I begin with music because, as we shall see, there is a musical factor in all the arts, an understanding of which at the beginning will enable us to proceed much more easily in our survey of them. I shall confine myself to an elementary analysis; for a more detailed study would take us beyond the bounds of general aesthetics and would require a knowledge of the special technique of the arts which we cannot presuppose. Moreover, we shall not concern ourselves with the origin or history of the arts further than is needful for an understanding of their general character. We are investigating the theory, not the history, of taste, and are more interested in the present developed aesthetic consciousness than in its rudimentary forms. As we appreciate it to-day, music lends itself readily to our definition of art. It is a personal expression--who, when listening to music which he enjoys, does not feel himself poured forth in the tones? It is social and public--what brings us together under the sway of a common emotion more effectively than concert or opera? It is a fixed and permanent expression, for we can renew it so long as men preserve the score where it is written; and, finally, it is free--who can find any practical or moral or scientific purpose in an etude of Chopin or a symphony of Mozart? Music is the most signal example of a mode of expression that has attained to a complete and pure aesthetic character, an unmixed beauty. Yet this was not true of music in its earlier forms, and a long process of development was necessary before freedom was realized. For we must look for the beginning of music in any and all sounds through which primitive men sought to express and communicate themselves. These were, first of all, the cries of the human voice, expressive of fear and need and joy--at once direct outpourings of basic emotions and signals to one's fellows, to help, to satisfy, and to sympathize. In the voice nature provided man with a direct and immediate instrument for the expression and communication of himself through sound. Then, perhaps by accident, man discovered that he could make sounds in other ways, through materials separate from his body, and so he constructed drums and cymbals and gongs; and by means of these, too, he communicated his needs and stimulated himself to rage and excitement--and his enemy to fear--in war dance and battle rush. And in doing this he was imitating nature, whose noises, exciting and terrifying, he had long known: the clap of thunder, the whistle of the wind, the roar of the waves, the crackling of burning wood, the crash of fallen and breaking things.