ice sprang up immediately into my imagination
on hearing a performance on the piano or organ. When I imagine music, I
always distinctly hear the notes. Music can no more come into being merely
through the motor sensations accompanying musical performances, than a deaf
man can hear by watching the movements of players. I cannot therefore agree
with Stricker on this point" (comp. Stricker, "Du langage et de la
musique," Paris, 1885).

Of the motor type myself and having a fairly good untrained ear for music,
I find that to memorise a melody, whether played by an instrument or by an
orchestra, I must either try to sing or hum that melody in order to fix it
in my memory. Every time I do this, association processes are being set up
in the brain between the auditory centres and the centres of phonation; and
when I try to revive in my silent thoughts the melody again, I do so best
by humming aloud a few bars of the melody to start the revival and then
continuing the revival by maintaining the resonator in the position of
humming the tune, viz. with closed lips, so that the sound waves can only
escape through the nose; under such circumstances the only definite
conscious muscular sensation I have is from the effect of closure of the
lips; the sensations from the larynx are either non-existent or quite
ill-defined, although I hear mentally the tonal sensations of the melody.
No doubt by closing the lips in silent humming I am in some way
concentrating attention to the sensori-motor sphere of phonation and
articulation, and by reactive association with the auditory sphere
reinforcing the tonal sensations in the mind. The vocal cords (ligaments)
themselves contain very few nerve fibres; those that are seen in the deeper
structures of the cords and adjacent parts mainly proceed to the mucous
glands. This fact, which I have ascertained by numerous careful
examinations, is in accordance with the fact that there are no conscious
kinaesthetic impressions of alterations of position and tension of the vocal
cords. A comparative microscopic examination of the tip of the tongue and
the lips shows a remarkable difference, for these structures are beset with
innumerable sensory nerves, whereby every slightest alteration of tension
and minute variations in degrees of pressure of the covering skin is
associated with messages thereon to the brain. The sense of movement in
articulate speech is therefore explained by this fact. There is every
reas