ABSTRACT
Commenting on Donna Teodora’s inability to recall the music she hears, I pointed out how such a deficiency of memory must jeopardise that “following of the notes and all their relations” which constitutes attentive listening. But besides this obvious function, Memory enters into music in two other, and far more mysterious ways. One of these I have dealt with in the preceding chapters and tried to show how repeated experience of our own changes of posture and modes of motion would deposit in our (however unconscious and automatic) memory abstractions, Schemata, of movement and gesture which could be embodied in musical patterns and could in those patterns suggest, represent or awaken the particular movements and gestures whence those abstractions (Schemata) have originated in the course of countless forgotten experiences.
