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 is called _bass_. _Grave_ tones were so called by the Greeks because they seemed heavy and to incline downward. Sounds seem to be subject to the action of gravity; so that some rise and others fall. Baudelaire, speaking of the prelude to _Lohengrin_, remarks: 'I felt myself _delivered from the bonds of weight_.' And when Wagner sought to represent, in the highest regions of celestial space, the apparition of the angels bearing the Holy Grail to earth, he uses very high notes, and a kind of chorus played exclusively by the violins, divided into eight parts, in the highest notes of their register. The descent to earth of the celestial choir is rendered by lower and lower notes, the progressive disappearance of which represents the reascension to the ethereal regions.