ABSTRACT
Our “Listeners” have made us familiar with their “Emotion of Music.” however much occasionally such “just music” may be “streaked.” “veined” or “complicated” with human feeling. On the other hand, the discussion especially of the answers given by Elsa and “The Violinist,” of whether music makes us participate in a human emotion or merely recognise its character, has shown us how human, indeed personal, emotion may influence musical responsiveness and be influenced thereby. I have even shown reason to believe that it may be the “just music” habit of thorough-paced “Listeners,” i.e. their active following of the “notes in all their relations,” which is freeing them from the passive subjection (with consequent “evocation”) to those “Powers of Sound” which might otherwise dominate their highly developed musical sensitiveness, and which is thereby substituting for what we have learned to know under “Affective Responses,” a more or less undivided “Emotion of Music.”
