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It cannot be that the majority of musicians, who are strangely enough the very ones to insist that music is merely the language of emotion, are utterly and essentially wrong. Nor has it been attempted to prove them so. The beauty of music, we have sought to show, grows and flowers out of tone-relations alone, consists in tone-sequences alone.
The half-light wherein the audience is seated, by which they can read in an emergency, is as bright and dark as that of some candle-lit churches. It reveals much in the faces and figures of the audience that cannot be seen by common day. Hard edges are the main things that we lose. The gain is in all the delicacies of modelling, tone-relations, form, and color.