The Wichita daily eagle. [volume] (Wichita, Kan.) 1890-1906, 1903-01-18
HEART IGIN|I
kVD MUSIC
Scientific Study of Effect on
That Organ of Sound.
MELODY AMONG SAVAGES
Great Depression or Violent
Excitation Only Possible.

mind, says twentieth century science.
There is nothing intellectual about it.
There is in souls a sympathy with
sounds said poet hundred odd years
ago.
There is in bodies a sympathy with
sounds, declares a scientist today.
The vibrations in music find an echo in
the vibgrations of the physical human
heart and in the physical human being.
Hence all the world, like Adam Bebe,
feels it ''wondrous harmonies searching
the subtlest .windings of the soul, the
delicate ibres of life where no memory
can penetrate, and binding together the
whole being, past and present, in one
urspeakable vibration
II is the famous DR.. Giuseppe Sergi,
professor of anthropolosy in the Univer-
sity OF Rome, who is the scientist making
the revolutionary declaration on the ma
ture of mushic
He says that when we reflect that
vigorous music, like marches played by
bands, produces visible effects of exalta-
ton, and, in consequence an accelera-
ton of respiration and of the heart, and
increases the muscular energy, and that
gentle melodies do not produce the same
effect, we must admit the valves of
sound have different effects upon the
nerve fibers, and these effects are the
means of exciting the heart and the re-
spiration. The deep changes which are
produced in the functions of certain
organs are communicated to the conscious
centers by the pneumogastric and other
nerves, until the moment when, by means
OF the acoustic nerve, which carries spe-
cial excitations to the upper brain, one
receives consciousness of the sounds, and
las definite perception of them Hence
the emotional intensity of music is due
10 the excitation of the nutritive func-
tons, while the perception of the quality
and of the intensity of the sounds is
produced in the upper part of the brain.
The excitations of pleasure and of pain
are analogous in form to the acoustic
excitations, and hence to the intensity,
the quality the rythm of the sounds par
taking of the melody and harmony. The
movements of the heart and respiratory
organs have an intimate relation with the
rhythm of the melody and of the har-
mony, since the yare influenced rhythmic
ally. They modify their functional rhythm
to the rhythm of the music. In this con-
sists all the mysteries of music.
The esthetic effect of music has no
oerstand sounds and try to make an ex-
PLANTATION. The rhythmical form of mel
ody, of an air played or sung, rises and
falls; it has ascending and descending
gradations; it has slow and rapid varia-
tons. or repetitions and monotones. The
notifications of the heart and respira- /
tons of the pressure of the blood CORE
spond to all these, and also to the dura-
ton of the sound.
These alterations, in so far as they
effect our general feelings and give us /
passionate sentiment for music. are |
unconscious notifications of the visceral
functions, but are conscious in their mus
cal effects. Certain sounds in the pa
hetic sonatas have tones of feeble in /
ensity, which have a depressing effect. |
md produce a slowness in the move
nents of the heart and gentle depres-
ZION. sensation of passionate languor
xalted music, on the contrary, like
marches or dances. produces an accelera-
ion in the heart. This is easy to Sc by
IN examination of the movements of the
heart in relation to musical sounds. In
PATHETIC music melody has a more de-
'ressing effect than the harmony and
he harmony more than the chord and
% on until the most extensive combina-
ions of chords. Grfeek music had but
single melody. Today we have har-
Monies
In the primitive monotone there was
epeated and prolonged tone. In the sim
lest melody there are two tones. Now
{ we recall that the heart makes a COM
'lete beat in a little more than eight
enths Of second and that the contrac-
ions of the ventricles occupy six-tenths
4 that time il is easy TO understand |
hat musical tone must continue longer
han this in order to produce and effect
n the movements of the heart If the
MUSICAL tones are too short and sue
eco each other too swiftly they cannot
reduce corresponding variations in the
cart and consequently must fail to evoke
he sentiments which depend on these
hanges-
In the ancient monotone there was
ontinuous repetition OF a single sound
r single tone. The effects upon the
cart were continuous and without vari-
ton This is why. The primitive music
reduced unfailing results upon the heart
the primitive man. either excessively
epressing or violently exalting The
lusical rhythm during the uniform ex-
ltatioH held the heart in continual and
variable tension. and with the heart ! !
ae respiration. and with both the other
atural consequences in order.
But in passin gto harmony and chords
Is easy TO understand how the greater ,
2riety ef tones must be developed in a {
comparatively brief time; and those who | ;
re not accustomed to the rapid yaria-
ons do not experience any agreeable
IMPRESSIONS Of this complex and varied
lusic-
Popular music. that OF the country. and
rirnitive music among all human races
insists in mono;ones and in melodies.
has an extraordinary influence be-
luse IL prolonEs the disturbances in the
cart and arguments them by accunula-
on OF excitation. They are Oppressive :
the point Of causing tears IL fow- The
usie consists entirety in the repetition =,
enc. OF two. o. OF three tones az the
lost. be il under the form Of ianertz-
ons as for funeral ceremonies. be IL :
: violent strikings OF tanbou-izes.
hieh produce strong excife-erts. and &