natural partial vibrations of such bodies. "The human voice," Wallaschek<1> tells us, "equally admits of any pentatonic or heptatonic intervals, and very likely we should never have got regular scales if we had depended upon the ear and voice only. The first unique cause to settle the type of a regular scale is the instrument." To this material we have to apply only that "natural persuasion of the ear" which we have already explained, to account for the full development of music. <1> _Primitive Music_, 1893, p. 156. The beauty of music, in so far as beauty is identical with pleasantness, consists in its satisfaction of the demands of the ear, and of the whole psychophysical organism as connected with the ear. It is now time to return to a thread dropped at the beginning. It was said that a common way of settling the musical experience was to make musical beauty the object of perception, and musical expression the object, or source, of emotion. This view seems to attach itself to all shades of theory. Hanslick always contrasts intellectual activity as attaching to the form, and emotion as attaching to the sensuous material (that is, the physical effects of motion, loud or soft sound, tempo, etc.). He speaks of the aesthetic criterion of INTELLIGENT gratification. "The truly musical listener" has "his attention absorbed by the particular form and character of the composition," "the unique position which the INTELLECTUAL ELEMENT in music occupies in relation to FORMS and SUBSTANCE (subject)." M. Dauriac in the same way separates the emotion of music<1> as a product of nervous excitations, from the appreciation of it as beautiful. "It is probably that the pleasure caused by rhythm and color prevails with a pretty large number, with the greatest number, over the pleasure in the musical form, pleasure too exclusively PSYCHOLOGICAL for one to be content with it alone....The musical sense implies the intelligence....The theory...applies to a great number of sonorous sensations, and not at all to any musical perceptions." Mr. W.H. Hadow<2> tells us that it is the duty of the musician not to flatter the sense with an empty compliment of sound, but to reach through sensation to the mental faculties within. And again we read "the art of the composer is in a sense the discovery and exposition of the INTELLIGIBLE relations in the multifarious material at his command."<3> <1> "Le Plaisir et l'Emotion Musicale," _Rev. Philos._, Tome 42, No. 7. <2> Op. cit., p. 47. <3> Grove's _Dict._ Art. "Relationship."