ABSTRACT
Meanwhile let me recall to the Reader that M. Paulhan, long before the framing of my Questionnaires, had dealt with such “complications,” nay self-contradictions, as are rather unwillingly admitted by many of my Answerers in regard to musical expressiveness, by testifying that he himself was familiar both with a purely and specifically musical emotion and also with a state in which “personal” emotions and even reminiscences are apt to play a part. Moreover, M. Paulhan accounted for this different kind of response to music, by telling us that in his own case the purely musical emotion was replaced by, or “entangled” with, a more human one, either when his attention flagged through fatigue, or when the music happened not to be completely followed, or not yet completely followed owing to its un-familiarity. This distinction made by M. Paulhan, in answer to M. Ribot’s enquiry, has been confirmed more or less explicitly by several Answerers to my Questionnaire. 1
