The musician allows himself to be easily moved by beauty, and admires
it greatly; but he is not able by himself to achieve the intuition of
the beautiful. He needs the stimulation of external impressions. Just
as some timorous being is awakened by the least noise, the musician is
sensitive to the beauty of the voice and of harmonies. He avoids all
that seems contrary to the laws of harmony and of unity, and enjoys
rhythm and melodies in instrumental and vocal music. After these purely
sensual intonations, rhythm and tunes, he will surely in them come to
distinguish form from matter, and to contemplate the beauty existing in
their proportions and relations. He will have to be taught that what
excites his admiration in these things, is their intelligible harmony,
the beauty it contains, and, in short, beauty absolute, and not
particular. He will have to be introduced to philosophy by arguments
that will lead him to recognize truths that he ignored, though he
possessed them instinctively. Such arguments will be specified
elsewhere.[346]