-bound structure. Leaving aside issues such as creative or commercial musical expertise and focusing on music as a fait accompli, it can be said, following Langer (1953) that the "import" of music "is the pattern of sentience--the pattern of life itself, as it is felt and directly known . . . and the sensuous character of each element is affected by its function in the complex whole" (p. 31).
Langer (1976) says that the "vital problem" of music aesthetics "is one that involves the entire logic of symbolism. It is a logical problem of art" (p. 218; emphasis in original). Music's logical form imparts a "connotative relationship" between itself and subjective experience (Langer, 1976, p. 228). Music does not impart specific content, but presence of content may be suggested by music as in no other artistic medium. Langer (1976) quotes Wagner's statement that music expresses "just what is unspeakable in verbal language" (p. 235). Clark (1969) remarks that the power and prestige of opera derive from its apparent irrationality: "'What is too silly to be said may be sung'--well, yes; but what is too subtle
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