Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- PREFACE -- PART I: "LISTENERS" AND "HEARERS -- I. VARIETIES OF MUSICAL EXPERIENCE -- II. WHAT IS "LISTENING"? -- III. THE EMOTION OF MUSIC -- IV. "COMPLICATIONS" AND "ENTANGLEMENTS -- V. "ANCESTORS OF EMOTION -- VI. EMOTION OF MUSIC VERSUS EMOTIONAL MUSIC -- VII. AESTHETIC CONTEMPLATION: "HIGHER PLANES -- VIII. ACTIVE AND PASSIVE ATTENTION -- IX. EPILOGUE TO "LISTENERS -- PART II: EMOTIONAL RESPONSES -- I. THE POWERS OF SOUND -- II. CECILIA AND "CECILIANS -- III. "AMBIENCE"--IV. CHAOS: THE UNINTELLIGIBLE AND THE OVERHEARD -- V. INTERMITTENCE AND EVOCATION. CASE OF DONNA TEODORA -- VI. MUSICAL MEMORY. A PSYCHOLOGICAL P.S. TO DONNA TEODORA -- VII. AFFECTIVE MEMORY. RIBOT's HYPOTHESIS -- VIII. REFERENCE TO HUMAN PERSONALITY -- IX. PARTICIPATION, INTENSIFICATION, "PASSÉ MORT AND PASSEVIVANT." ELSAAND" THE VIOLINIST" -- X. "EVOCATION OF PAST AND FUTURE" -- HERR WOLFRAM -- "AMIEDE GABRIELLE" -- MME. LOUISE -- YOUNG PEOPLE (FRANCES) -- XI. INTRODUCTION TO "DIONYSIACS." THE CUP OF COMUS -- XII. "DIONYSIACS": FRANZ -- PROFESSOR PAUL -- MASTER HUGUES -- P.S. ON NIETZSCHE -- PART IIII: MAGINATIVE RESPONSES -- I. INTERPRETATION: MUSIC AS ALANGUAGE -- II. LAPSES IN "LISTENING "AND" THINKING OF OTHER THINGS -- III. STIMULATION OF THOUGHT: POETS, NOVELISTS AND PHILO-SOPHERS -- IV. INTERPRETATION AS METAPHOR: CASE OF SPIRIDION -- V. MYSTICAL INTERPRETATION: "THE MICROCOSM RESPONDING TO THE MACROCOSM" -- THE DOCTOR OF PHILOSOPHY -- VI. THE IMAGINARY COMPOSER -- VII. THE POWER OF WORDS -- VIII. INTERPRETATION BY EQUIVALENCE -- IX. SUGGESTION BY MOVEMENT: FRAU MARIA AND BELLA -- X. INTERPRETATION BY "AS IF... -- XI. INTERPRETATION AS ALLEGORY. PICTURES SUGGESTED BY MUSIC -- XII. INTERPRETATION AS DRAMA. CASE OF LADY VENETIA -- PART IV: HAS MUSICA "MEANING"?