The complete understanding of musical expression involves, finally,
as was suggested at the beginning of this chapter, the recognition of
the analogy that exists between music and the noises produced by nature
and human activities. Through the imitation of their rhythm, force,
and tempo, some of these can be directly suggested by musicians. Yet
this direct suggestion, although employed by the greatest composers,
plays a subordinate part in music, and, since it introduces an element
of representation of the outer world--_tonmalerei_--is usually
felt to involve a departure from the prime purpose of music: the
expression of the inner world through the emotional effects of pure
sound. In the best program music, therefore, the purpose of the composer
is not the mere imitation of nature--which is never art at all, and
in music is always recognized as an unsaesthetic _tour de force_
of mere cleverness--but rather the arousal of the feelings caused by
nature. And as an aid in the expression of such feelings, imitation,
when delicately suggestive rather than blatant, will always play a
part.
There are, however, subtler and remoter analogies between music and
noise, which produce their effects whether the musician wills them or
not. Such, for example, are loud bursts of tone suggesting falling or
crashing, events which usually have a terrifying significance;
crescendoes, suggesting the approach of things, so often full of
expectancy and excitement; diminuendoes, suggesting a gradual departure
or fading away, bearing relief or regret.
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