The Expression of Emotion in Man and Animals [37]
to be due to its quickness or slowness of movement-- to smoothness of flow, loudness of utterance, and so on--we are, in fact, interpreting the muscular actions which produce sound, in the same way in which we interpret muscular action generally. But this leaves unexplained the more subtle and more specific effect which we call the MUSICAL expression of the song-- the delight given by its melody, or even by the separate sounds which make up the melody. This is an effect indefinable in language-- one which, so far as I am aware, no one has been able to analyse, and which the ingenious speculation of Mr. Herbert Spencer as to the origin of music leaves quite unexplained. For it is certain that the MELODIC effect of a series of sounds does not depend in the least on their loudness or softness, or on their ABSOLUTE pitch. A tune is always the same tune, whether it is sung loudly or softly, by a child or a man; whether it is played on a flute or on a trombone. The purely musical effect of any sound depends on its place in what is technically called a `scale;' the same sound producing absolutely different effects on the ear, according as it is heard in connection with one or another series of sounds.
[4] Mr. Tylor (`Primitive Culture,' 1871, vol. i. p. 166), in his discussion on this subject, alludes to the whining of the dog.
[5] `Naturgeschichte der Saugethiere von Paraguay,' 1830, s. 46.
[6] Quoted by Gratiolet, `De la Physionomie,' 1865, p. 115.
"It is on this RELATIVE association of the sounds that all the essentially characteristic effects which are summed up in the phrase `musical expression,' depend. But why certain associations of sounds have such-and-such effects, is a problem which yet remains to be solved. These effects must indeed, in some way or other, be connected with the well-known arithmetical relations between the rates of vibration of the sounds which form a musical scale. And it is possible--but this is merely a suggestion--that the greater or less mechanical facility with which the vibrating apparatus of the human larynx passes from one state of vibration to another, may have been a primary cause of the greater or less pleasure produced by various sequences of sounds."
But leaving aside these complex questions and confining ourselves to the simpler sounds, we can, at least, see some reasons for the association of certain kinds of sounds with certain states of mind. A scream, for instance, uttered by a young animal, or by one of the members of a community, as a call for assistance, will naturally be loud, prolonged, and high, so as to penetrate to a distance. For Helmholtz has shown[7] that, owing to the shape of the internal cavity of the human ear and its consequent power of resonance, high notes produce a particularly strong impression. When male animals utter sounds in order to please the females, they would naturally employ those which are sweet to the ears of the species; and it appears that the same sounds are often pleasing to widely different animals, owing to the similarity of their nervous systems, as we ourselves perceive in the singing of birds and even in the chirping of certain tree-frogs giving us pleasure. On the other hand, sounds produced in order to strike terror into an enemy, would naturally be harsh or displeasing.
Whether the principle of antithesis has come into play with sounds, as might perhaps have been expected, is doubtful. The interrupted, laughing or tittering sounds made by man and by various kinds of monkeys when pleased, are as different as possible from the prolonged screams of these animals when distressed. The deep grunt of satisfaction uttered by a pig, when pleased with its food, is widely different from its harsh scream of pain or terror. But with the dog, as lately remarked, the bark of anger and that of joy are sounds which by no means stand in opposition to each other; and so it is in some other cases.
There is another obscure point, namely, whether the sounds which are produced under various states of the mind determine the shape
[4] Mr. Tylor (`Primitive Culture,' 1871, vol. i. p. 166), in his discussion on this subject, alludes to the whining of the dog.
[5] `Naturgeschichte der Saugethiere von Paraguay,' 1830, s. 46.
[6] Quoted by Gratiolet, `De la Physionomie,' 1865, p. 115.
"It is on this RELATIVE association of the sounds that all the essentially characteristic effects which are summed up in the phrase `musical expression,' depend. But why certain associations of sounds have such-and-such effects, is a problem which yet remains to be solved. These effects must indeed, in some way or other, be connected with the well-known arithmetical relations between the rates of vibration of the sounds which form a musical scale. And it is possible--but this is merely a suggestion--that the greater or less mechanical facility with which the vibrating apparatus of the human larynx passes from one state of vibration to another, may have been a primary cause of the greater or less pleasure produced by various sequences of sounds."
But leaving aside these complex questions and confining ourselves to the simpler sounds, we can, at least, see some reasons for the association of certain kinds of sounds with certain states of mind. A scream, for instance, uttered by a young animal, or by one of the members of a community, as a call for assistance, will naturally be loud, prolonged, and high, so as to penetrate to a distance. For Helmholtz has shown[7] that, owing to the shape of the internal cavity of the human ear and its consequent power of resonance, high notes produce a particularly strong impression. When male animals utter sounds in order to please the females, they would naturally employ those which are sweet to the ears of the species; and it appears that the same sounds are often pleasing to widely different animals, owing to the similarity of their nervous systems, as we ourselves perceive in the singing of birds and even in the chirping of certain tree-frogs giving us pleasure. On the other hand, sounds produced in order to strike terror into an enemy, would naturally be harsh or displeasing.
Whether the principle of antithesis has come into play with sounds, as might perhaps have been expected, is doubtful. The interrupted, laughing or tittering sounds made by man and by various kinds of monkeys when pleased, are as different as possible from the prolonged screams of these animals when distressed. The deep grunt of satisfaction uttered by a pig, when pleased with its food, is widely different from its harsh scream of pain or terror. But with the dog, as lately remarked, the bark of anger and that of joy are sounds which by no means stand in opposition to each other; and so it is in some other cases.
There is another obscure point, namely, whether the sounds which are produced under various states of the mind determine the shape