How Can Music Seem to be Emotional?

Preliminary

Let me make some preliminary remarks about my question. First, the distinction employed in it, the distinction between seeming and reality, comes in two forms. The first is inclusive. A thing that really is so-and-so also seems to be so-and-so. The butler really is guilty and seems guilty as well. The second is exclusive. A thing that is really not so-and-so seems to be so-and-so. The butler is really not guilty but seems to be guilty. The distinction that underlies my question is of the exclusive form.

Second, the music I ask about is not music as read from scores on paper or held in memory. Nor is it music that contains linguistic elements-words or gestures as in song, opera, ballet, etc. Rather, it is purely instrumental music, and that as perceived or heard.

Third, the emotions I refer to are not physiological conditions that may cause them, nor the behavior that may express them, but the conscious feelings we find in ourselves when we are undergoing emotion.

The Problem

Persons (perhaps even the lower animals) can seem to be, without really being, emotional. They are pretending, or we perceive mistakenly. There is no difficulty, in principle, in explaining the situation. But there would be if they were sculptured persons only-that is, if they could not possibly be emotional. A sculpture cannot seem to be emotional by pretending it; nor can we perceive mistakenly that it is emotional when we know that it is a sculpture only.

Much music is like sculpture. Not personal, we know that it cannot really be emotional. None-the-less, we hear the wedding march from Mendelssohn's music for A Midsummer Night's Dream as joyful, the second movement of Chopin's Sonata in B-flat Minor as sorrowful, "The Great Fugue" as grimly resigned, the first movement of the first Razumowski as hopeful, etc. How can this be so? How can music seem to be emotional?

I look for an answer to this question, first, within the perception, the hearing of music, and then, without it in its meaning. If seeming emotionality is found in either place, I shall have answered the question. And now, for the first place.

The Perception

In sense perception there are two major constituents.¹ One is awareness; the other is the object of awareness. Awareness occurs in all the kinds of consciousness-in remembering, imagining, dreaming, and thinking, for example, as well as in sense perception. In this last, it is brought about by operation of the senses; while in the others, that operation plays no direct part. But although it differs in its cause, awareness in sense perception is precisely the same, considered in itself, as it is in all the other kinds of consciousness, considered in themselves.

What is awareness? It cannot be explained, as many notions can, by eliciting its parts. To understand what squareness is, for example, we need only bring forward the parts that constitute it: four straight lines equal in length, four right angles, and closed plane figure. But awareness has no parts and cannot be explained in this way. To call attention to its simplicity and its identity in all kinds of consciousness, indeed, is all that can be done to explain it though we might add the simile that likens awareness to the light that brings things before our minds out of the dark that conceals them in its absence.

Now, hearing is a kind of sense perception-the kind that occurs by virtue of operation of the auditory organs; and music heard is one of the objects of auditory awareness. Can we understand how this object can seem to be emotional by appeal to the awareness of it? If that awareness seemed to exist and did not really do so, the answer would be that we cannot since the awareness of it...