hat dances_;[92] it is a translation of spatial movement into sound, and,
as we shall see, its physiological action on the organism is a reflection
of that which, as we have elsewhere found,[93] dancing itself produces,
and thus resembles that produced by the sight of movement. Dancing, music,
and poetry were primitively so closely allied as to be almost identical;
they were still inseparable among the early Greeks. The refrains in our
English ballads indicate the dancer's part in them. The technical use of
the word "foot" in metrical matters still persists to show that a poem is
fundamentally a dance.

Aristotle seems to have first suggested that rhythm and melodies
are motions, as actions are motions, and therefore signs of
feeling. "All melodies are motions," says Helmholtz. "Graceful
rapidity, gravel procession, quiet advance, wild leaping, all
these different characters of motion and a thousand others can be
represented by successions of tones. And as music expresses these
motions it gives an expression also to those mental conditions
which naturally evoke similar motions, whether of the body and
the voice, or of the thinking and feeling principle itself."
(Helmholtz, _On the Sensations of Tone_, translated by A. J.
Ellis, 1885, p. 250.)

From another point of view the motor stimulus of music has been
emphasized by Cyples: "Music connects with the only sense that
can be perfectly manipulated. Its emotional charm has struck men
as a great mystery. There appears to be no doubt whatever that it
gets all the marvelous effects it has beyond the mere pleasing of
the ear, from its random, but multitudinous summonses of the
efferent activity, which at its vague challenges stirs
unceasingly in faintly tumultuous irrelevancy. In this way, music
arouses aimlessly, but splendidly, the sheer, as yet unfulfilled,
potentiality within us." (W. Copies, _The Process of Human
Experience_, p. 743.)

The fundamental element of transformed motion in music has been
well brought out in a suggestive essay by Goblot ("La Musique
Descriptive," _Revue Philosophique_, July, 1901): "Sung or
played, melody figures to the ear a successive design, a moving
arabesque. We talk of _ascending_ and _descending_ the gamut, of
_high_ notes or _low_ notes; the; higher voice of woman is called
_soprano_, or _above_, the deeper voice of man