intelligible.

[Footnote 15: Such is the deduction which I draw from recent theories
of harmony. See in this connection _Neue musikatische Theorien und
Phantasien_ (Stuttgart, 1906), sec. 40. Also Louis and Thuille,
_Harmonielehre_ (1908), especially Pt. I., ch. 6. The idea can be
traced back to Hauptmann.]

Helmholtz has observed that there is much more in a musical sound than
its mere _timbre_, and Wagner has noticed how every musical
instrument has not only its vowel sound, or _timbre_, but also
its peculiar consonant. We need not go so far as to connect the flute
with an "f," the trumpet with a "t," etc., since the instrumental
consonants need not conform exactly with those of the alphabet; it is
enough that each instrument has its own characteristic way of
attacking the tone. So we gain the idea of articulation; the point of
its entry into the musical expression marks the beginning of
_language_.

Hitherto the expression has been, as we have seen, purely lyric; the
lower animals have no other. But as man rises out of his bestial
condition and acquires reason his wants become more numerous and
diverse. The mere expression of his inner feelings no longer suffices;
he differentiates objects in the external world, and needs
sounds--names--to express them. For this he utilizes the newly
developed faculty of language. It is the most momentous crisis of his
development, the point where he becomes a human being, severed by a
wide gap from other animals, and incomparably above them. The mark of
language has from the first rightly been made the _crux_ of the
theory of the evolution of man; it is the natural inevitable outcome