limited compass of the instruments. This whole rule, however, is by no means arbitrary, but has its root in the natural source of the tonal system; for the nearest consonant intervals that sound along with the fundamental note by means of its vibrations are the octave and its fifth. Now, in this rule we recognise the analogue of the fundamental characteristic of nature on account of which organised beings are much more nearly related to each other than to the inanimate, unorganised mass of the mineral kingdom, between which and them exists the most definite boundary and the widest gulf in the whole of nature. The fact that the high voice which sings the melody is yet also an integral part of the harmony, and therein accords even with the deepest fundamental bass, may be regarded as the analogue of the fact that the same matter which in a human organism is the supporter of the Idea of man must yet also exhibit and support the Ideas of gravitation and chemical qualities, that is, of the lowest grades of the objectification of will.
That music acts directly upon the will, i.e., the feelings, passions, and emotions of the hearer, so that it quickly raises them or changes them, may be explained from the fact that, unlike all the other arts, it does not express the Ideas, or grades of the objectification of the will, but directly the will itself.
As surely as music, far from being a mere accessory of poetry, is an independent art, nay, the most powerful of all the arts, and therefore attains its ends entirely with means of its own, so surely does it not stand in need of the words of the song or the action of an opera. Music as such knows the tones or notes alone, but not the causes which produce these. Accordingly, for it even the human voice is originally and essentially nothing else than a modified tone, just like that of an instrument; and, like every other tone, it has the special advantages and disadvantages which are a consequence of the instrument that produces it. Now, in this case, that this same instrument, as the
