This usual type of reconciliation, however, is a perfectly mechanical binding together of two possibly conflicting aesthetic demands. The question is of the essential nature of music, not whether music may be, but whether it must be, expressive; not whether is has expressive power, but whether it is, in its essence, expression,--a question which is only obscured by insisting on the interdependence of the two elements. If music has its essential source in the cadences of speech, then it must develop and must be judged accordingly. Herbert Spencer is perfectly logical in saying "It may be shown that music is but an idealization of the natural language of emotion, and that, consequently, music must be good or bad according as it conforms to the laws of this natural language."<1> But what, then, of music which, according to Ambros, is justified by its formal relations? Is music good because it is very expressive, and bad because it is too little expressive? or is its goodness and badness independent of its expressiveness? Such a question is not to be answered by recognizing two kinds of goodness. Only by an attempt to decide the fundamental nature of the musical experience, and an adjustment of the other factors in strict subordination to it, can the general principle be settled. <1> _On Educaiton_, p. 41. The excuse for this artificial yoking together of two opposing principles is apparent when it is seen that form and expression are taken as addressing themselves to two different mental faculties. It seems to be the view of most musical theorists that the experience of musical form is a perception, while the experience of musical expression, disregarding for the moment the suggestion of facts and ideas, is an emotion. Thus Mr. Mason: "In music we are capable of learning, and knowledge of the principles of musical effect can help us to learn, that the balance and proportion and symmetry of the whole is far more essential than any poignancy, however great, in the parts. He best appreciates music...who understands it intellectually as well as feels it emotionally;"<1> and again, "We feel in the music of Haydn its lack of emotional depth, and its lack of intellectual subtlety." <1> Op. Cit., p. 6. It is just this contrast and parallelism of structure as balance, proportion, symmetry, addressed to the mind, with expression as emotional content, that a true view of the aesthetic experience would lead us to challenge. If there is one thing that our study of the general nature of aesthetic experience has shown, it is that aesthetic emotion is unique-- neither a perception nor an intellectual grasp of relations, nor an emotion within the accepted rubric--joy, desire, triumph, etc. Whether or not music is an exception to this principle, remains to be seen; but the presumption is at least in favor of a direct, immediate, unique emotion aroused by the true beauty of music, whatever that may prove to be.