artificial tones, which by habit suggest certain agreeable passions. For
the same combination of notes and tones do not excite devotion, love, or
poetic melancholy in a native of Indostan and of Europe. And "the
Highlander has the same warlike ideas annexed to the sound of a bagpipe (an
instrument which an Englishman derides), as the Englishman has to that of a
trumpet or fife," (Dr. Brown's Union of Poetry and Music, p. 58.) So "the
music of the Turks is very different from the Italian, and the people of
Fez and Morocco have again a different kind, which to us appears very rough
and horrid, but is highly pleasing to them," (L'Arte Armoniaca a Giorgio
Antoniotto). Hence we see why the Italian opera does not delight an
untutored Englishman; and why those, who are unaccustomed to music, are
more pleased with a tune, the second or third time they hear it, than the
first. For then the same melodious train of sounds excites the melancholy,
they had learned from the song; or the same vivid combination of them
recalls all the mirthful ideas of the dance and company.

Even the sounds, that were once disagreeable to us, may by habit be
associated with other ideas, so as to become agreeable. Father Lasitau, in
his account of the Iroquois, says "the music and dance of those Americans,
have something in them extremely barbarous, which at first disgusts. We
grow reconciled to them by degrees, and in the end partake of them with
pleasure, the savages themselves are fond of them to distraction," (Moeurs
des Savages, Tom. ii.)

There are indeed a few sounds, that we very generally associate with
agreeable ideas, as the whistling of birds, or purring of animals, that are
delighted; and some others, that we as generally associate with
disagreeable ideas, as the cries of animals in pain, the hiss of some of
them in anger, and the midnight howl of beasts of prey. Yet we receive no
terrible or sublime ideas from the lowing of a cow, or the braying of an