art of hearing, and, by bringing together strongly
contrasted musical moments, to afford the musical feeling a strong
incitation, in the hope of awakening in every listener this capacity of
musical delight, when the sense of the beautiful and of the expressive
is appealed to through exquisite tonal incitation.

All the music in these chapters, without exception, has been created
upon musical grounds, since it is the instinctive following out of
musical ideas which has operated through the greater part of them,
while the pursuit of the highly dramatic and strongly marked has had
but a small influence.

The higher musical fancy has many ways of expressing itself or of
elaborating musical ideas, but there are two of its characteristic
modes which the student will do well to observe at the start. These
are what I call the "thematic" and the "lyric." The ordinary
folk-song, which starts off with a melodic phrase, this phrase being
partly answered, followed by a third phrase like the first, and then a
final answer, is the general type of the lyric moment. The thematic is
generally based upon a short phrase or melodic figure, and this figure
is repeated over and over in a variety of ways and different chords and
the like until a complete idea is formed from it. These two modes of
construction are traced at greater length in the concluding essay in
this work on "The Typical Musical Forms," and the student will do well
to fortify himself from time to time by reference to that chapter.

In all the programs of this course there is one caution which the
student will do well to observe: All kinds of technical analysis of
art-works put the hearer in a mood essentially different from that
necessary for properly enjoying the works as art. Every art work is
intended to awaken an artistic delight after its kind. In painting, a
delight in form and color, and in some a kind of suggestion or story by
means of them. In music, a delight in tone and tonal relations and
rhythm, and always a sense of tonal beauty, with a strong flavor of
feeling awakened by means of them. This entire expression of musical
masterworks belongs to the unconscious operation of mind, and the
hearer who occupies himself with the effort to recognize all the
various devices and artifices of the composer, and to follow the form
as such, or who occupies himself mainly with the idea of the story
which the composer is trying to tell, puts himself in a wrong attit