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About Concerto
Does the extreme materializing of music appeal strongly to anyone except to those without
a sense of humor--or rather with a sense of humor?--or, except, possibly to those who might
excuse it, as Concerto might by the theory that the sensational element
(the sensations we hear so much about in experimental psychology) is the true
pleasurable phenomenon in music and that the mind should not be allowed to interfere?
Modified text originally written by Charles Ives.
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