react on each other to their mutual
advancement. Merely hinting thus much, however, by way of showing that
there are many analogies to justify us, we go on to express the opinion
that there exists a relationship of this kind between music and speech.

All speech is compounded of two elements, the words and the tones in
which they are uttered--the signs of ideas and the signs of feelings.
While certain articulations express the thought, certain vocal sounds
express the more or less of pain or pleasure which the thought gives.
Using the word _cadence_ in an unusually extended sense, as
comprehending all modifications of voice, we may say that _cadence is
the commentary of the emotions upon the propositions of the intellect_.
The duality of spoken language, though not formally recognised, is
recognised in practice by every one; and every one knows that very often
more weight attaches to the tones than to the words. Daily experience
supplies cases in which the same sentence of disapproval will be
understood as meaning little or meaning much, according to the
inflections of voice which accompany it; and daily experience supplies
still more striking cases in which words and tones are in direct
contradiction--the first expressing consent, while the last express
reluctance; and the last being believed rather than the first.

These two distinct but interwoven elements of speech have been
undergoing a simultaneous development. We know that in the course of
civilisation words have been multiplied, new parts of speech have been
introduced, sentences have grown more varied and complex; and we may
fairly infer that during the same time new modifications of voice have
come into use, fresh intervals have been adopted, and cadences have
become more elaborate. For while, on the one hand, it is absurd to
suppose that, along with the undeveloped verbal forms of barbarism,
there existed a developed system of vocal inflections; it is, on the
other hand, necessary to suppose that, along with the higher and more
numerous verbal forms needed to convey the multiplied and complicated
ideas of civilised life, there have grown up those more involved changes
of voice which express the feelings proper to such ideas. If
intellectual language is a growth, so also, without doubt, is emotional
language a growth.

Now, the hypothesis which we have hinted above, is, that beyond the
direct pleasure which it gives, music has the indirect effect of
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