To account for this, two sources of explanation suggest themselves. First, the arousing of emotions through deep-lying effects of rhythm. It is a well-known fact, cited in most discussions of this subject, that the motor mechanism of the body is somehow attuned to rhythm. When we hear rhythmical sounds, we not only follow them with the attention, we follow them also with our muscles, with hand and foot and head and heart and respiratory apparatus. Even when we do not visibly move in unison with the rhythm--as we usually do not--we tend to do so, which proves that in any case the motor mechanism of the body is stimulated and brought into play by the sounds. There is a direct psychophysical connection between the hearing of rhythmic sounds and the tendency to execute certain movements. But there is an equally direct relation between emotions and tendencies to movements, through which the former find expression and are given effect in the outer world. To every kind of emotion--love and hate and fear and sorrow and joy--there corresponds a specific mode of motor manifestation. The connection between rhythmic sound and emotion is therefore plain; the link is a common motor scheme. Rhythms arouse into direct and immediate activity the motor "sets" that are the physical basis of the emotions, and hence arouse the corresponding emotions themselves, without any ground for them outside of the organism. And these emotions, since they are aroused by the sounds and not by any object to which they might be directed and upon which they might work themselves off in a meaningful reaction, are interwoven into the sounds,--they and the sounds come to us as a single indissoluble whole of experience. The emotions become the content of the sounds. And hence the strangeness of the musical experience--the fact that we feel so deeply over nothing.