“Of all the arts, music makes the most direct appeal to the emotions and to those shadowy, but real portions of our being called the imagination and the soul. Emotion is as indispensible to music as love to religion.”

Original: (it) La musica entra nell'anima nel momento in cui il suono genera emozione.
Source: prevale.net

Original: (it) Siamo una continua danza di emozioni uniche, ci osserviamo, ci sfioriamo e amiamo perderci nel sentiero musicale della nostra anima.
Source: prevale.net

The Principles of Success in Literature (1865)
Context: In Science the paramount appeal is to the Intellect — its purpose being instruction; in Art, the paramount appeal is to the Emotions — its purpose being pleasure. A work of Art must of course indirectly appeal to the Intellect, and a work of Science will also indirectly appeal to the Feelings; nevertheless a poem on the stars and a treatise on astronomy have distinct aims and distinct methods. But having recognised the broadly-marked differences, we are called upon to ascertain the underlying resemblances. Logic and Imagination belong equally to both. It is only because men have been attracted by the differences that they have overlooked the not less important affinities.

Original: (it) La musica domina le emozioni.
Source: prevale.net

From the interview «Carlo Prevale: il DJ che trasmette emozioni con le sue canzoni!» http://www.prevale.net/news-and-releases.html, Corriereinformazione.it
Original: (it) [Cosa pensi della pirateria musicale?] Uccide la musica! Quindi, tutto ciò che è pura emozione.
Source: From the interview by Federico Valenti, «Carlo Prevale: il DJ che trasmette emozioni con le sue canzoni!», Corriereinformazione.it, August 22, 2010; on Prevale.net http://www.prevale.net/news-and-releases.html.

Original: (it) Essere un produttore musicale è una missione. Non vuol dire creare musica per stare al passo con i tempi, ma ideare canzoni per trasmettere emozioni.
Source: prevale.net

Propositions, 2
also in a letter to 'The World', London 22 Mai, 1878; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 186
1870 - 1903, The Gentle Art of Making Enemies' (1890)

"Introduction" of Four Screenplays (1960). <!-- Simon & Schuster -->
Context: When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically.