THE ARTS AND RELIGION 267 



nates all the higher psychic processes is possibly due 

 to radiations of energy from the auditory projection 

 centers in the cerebrum to other parts of the cortex, 

 which may, in this manner, be temporarily inhibited 

 and thus bring about the psychical concentration 

 which music induces. 



The art of music, operating as it does in time, is 

 far more difficult to trace in its origin than the art 

 of painting, which, operating in space, may leave us 

 visible and tangible records. We are quite without 

 the means of knowing under what influences the first 

 rude strains, sufficiently systematized in respect to 

 rhythm and pitch to give them somewhat of musical 

 quality, made their way into existence. It seems 

 likely that certain tones of the savage human voice, 

 uttered in response to emotions of joy or triumph or 

 terror or pain, formed the rude basis of somewhat 

 conventionalized sequences of sounds, which though 

 recorded only in some primitively trained minds, 

 could be handed on from one generation to another, 

 thus growing in time, by simple accretions, into tribal 

 or folk songs. It is likely, too, that from the earliest 

 times of musical expression song subserved the emo- 

 tional side of man's nature far more than painting 

 did, and that, like language itself, the musical art, 

 even in its crudest stages, voiced the many-sided 

 needs and powers of man. 



The human voice lends itself with the utmost ease 

 to the expression of emotion, and there is, accordingly, 

 the closest physiological similarity between the pro- 



