Word: hearers
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...convey the impressions of the composer on a visit to Cologne and its second performance took place there in 1851. There are five movements, the first and last being "vivace." The three middle ones are solemn and quiet and the whole leaves a very pleasant impression with the hearer...
...brass. In the middle is introduced a duet for clarionet with a soft accompaniment by the rest of the orchestra. At the end of each variation of the main theme the whole orchestra works up to a climax so that the effect of the whole on the hearer is that of repeated strokes which die away so quietly that their frequency is not unpleasant...
...movement, the exact opposite of the second, is a "scherzo." There is no regular theme, but an entanglement of a lot of minor ideas which produce no impression but that of confusion. The final movement, a theme with variations, is a technical work of little interest to the ordinary hearer...
...confined to the sphere of the auditory perceptions. We have inquired into the sensational basis of music and have considered also the contribution of the imagination of tone to musical effect. But music is more than a fact of hearing; it is a power in the soul of the hearer. We can almost never listen to beautiful textures of notes without being moved and set dreaming by them. These effects upon the emotional and imaginative natures are often regarded as the element of essential value in music. We conclude on the contrary that the aesthetic worth of what...
...more special effects of music upon the hearer may have a source in either association or suggestion. Being in itself moving and beautiful music is our companion at many moments of emotional exaltation, and has further some of its most important uses as adjunct to poetry and the drama. These applications are the source of countless associations of the most varied and powerful kinds...