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.