Note note 46 — ANALYSIS OF THE PHENOMENA OF THE HUMAN MIND James Mill

46 What the author thinks himself dispensed from either proving or illustrating because he has no doubt that it will be allowed, is, on the contrary, one of the most disputable parts of his theory. That very much of the pleasure afforded by Music is the effect of its expression, i.e. of the associations connected with sound, most people will admit: but it can scarcely be doubted that there is also an element of direct physical and sensual pleasure. In the first place, the quality of some single sounds is physically agreeable, as that of others is disagreeable. Next, the concord or harmony of pleasant sounds adds a further element of purely physical enjoyment. And thirdly, certain successions of sounds, constituting melody or tune, are delightful, as it seems to me, to the mere sense. With these pleasures those of the associated ideas and feelings are intimately blended, but may, to a certain extent, be discriminated by a critical ear. It is possible to say, of different composers, that one (as Beethoven) excels most in that part of the effect of music which depends on expression, and another (as Mozart) in the physical part.

That the full physical pleasure of tune is often not experienced at the first hearing, is a consequence of the fact, that the pleasure depends on succession, and therefore on the coexistence of each note with the remembrance of a sufficient number of the previous notes to constitute melody: a remembrance which, of course, is not possessed in perfection, until after a number of repetitions proportioned to the complexity and to the unfamiliar character of the combination.—Ed.