Chapter I: Preface

The magazine, _Time_, commenting on my new book, _The Psychology of Music_[A], spoke approvingly of the scientific contributions to music, but gibed that, "psychologists have not explained why we love music." As a reply to that I wrote a note, _Why Do We Love Music?_[B] This seemed to call for a wider excursion implementing the views there taken, as in the present Chapter I. That, in turn, led to the writing of the remainder of this volume, in which each chapter deals with some of the salient factors involved in the development of feeling for music.

These ventures digress from my habitual style of writing, as a technical psychologist, in that I frequently indulge in generalizations and predictions in a practical and popular vein. The attempt to interpret and evaluate present tendencies in the region of forward movements in music naturally takes me into unexplored territory and will stimulate questioning on the part of promoters of various interest in the field. I hold no brief for infallibility of the positions taken, except to say that they are my convictions at the present moment. While they are not direct reports of scientific experiments in the laboratory or the studio, they may be regarded as an extension or interpretation based upon scientific experiments and observations. It is hoped that they may serve as hypotheses or at least a challenge for investigation and practical trial. The reader must judge what is new and what is true from his point of view. Many of the things I advocate are in an experimental stage and in advance of current prevailing practice. This is the reason for presenting them. My aim has been to tease out those elements in the musical situation which help to make music function in our lives and be appreciated.

The following chapters have appeared in magazines: Ch. I, _The Etude_ (brief summary); Ch. II, _The Parents' Magazine_; Ch. III, _National Parent Teacher_, under the title, "On Their Musical Way"; Ch. IV, _The School Review_; Ch. VI, _The Scientific Monthly_. For permission to bring these chapters into this volume I herewith express my appreciation to the publishers.

CARL E. SEASHORE,
Iowa City, Iowa,
March 1, 1940.

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Footnote A:

McGraw-Hill, 1938

Footnote B:

Music Educators Journal, Sept. 1938

CONTENTS

Chapter Page

I Why Do We Love Music? 1

The Musical Medium 2

Organic response, 2; Sounds in themselves, 3;
Music proper, 3; Music with words and action,
3; Symbolism, 4.

The Musical Motives 4

Musical knowledge, 5; Musical feeling, 5;
Musical action, 6; Music as play, 7; Musical
imagination, 8; Who loves music?, 8.

Thought Review 10

II Music Before the Age of Six 12

From smile to music, 12; Music in play, 14;
Environment, 15; Music and speech, 16;
Musical talent, 17; Musical education, 18.

Thought Review 19

III Music Between the Ages of Six and Ten 21

A broadened conception of music, 22; The
analysis of talent, 23; Group instruction,
24; Formal lessons delayed, 25; A sympathetic
listener, 26; Music lovers vs. virtuosi, 27.

Thought Review 27

IV Music and Youth 29

Youth, The Age of Music 29

The emotional age, 29; The age of serious
play, 30; The age of decision and
eliminations, 30; The educational age, 30;
The age of leisure, 32.

Music For Youth 34

Music, an academic subject, 34; Orientation
in the grades, 35; Group activities in voice
and instrument, 35; Contests, 36; The hearing
of music, 37.

Thought Review 39

V The Musical Temperament 41

Physiological irritability, 43; Tonal
sensitivity, 43; Artistic license, 44;
Ear-mindedness, 45; Affective response, 45;
The esthetic mood, 46; Exhibitionism, 46;
Symbolism, 47; Precocity, 47.

Thought Review 48

VI Musical Inheritance 50

Essential Premises 50

Psychophysical Measurements 54

Thought Review 59

VII The Future of Musical Instruments 62

Possible Lines of Development 63

The improvement of existing instruments, 64;
New substitutes for existing instruments, 65;
New ensembles, 66.

New Music 67

Playing 69

Specifications for Instrument Construction 70

Pitch, 70; Loudness, 70; Time, 71; Timbre,
71.

Thought Review 72

VIII Praise and Blame in Music 74

Vantage Grounds 75

Artistic insight, 75; The scientific
attitude, 76; Terminology, 76; Musical
talent, 77.

Parties Concerned 77

The pupil, 77; The teacher, 78; The critic,
79; The public, 80.

Thought Review 81