to music, do not want to be bothered with formal analysis; they want to have their emotions aroused. The analysis of their musical experiences is a very complicated matter and far beyond the scope of this book. There are many people who fear that if they acquired a knowledge of the structural principles of music they would lose all their pleasure in it. They are confirmed in this belief by finding that persons who are learned in the science of music undoubtedly lose pleasure in much that satisfies the emotional requirements of the uninitiated, and may in some cases appear to have lost pleasure in hearing any music at all. The fear is groundless. The character and quality of the pleasure may change, and undoubtedly does change as a result of ripening and decaying age; but no one, even among those who detest all modern music, however sadly he may say _si vieillesse pourrait_, would admit after personal experience that the essential joy of music was destroyed by knowledge. In default of knowledge, the “emotional” group of music-lovers, eagerly desiring to find some significance in the music which they hear, often try to translate it into some other language with which they are more familiar. Some listeners maintain that music gives them positive sensations of colour. There are many who in listening to music consciously construct pictorial images. Others will seek to interpret it as meaning something that could be expressed in terms of literature. Experiments have generally shown that when a number of listeners are asked to give their impressions of the same piece of music agreement hardly ever goes further than to such vague indications of character as the composer himself might give in his conventional Italian directions for performance, except in cases where the composer has deliberately set out to evoke some literary or pictorial image or has employed some well-worn conventional device for the awakening of familiar associations.