As I should like to spell the theory now, the musician, for example, counting on the auditory laws, creates a structure he knows the mind will materialize in sounds of a certain kind. The musical score represents the music's form in ink and paper. The disc represents it in wiggles and rounds. The performance troubles the air with the same structures. And our mind hears. But the qualities we taste in wine, touch and feel along the thigh while loving, hear as singing, sniff from the steaming pot, or observe articulate the surface of a painting, are, in fact, relations. Furthermore, the sense of passions or of power, of depth and vibrancy, feeling and vision, we take away from any work is the result of the intermingling, balance, play and antagonism between these: it is the arrangement of blues, not any blue itself, which lets us see the mode it formulates, whether pensive melancholy or thoughtless delight, so one to whom aesthetic experience comes easily will see, as Schopenhauer suggested, sadness in things as readily as smoky violet or moist verdigris.
William Gass, On Being Blue: A Philosophical Enquiry, Nonpareil Books, 1996 (1976, 1ª edição).
On Being Blue: um daqueles livros com o qual quase perdi a paciência e no fim ainda bem que não.