote 1: For suggestive comments on this point see the es-