some respects—a point I have fully dealt with elsewhere—and that they considered it unnecessary to associate colour with music in order to enhance and increase the emotional influence of the latter upon the hearers or spectators.
This view is based upon a misapprehension. I have never asserted or thought that all, or even most, forms of music would gain by being associated with or accompanied by mobile colour. My contention has been, and still is, that mobile colour, if not always used as a separate art, may with advantage be associated with music in compositions in which each gives and sacrifices something in order to produce a combined art, and occasionally also may be used as an addition to already existing musical works, which seem to allow of this. There is a very obvious precedent for this in opera, in which the musical score sacrifices something to the words and action, and, on the other hand, the latter concede a good deal to the music, so that a co-partnership is established of mutual benefit. I think upon reflection it will be admitted that there is a good
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