The emotional dimension is of course at the heart of music. I actually think that music is the language that best expresses our emotional reality. When we like a music, the wave moving inside us is indeed emotion. And from there, the body can also react, its expression may vary between the most transcendantal dancing and total relaxation.With regards to our mind, it will enjoy the colours of the different feelings aroused by these emotions and spark some memories, stimulate dreams, release some stress or provide an escape. Emotion is therefore at the centre of the impact music has on us.

Referring back to our image of the five layers of the being, we can see that the emotional level is exactly in the middle, lying between our physical body and our mind. Consequently, emotion is a dimension of our reality and is both rooted in our mind and body. It is interesting to observe that, beyond the external forms of each type of music, we end up with two main functions of music : one urges the emotion out of ourselves, the other urges the emotion deeper inside ourselves. One is outgoing, towards the body, and the other pushes us inside ourselves.

Western music’s essential function is to bring our feelings out. Indian music, for its part, mixes these two emotional functions of music with long introductions that are only melodic and with an internalizing purpose, followed by increasingly rythmic and exteriorizing compositions.

The internalizing function is special in that it does not arouse emotions in the individual to bring them to the surface and go out, but rather to help him go inside himself and meet his own emotions and depths.

Once again, I would point out that even if all musicis filled with emotion, it does not mean that the conscience of this is always valued. I was personally very impressed by the way Indian culture could integrate this conscience of the emotional dimension to its music education and I am convinced that for a musician, focusing on this dimension allows broadening both the perception of what he listens to and the control of what he tries to convey when he plays.