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This principle of the motor image is of tremendous significance, as we shall see, for the whole theory of music. Let it be sufficient to note here that expression, in the form of Gestaltsqualitat, or motor image, is, as a principle, sufficient for the explanation of the most important factors in the experience of rhythm. But we have dwelt too long on the general characteristics.
It is clearly possible to substitute for "elevating excitement," immediate musical feeling of the individual. What is the meaning of "feeling," "impression," here? It is the power of entering into a Gestaltsqualitat a motor group, a scheme in which every element is the mechanical cue to the following.
The motor tension, the "set" becomes felt the moment there is objective interference just as we feel the rhythm of our going downstairs only when we fail to get the sensation we expect. <1> M. Lussy, Traite de l'Expression Musicale, Paris, 1874, p. 7. <2> Gestaltsqualitat, literally form-quality.
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