“The verbal titles which aim at summing up the expression of certain compositions, however interesting, are so adventitious that they have often been suggested by instead of suggesting the music; and a hundred auditors, if left to guess the title for themselves, would originate a hundred new ones.”[40] Music can evoke specific emotions only when people have been conditioned to it. The “Horst Wessel” song would not stir Americans to hatred unless they could identify the title with the song and its significance. Even then, the degree of hatred or contempt for the music would be variable. Edwin Franko Goldman’s “On the Farm” can leave little doubt in any one’s mind as to its subject matter, but with the exception of such very obvious music, or music to which we have been emotionally conditioned, music cannot paint blue skies or green pastures. What then are the feelings most frequently excited by music? According to Schoen[72]: “The data show that rest, sadness, joy, love, longing and reverence appear most frequently as the effects produced. Vocal music has a tendency to arouse well-defined emotional effects far more often than instrumental, the probability being that the specific emotional effect is due in the main to the words.” The conclusions of Schoen on mood changes in a tested group sum up the relationship between mood changes and enjoyment. Thus for practical purposes we want to know not only whether a musical composition produces a mood change in the listener, but also what is of greater significance, whether the induced mood is also enjoyed, and to what degree this enjoyment might depend on such factors as the type of mood induced. The listener’s familiarity with the selection, and his judgment of the quality of the selection, are also important. The results of a large series of observations show as a rule, that music produced a mood change in every listener, or that an existing mood was intensified when it conformed with the mood of the music. The tendency of the same composition to produce the same mood in every listener was very marked. The degree of enjoyment derived from the musical composition was in direct proportion to the intensity of the mood effect produced, provided this effect was not due to the conditions of the performance, such as a poor intonation or faulty interpretation. “No greater amount of enjoyment was derived from one type of mood than from another type, unless the mood was due to dislike of the specific type of music or to a poor performance. But when the mood change was from joyful to serious, the enjoyment seemed to be slightly less than when the change was from serious to joyful, provided the hearer was not hampered by a knowledge of the critical estimate of the music to which he was listening or by faulty interpretation. The evaluation of the quality of the musical composition was in direct proportion to the intensity of enjoyment.” III OTHER CONDITIONING FACTORS