ABSTRACT
Throughout my previous chapters I have gone on the plan of first presenting the simpler aspects of our subject, and only gradually adding the complicating factors. Thus I have written as if divided attention must always be divagation, either “allied thoughts” or utter irrelevancies, something distinguishing “Hearers” from “Listeners.” I have treated musical attention as one and indivisible, so that “meanings,” “messages,” “human references,” “affective participation” and “personal reminiscences,” “evocations,” “mental pictures,” “allegorical comparisons” and everything treated by me as “Interpretation” were always questions of greater or lesser lapses from “listening.”
