Just as thoughts can be symbolized pictorially in hypnagogic hallucinations, so can musical motives undergo transformation into visual incidents. Sterba describes two of his own hypnagogic experiences in both of which movement appeared as the conspicuous unifying factor between musical and visual processes. This common denominator proves once more that pleasure in motion is the essence of the musical experience.

An attempt is made to understand psychoanalytically the feeling derived from music. The movement factor in music brings about 'not only a regression to early infantile kinesthetic pleasure, but also the intense pleasure of experiencing the dissolution of barriers between the self and the outside world'. In music one's own movement is felt as simultaneously sympathetic with movement in the outside world. Through this kinesthetic pleasure music, which has the