UNIVERSITY LIBRARY
MUSIC
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THE THOUGHT
IN MUSIC
MACMILLAN AND
LONDON
THE MACMILLAN
CO. OF TORONTO
CANADA,
Ltd.
THE THOUGHT
IN MUSIC
AN ENQUIRY INTO THE PRINCIPLES OF MUSICAL RHYTHM, PHRASING AND EXPRESSION
BY
JOHN
B.
McEWEN,
M.A.
For the essence of all artistic beauty is Expression, which cannot be where there is really nothing to be expressed the line, the colour, the word " (the sound) " following obediently and with minute scruple,
' :
MACMILLAN AND
ST.
1912
CO.,
LIMITED
COPYRIGHT
PREFACE
This book is an attempt to formulate a definite basis on which the musical facts underlying the principles
of shape in musical structure
codified.
may be
correlated and
That these
fore
of the operation of
late these
conception which
so requires no absolute
We, who
realise in
two contrasted
sides of
human
it is
activity, is a
is
far as the
musician
concerned
proof, even if
incapable of
such.
and beautiful art, its ways and accompanies its which necessity aflPections, that the manifestations is due, not to caprice or accident, but
practise this sensitive
to
human mind.
In
all its
manifesta-
the musical sound in a greater or in a less degree expresses something which is in agreement with the fundamental constitution of the human mind, and expresses this in a way sympathetic to, and conditioned
by, the nature
of consciousness
itself
That we
vi
art,^ is
PREFACE
an opinion which the course of evolution, as we can trace it, corroborates ; but although future necessary developments may enlarge the scope of
music a thousand-fold, we
expresses
feel
that even
now
it
states and movements of consciousness which are too subtle and delicate, while at the same
The
first
book form
a general
and theory on which the whole is based. the work is concerned with the restatement of this theory from the point of view of the practical musician, and its development and illusprinciples
The remainder of
tration
by
it
main
thesis
from Professor C.
express
my
My
for
also
McE.
London, /,
1912.
CONTENTS
PART
CHAP.
I.
Introductory
-3
II.
The
Psychological Basis of
Indication
Rhythm
of
III.
--.._.
PART
II
_ _
Musical
27
Metre
Tempo
^g
56
68
V.
VI.
VII.
VIII.
The Unit
The Unit
of of
Thought
Thought
{cont.)
80
91
Shape in Music
IX. Phrase-Construction
97
-
X.
The Abnormal
Phrase
etc.
121
-
XL
154
viii
CONTENTS
PJRT
III
PAGE
XII.
The Development
Harmony
of
-
Tonality
-
and
-
167
XIII.
The
---A
B
-
--180
202
226 228
.
230
PART
I.
CHAPTER
>
I.
INTRODUCTORY.
Consciousness, in the widest sense of the term,
generally
is
conceived under
associated with
'a
three
aspects,
each
of
which
is
from those
identified with
These
three
Knowing and
^
Feeling:
The
physical
underlying
these
but the realisation of these different aspects in which mental activity shows
itself is a universal experience.
The mind
the
senses,
is
and involving an
receive Impression.
proceeding
inwards,
we
Reaction
to
Impression
takes
the
form of an
activity ,which
which we
call
Expression.
1
Bain,
4
All
THE THOUGHT
human The
activity
IN MUSIC
and
is
ch.
which
aiFects
concerned
is
Expres-
who builds a ship or an engine, the mathematician who manipulates numbers and relations of numbers, the musician who controls and
arranges
all
Willing,
Knowing and
though
Feeling.
and proportions.
In
in
may predominate,
Some forms
;
involuntary
others,
of the
will
some forms
may seem
non-existent.
is
Artistic expression
that
form
in
which
all
three
;
functions co-operate on
more or
less
equal terms
in
which
control
intellect
of the
while
where
intellect
supplies
the
form,
emotion
supplies
the
content.
emotional content
The
is
expressed, and
understood and assimilated by those to wl^om that form is intelligible- Each is complementary to the
other and necessary to the whole.
INTRODUCTORY
Of
all
the
arts,
music
is
that in
which expression
This
is
is
most
vital,^
so
we
it
behind the
processes
and underlying
are
the
of
it,
A
time.
musical structure
is,
in
the
first
instance, an
aggregation
It
is,
of sounds arranged
in every case,
in
successions in
vocal
effort
up
to
a becoming.
Form
on such a progression,
to
1
is
two principles
" Music
is,
as
the
name
drift
all
us to recognise
the summit of
art,
at
which
art
aims.
This dignity
is
assured to
it
pressiveness of
its
imparts to us by
That which
and
music
is,
as
feelings,
the
passions
of
the
human
heart."
Duff.)
(Deussen, The
Elements of Metaphysics.
Translated by C.
M.
"
To
show
what we know which
'
How we
Music
feel,
hard and
fast as
is
the puzzle
(Browning.)
THE THOUGHT
arranged,
first,
IN MUSIC
ch.
ciated in their
relations,
and
mind
These ends
more or
less fluctuating
and conventional.
The
first
common
is
that each
is
The raw materials out of which speech formed are what we call the vowel sounds but
;
vowel sounds
in
vowel must be
articulated
by consonants.^
some method of
them.
articulation
is
This
is
Time
and Accent.
^ Cf.
2.
INTRODUCTORY
in
7
accent
stated
relations
of
time
and
becomes
articulate,
is
the founda-
of expression.
It
which prehistoric
a direct
man
and
definite
means of expression.
principle
^
in
which we find
form of expression)
thought-relationship.
may
express definite
grouped
to-
gether under
relationship.
there
is
logical
them.
achieved
or regularity of accentual
What we term
but
must be understood
merely as
an
aesthetic
liable
principle,
more or
less
fluctuating,
and
to
"We
must not
forget
THE THOUGHT
from
it,
IN MUSIC
ch.
and before
other tonal
and that
artistic
in each
solution of
more
limited problems."^
of Tone.
Trans, by A.
J. Ellis.
^Helmholtz, The
Sensations
CHAPTER
THE PSYCHOLOGICAL
Although
work
II.
BASIS
OF RHYTHM.
implies
the
consideration of
its
constituent
and Pitch-relationship
present
Time-relationship
myself
in
shall confine
the
work
i.e.
to the
found
in artistic
music,
what
is
called musical
Rhythm, taking
is
for
granted as
much of the
other factor as
necessary to
illustrate the
The
to a
is
work do not
j
more or
This articulation
each sound
is
and qualitatively
The
realisation
of rhythmic progression
is
based on
human mind
lo
THE THOUGHT
is
IN MUSIC
ch.
The appreciait
for
by reference to a variety of
it is
a necessary condition in
The
in
is
that
movement which
movement, once
This
that the
as a
similar
and proportionate
that such a
movement
itself acts
There
is,
therefore,
movements
this series
to take
place, each
stimulated by the
it.
perception-reflex
That
one
single stimulus,
due to the
highly complex
fresh ex-
which interfere
development.^
uncomplicated by other simultaneously
" In
a nervous system
closed arc.
"This
primitive
condition
of activity
is
disturbed, in
the
II
RHYTHM: PSYCHOLOGICAL
The
realisation
BASIS
is
ii
of periodicity on any
scale
arrived
at
is
only in terms of
movement
in
space^ f
The
year
circuit
of the sun
moon
the day,
which
the
axis.
earth
turns
once
completely
hours,
is
half-hours, etc.
some move-
ment
is
not a direct
arrived
more or
less
tion
and
reflection.
With
more
rapid
movements
more
in
still
felt as
musical
movements involved
is
direct
and an
to
immediate perception.
We
do
not require
go
conflicting type
where
("
Prof.
The
Relation of Auditory
Rhythm
to
Nervous Discharge,"
1902.)
^ Cf.
II.
12
THE THOUGHT
IN MUSIC
ch.
reflection or
is
comparison to
slow,
fast
or
moderate
Our
such a succession
as intuitive
The
ear
is
is
explained
inner
membrane of the
Now
in
the ear
is
way
and even to
The
cerebellum,
movements by
precisely
sense impressions,"
is
functionally
connected with
is
"
The
acusticus
impressions a specific
relation
to
movement
our
involuntarily, in a cor-
of
Wundt,
Principles
ofPhysiological Psychology.
II
RHYTHM PSYCHOLOGICAL
:
BASIS
13
So that
it
series
movement, and
by the
physical
in
are realised in
character
is
and
an
in period
response
is
either
actual
movement, or
accompanied
in
by changes
consciousness as movements.
a realisation
However,
rhythm.
sun, and the
periodicity itself
is
not necessarily
felt as
The
round the
periodic
strict
movement,
rhythmic
in the
To
rhythm
is
necessary, in the
shall
not have
and
in
not be so
mind
is
the elements.
The
limits
fulfilled
vary with
but, roughly
as,
on
the
14
THE THOUGHT
IN MUSIC
ch.
When
than the
the
it
mind
is
element
the
when
is
mind
evokes at
is
first
no
definite
time
rhythm
to crystallize.
The
but gradually a
groups of
do
riot
the
result
actively
thinking threes.
a
definite
Now
the
mere
that
a
fact
of
thinking
rhythm means
larger
a primary and
in
one conscious
state.
The
felt as
feeling
differentiated series of
sounds
to
is
invested
when
it is
rhythmic,
is
due not
but occurs in
there
is
strict relation to
II
RHYTHM: PSYCHOLOGICAL
BASIS 15
in different ways.
of such difference
of attention in
difference.^
is
to
definite
to
such objective
The
due to
The
is
the basis
The
elements
when
realised rhythmically,
group themselves,
^ It is
same
In
rate,
is
which
rate
is
thus realised as a
listening to music,
determined
and devices
originally chosen
by the com-
That
mind of
in relations
manner
which
the
THE THOUGHT
;
IN MUSIC
ch.
in
the group
but, at the
is
felt as
opposed
same time,
is
other.
to
if
its
Each element
apprehended only
in relation
;
and,
rhythmic progression
it.
be dissociated from
The
on
this
move from the one element what we may figuratively call opposite
two elements
is
As
the
quality of these
equal
the
though
contrasted,
wave
will
be a curve
in
which the
are
crest
and trough
equidistant
position.
is
from the
mean
felt as
pro-
gression
the
dimensions
of which are
determined by the
beginning of each
of a fresh wave of
of a relative
II
RHYTHM PSYCHOLOGICAL
:
BASIS
17
same dimensions, or
1:2,
1:3, etc.
are related
very simplest
character
ratios,
The
prea
vailing
from
this has
in the
harmonic direction
practically the
same features
as
it
possessed in the
seventeenth century.
ships which were
first
Just as the
harmonic relation-
the
first
to
be developed
in a musical system.
In our
modern
of modern
harmonic
combinationSj
the
Rhythm
in
modern
^
still
C.
S.
Myers,
THE THOUGHT
Amongst
necessities
IN
MUSIC
ch.
by harmonic
we
and rhythmic elaboration, towards which, perhaps, our own music, once the problems of harmonic
combination are exhausted,
(See
may
in
eventually develop.
Appendix A.)
musical
rhythm
are
or Pulses.
The
is
rate of
what
termed
Tempo
of the music.
The
regular operation of
feeling;
in
what may be
From
and more
generally
complex
entities
are
formed
these
are
called Phrases.
The primary
and
incomplete.
if it is to retain its
characteristic functions,
must be
its
Although
outline
may
it is
be
filled
up
realised as
structure
displaced from
its
it
II
RHYTHM: PSYCHOLOGICAL
this individuality.
is
BASIS
19
which has
is
produced by
the bar
is
what
originally
was
felt as
now
is
of
common
may
be varied
Each element
as
it is
in a
rhythmic progression,
in so far
single, is
virtue of which
is
forced to
move
This
as
a completed
movement
structure con-
proportionate to the
The primary
stable;
it
is
absolutely un-
to acquire balance
acter of the beat
it is felt
The
its
essential char-
is
that, apart
from
musical content,
as
entity.
The secondary
bar, obtained
from
more
beats, represents a
and,
to
movement.
It is,
20
THE THOUGHT
internally stable
it
is
IN
MUSIC
In so
ch.
far,
therefore,
and balanced.
however, as
realised as a single
it is
element in the
secondary periodicity
a
unstable, and
bar.
must move
to
While
the
same
principles,
carried
still
further
mind
to grasp these
stability
is
until
is
eventually a point
sufficiently
powerful to
:
the
musical statement
then complete.
The dimensions of what can be grasped in one intuitive act of thought the Unit of Thought
A
in
is
will
On
the other
consequent internal
as
stability, is
capable of being
employed
the
medium
for
the expression of a
II
RHYTHM: PSYCHOLOGICAL
musical
is
BASIS
21
in
definite
thought.^
The
bar,
therefore,
this sense,
by regarding
an external
to balance
as a single
manifests
by movement to a second
If the
periodicity
is
when two
realised in
If
it
is
rhythmic cycle
bar.
The
bar
;
is
a matter dependent
on the musical
intrinsic
nature
of the
thought expressed.
The
can be
essential
of thought possesses
(and
is)
in each case,
it
only obtained
is
ex-
complete expression.
The
more
than two
22
THE THOUGHT
IN MUSIC
ch.
progression
the
two-bar group
act
can
be realised as
still
a single unit
by one
of intuition, the
larger
group
the Phrase
formed from
;
the association of
it
this cycle
by
a process of
retrospective consideration
cannot be directly
The
is
same
time,
realised as single
and
compound.
In proportion
it is felt
as the
as unstable or as stable.
units
the
primary
and
secondary
it
groups
realised
it
is
stable,
but in proportion as
it
is
as
an
individual entity
is
When, however, we
tains
arrive at a statement
which con-
two phrases
or
it
more
we
obtain a structure
so arranged that
of
this
composite
absolutely stable
is
and complete.
Such
composite structure
' While it is conceivable that in certain individual cases the " span of attention," under the influence of the musical content,
may be
stretched
still
beyond the
limits of the
two-bar group so
as to
include that
which
will then
may be
and
called Tertiary
intuitively
Rhythm
in
form which
apprehended
as units, the
300
is
entirely
exceptional,
indeed,
it exists
at all.
II
RHYTHM PSYCHOLOGICAL
:
BASIS 23
It
is
The melodic
outline and
in
when
the
movement
will
movement.
of
These
effects operate
i.e.
most strongly
at the
at the close
Cadence.
The im-
view
is
that
it
in consciousness as
is
The
the
significance
is
of
cadence
from
a
it
that,
according as
tonality
with
can
centre
of the
or
or
the
either
enforce
So, a full
make
effect,
is
not
To sum up
which
all
is
that
from
;
necessity of further
movement
is is
eliminated
a result obtained
when
the statement
necessarily
24
THE THOUGHT
The
IN MUSIC
ch.
realised as
internally
stable factor.
in
it
expressed
inherently and
The
phrase, although
it
compound
in
in
nature,
proportion to
is
degree in which
this
singleness
realised,
is
The
period or sentence,
realised as a single
and
stable.
To
demands
it
complementary
element,
is
is
essentially
one of
quality,
and that
this quality is
by a
is
vital activity
of the mind
The weik
a
beat
minus value
exactly proportional
is
This
larger
is
members of
it
is
felt
and
appreciated most of
in
element
the beat.
II
RHYTHM: PSYCHOLOGICAL
In
the
case
BASIS 25
is
specific
and
definite contrast
other
there
is
no sudden
is
midway between
from the one
to
pendulum moves
and
of oscillation.
The
course
whose
convolutions with
is
suga
gested
it
and outlines
continuity which
we
foresee.^
" Rhythm and measure, by allowing us to foresee to a still movements of the dancer, make us believe that we now control them. As we guess almost the exact attitude which the dancer is going to take, he seems to obey when he really takes it the regularity of the rhythm establishes a kind of
greater extent the
;
us,
many
invisible threads
motion
this
imaginary puppet."
(Bergson,
Freewill.
Translated by F. L. Pogson.)
26
it
THE THOUGHT
IN
MUSIC
ch.ii
in
entities, is
not
immediate but gradual, with no harsh discontinuity or sudden jump, but with a movement from the one
to the other,
as
and
a corresponding
change of quality,
smooth and
as
pendulum.
Note.
For the guidance of students who wish to pursue further the and psychological principles on which the preceding
is
physiological
chapter
list
of authorities
is
appended
WuNDT.
The
Intro-
Titchener.
There
is
French of the
(Paris
F. Alcan.)
Helmholtz.
J. Ellis.
The
Sensations of Tone.
Translated by Alexander
RiBOT.
Psychokgie d! Attention.
mans
Foster.
James.
&
Co.
Part IIL
Physiology.
Principles of Psychology.
{a)
Vol.
\.
Chap.
XL
British
C.
S.
Myers,
{b)
"A
Journal of Psychology.
Dec. 1905.
Macdougall
(b)
{a)
Harvard Psycholo^cal
Discharge."
5.
Bolton.
Squire.
"
Rhythm."
2.
Vol.
American Journal of
Psychology.
1901.
Stout.
Analytical Psychology,
Book
II.
CHAPTER
RHYTHM.
III.
Chapter
II. are
modern
have
according to which, by
to us as occurring
to
space,
it
relations
The rhythm of a musical work is realised as what may figuratively be regarded as a combination of two kinds of movement in time, the one uniform and the other varied. The first is what Is generally called the " passing of Time "; which corresponds to, and to a
considerable extent can be quantitatively estimated by,
This progresin
is
uniform and
one
28
THE THOUGHT
may
IN
MUSIC
ch.
direction,
is
and
but
a general
in perception.
In
as those
concerned in musical
The second
fluctuation
variety
is
movement of
force.^
thought resulting
alternate rise
(in
its
and
fall
as figurative,
may be termed
a vibration
ditions of alternate
maximum
maximum
The combination of this vibration of thought with the " rectilinear " movement of time produces what we call musical rhythm. The character of this vibration is conditioned by
brium.
the forces which give rise to
it
it.
The normal
is
1
state in
is
may
say,
in equilibrium,
is
caused by emo-
tional states."
Ill
MUSICAL
is
RHYTHM
29
cohesion
" gravity."
initial
may be called mental " Mental gravity " having overcome the
that change of direction
movement, induces
is felt
which
to
as accent,
On
it
is
possible to
movement from
first
to a contrasting element
by
in
pendular vibration
this
^The change
bears a close
which
initiates
attention
When we
tion
is
turn to
its
physiological aspect,
we
(Stout,
Jnalytical Psychology,
Book
II.
Chap.
II. 3.)
30
this
THE THOUGHT
(See
IN MUSIC
ch.
in
modern music.
If
Appendix B.)
we
movement
of
AD,
ABCD,
tion.
the
points
B and C
the
two
The wave of
felt as a
similarly, the
maximum
of
as negative accent.
As
in the at
two points
which movement
in
one direction
opposite
cul-
minates and
movement
in
the
direction
are
change of direction of
movement
accent
realised as
movement
is
attainment of accent
mit.
realised as attainment
we
scious of
movement
to be
This
feeling
in
MUSICAL
The
RHYTHM
31
feeling of culmination of
attainment of accent
is
same
structure,
and
is
proportional to
Thus,
a phrase
embodies
its
size.
The amplitude of
is
rhythmic
vibration,
concerned.
The
tion,
is
the interval
accents.
call
and adhered
to by the
composer or performer
amount
,
The dimension of the unit of speed determines the Tempo, and the Tempo is realised as uniform
throughout
if
it
if this unit
is
displaced temporarily by a
new
unit which
is
in
original.
32
THE THOUGHT
The
"rectilinear"
IN MUSIC
in
CH.
movement
some
arbi-
chosen
moment
in time,
and by weighing or
intervals.
musical
moment which
is
first
sound
in the particular
work.
effect
by means of which
in time
is
we
movement
and
called
There
metre,
all others
are
compounded of various
arrangements
and
values
of
this.
is
called
Duple, and
its
is
scope two
or
beats.
is
The
the curve
Ill
MUSICAL
RHYTHM
33
In
and weak.
conven-
is,
as
by a weak,
viz. as a
weak
beat leading
a strong.
Triple metre
is
two
to one, or
one to two.
tion systems
In triple metre,
the
cycle
of rhythmic
leads to
and
consummated
i, p.
in the
primary.
The
following (Fig.
34) are graphic illustrations of these two possible varieties of triple metre ; in the one case the bar of " whole- value " leads to the bar of
" half-value,"
emplified.
in the
is
ex-
Musical
and confirmation of
Quadruple metre
is
from the standpoint of a larger value, according to which two real duple bars are synthesised into one
unity.
rhythmic elements or
beats,
34
THE THOUGHT
Fig.
1.
IN MUSIC
ch.
Fig.
z.
f-|(3)JJJ3l(8)JJ
|(3)jj|(3)Jjj:
(3)J]JJJi(2)JJ
Ill
MUSICAL
reducible to
RHYTHM
Each of
these,
35
however,
some statement of
relations between
The
graphic
show the
possibilities
of
rhythmic arrangement in
this metre.
As
quintuple
there
is
is
triple
and
2 or
2:1
no disturbance of the
of metre
feeling of uniformity of
rhythmic movement.
Other
varieties
less
are, similar to
the above,
more or
rhythmic
different ways.
is
do not
directly stand in
felt
mutual accentual
rela-
tions,
but are
That
is,
movement
is
mutual accent
i.e.
as
embodying a new
which
is
of
in the
same proportion
to the original
36
beat.
THE THOUGHT
In this case there
is
IN MUSIC
ch.
Tempo. Compare
(a)
(Jb).
J=80.
|||J
|Jj/D|.S
III
J^=i6o.
f|p
||j3)3|33lgp
Similarly,
arrangement and
may
e.g.
be
the
Compare,
and y J
J
.
{d).
>;
>.
>;
J=8o;
IJ
f2
|J
||f
|J
|J
|3
W
result
J=40.
special
mental
activity
according to which
composer may
which
restrict
or
lengthen
accents,
the
i.e.
interval
is
separates
successive
what
felt as
the bar.
Regularity of rhythmic
in
MUSICAL
RHYTHM
37
use of the following modifications does not destroy the feeling of uniformity or consistency of movement.
(a) Syncopation.
(^)
(c)
The
substitution
Tempo
Rubato,
is
reversed
weak
is
and
vice versa.
That
is,
forcibly interrupted
is
literally,
is
"cut short"
before
its
normal progression
Where
the
new wave of
unit of speed as
form of diminution
which the beat
is
degraded to
promoted
may
is
be displaced by a
relation,
new
more complex
but this
not
common, and
generally employed
only incidentally.
38
In
THE THOUGHT
IN MUSIC
ch.
of the rhythmic
movement
Such
they do
vibration concerned
Although
altered,
yet the
sum
total
sum of the
;
movements of
and,
once the particular rubato vibration has been performed, the normal character reasserts
point where the vibration
is
itself at the
completed.
Rubato
vibration.
is really
two equal
of the normal
to each
other in such a
way
that their
sum
rubato vibration
tion.
the complete
Tempo Rubato
the
is
obtained
by increasing the
appearance of the
is
accent.
As
the feeling of
is
resistance
aug-
mented.
pull
is
The
to emotional stimulus.
arranged that by as
is
much
as the entry
of the accent
delayed, by so
Ill
MUSICAL
is
RHYTHM
accent accelerated
;
39
so
much
that,
the
movement from
its
vibration, the
accent appears at
Tempo
rubato
B
The Harmonic
Curves, in the above, represent the normal
rhythmic vibration, in
the four-bar phrase.
A
The
with
dotted
lines
represent
same
periods.
In
is
shown
make up
this phrase.
The
amount of rubato,
personal equation.
depend on the
of the structure.
gives
the
feeling
of
bar-accent,
retardation
and
40
that the
THE THOUGHT
IN MUSIC
ch.
on the completion of
Applied to the
and the
these coincide
The diagrams on
relations
39 represent graphically the between the various rubato and the correp.
The
operation
of a process
contrary to
that
described above
tional " force
produces a
point
its
the culminating
of the
time.
rhythmic vibration
appears before
due
form
movements
in
sum of
the
movements of
rhythmic vibration.
Just as the pendulum must be set swinging by
the application of
and driving
it
movement
is
the result of an
may be
rest
called the
mean
This
and
is
up
to accent.
upward movement
crusis."
initial
Ill
MUSICAL
sets
RHYTHM
41
movement which
but
up rhythmical
vibration need
may be
of
The
larger
bination
scale
up the smaller, and the commovement to accent on the large with movement from accent on the smaller
affects
the
these
larger
members
to
and
spreads
from
of the
down
and
structure.
The
point.
By
final
accent of
that in
really
the beginning
is
tural
segment
in
which
is
relatively
weak
division.
By
(a)
DvorXk,
-T3~
Pianoforte Quintet.
^e
d' J-a
42
{i)
THE THOUGHT
S ?n
=
IN
MUSIC
ch.
Wagner,
I>ie Meistersinger.
#-^^^^^=ig=3
J J
i
"
B^
-r|S>-
^r=P=r^^1f*rTffW
^^^ ^
[^
(-^j
:ti*z
Similarly,
is
expressed
may
be initiated
is
Ill
MUSICAL
RHYTHM
43
librium
is at first in terms of the division of the beat, and the rhythmic impulse eventually associated with
the
beat
is
Once progression
initiation
of move-
ment takes
pulsation
:
place
^^ ^
:
S
the crotchet
However,
if
shows
initiation
-U
i=J
t-
44
THE THOUGHT
The
rhythmic cycle which
is
IN MUSIC
starts
ch.
position
is
accent, but
will
must include
as
much
vibration
when added
is is
to the
If this value
occupied by
said to be
if it is
feminine.
set
which culminates
on
this accent or
follows.^
When
a phrase
is
begins with
an
accented note,
it
although there
is
realised in terms
generally simpler
and more
if
progression
In
weak
would be the
were to
iSeep. 83.
M
Ill
MUSICAL
RHYTHM
45
cadence
is
obvious
ir
^
J J
|
j-^-
^rnUi
(A
Any
however, possible
(*)
\
e.g.
(a)
7?
n-
-1
PART
11.
CHAPTER
METRE.
IV.
The
of equal beats or pulses forms the " warp," and the entire pitch series or general scale the " woof."
must be placed
at
relations to
other
sounds
precise
it
bears to the
is
enabled to
to
The
realisation
of the
group which
known
so
as
THE THOUGHT
"
IN MUSIC
ch,
The Act of
Attention."
the bar
are
this activity.
The accent does not indicate the beginning of a new " wave of attention," but occurs at the point at
which the wave of attention culminates.
fore, that point in the
It
is,
there-
The
till
so
much time
The rhythmic
with
the,
The
.
dynamic centre
accent
;
associated
with
the
emotional
but
this,
may
The
place of
may be found at any part of the statement. The fundamental idea and advantage of the bar is that, although compound in nature, it appeals to the
music, and
mind
as a unity
i.e. it is
realised in
one intuitive
act
of thought.
The number of
beats or pulsations
which
;
Metre or Time
IV
METRE
The normal system on which
pulsations
is
51
are
in musical
rhythm
according to
we
call
there
is
a regular
compounded
ment.
in
different
duple arrange-
The groups of three pulsations which constitute triple metre may appeal to the musical sense in two
different ways.
in the
In the
as
first
group
is felt
the
first
is
beat
from the
thought in
That
is,
two unequal
of which the
;
first
is
second
two unequal
now
Triple metre
in regular sequence
in
i
2 or 2
3 4
J
(l)Jli(f)J
(f)J
J
i
{f)Jl
52
THE THOUGHT
is
IN MUSIC
ch.
arrangement.
A group
of
five is a
5 1(2)1
or of three and
(3)
two
5 1(3)1
and, similarly,
all
11(2)1
I
I
more or
less
complex
The importance of
the
consideration
its
this fact,
from a constructional
made
the
clear
when we come
unit
to
of
nature of the
into
of
thought and
statement.
ciple
is
development
of
the
complete
The
is
realisation
this
necessary if the
to
true sense
progression
be appreciated
and
although from the point of view of practical convenience, so far at least as the visualising of music
is
certain
obvious advantages.
IV
METRE
Each
individual pulsation
S3
represented by
i.e. it
may be
;
may
be
in
twos or
of two
and
three.
Where
mutual
and are
felt as
departing
that
character,
rhythm
progresses.
()
{c)
I
Thus,
in the
when
these pulsa-
any
definite relations
beat,
but partake of the accentual character of the individual beat concerned, and lead on to the beat
diately following.
imme-
subdivisions
are
realised
individually,
form smaller
54
THE THOUGHT
The
IN MUSIC
two equal
is
h.
parts,
known
compound
The
music,
are
frequently
met with
in
modern
and
in
polyphonic
music
different
methods
employed simultaneously.
Metre, therefore, can be regarded from two points
The
system adopted
simple
of the
or
compound. up tends
to recur and
work one
particular system
It is
is
more
or less
consistently adopted.
find
sequences of different
systems more or
less
consistently
employed
metre
and
such
as occur in quintuple
occasionally the
arrangement.
The accent, being the culminating point in the " wave of attention " which forms the bar or group,
must always be thought
in
IV
accent.
METRE
So that an articulation
accent.
S5
in the statement can
(See
page 40.)
The
is
marked
it,
frequently
This misconception
is
increased
by the
fact
that in music which possesses any degree of organisation, the true length
and value
accentual
arrangement
of
and sometimes
bar
is
the
to
the
subject
frequent alteration.
ally strives for
The
artistic
rhythmic variety
in his
spite
of notation
in
of constant
;
thought
and,
what
is
Indeed,
if
it
would
in
intervals.
CHAPTER
TEMPO.
V.
The Tempo
tions
of a piece of music
is
defined as the
succeed
one
another.
Tempo
is
The
minute
is
of the metronome
oscilla-
by
itself,
is
-the bar
is
The
two
and
it
is
possible
CH. V
TEMPO
If
57
of
speed.
we think two
if
is
the
first
we think
a bar in
quick
Tempo
The
essential point
in the process
is
must be
;
thought
together^
in
completed
calls for
the exercise of a
new
activity.
Tempo,
act
therefore,
is
depends on the
rate at
which the
of attention
regularly renewed.
The
is
tempo
realised,
two successive
quick move-
ment has
a slow
movement, on the
two successive
other hand,
is
characterised
by the comparatively
accented pulsations.
The
realisation
of tempo
is
an immediate and
a
direct
is
perception.
tempo
occasion
or faster
we adopt as repreof each of these while we may on one perform the same work slightly slower than on another we never, meaning to
58
THE THOUGHT
IN
MUSIC
ch.
a slow tempo.
it
is
expressed are
times.
Thus, a railway
it
same
speed whether
is
described as
moving
sixty miles
The
it is
rate
of moveit is
ment
is
apprehended,
in the
one case
In music, which
sion),
" movement
in
the
called
same
the
What
has
been
"
rectilinear "
movement of time
may be regarded
ing to a definite
as
constant.
rectilinear "
unit,
the
dimensions
act of attention.
as slow
;
If the unit
tempo
is felt
if small, the
is
tempo
felt
as quick.
Uniformity of tempo
is
maintained
if the
unit of measurement
unchanged, or
if it is dis-
placed by a
new
some
simple
and
easily realised
displaced by a
new
unit, the
dimension of which
original, the
change
is felt
change of tempo.
The
of tempo,
TEMPO
so
59
felt
long
as
the
duration
of what are
as
the
pulsations,
and the accentual arrangement of these, remain unchanged. Rapid successions of sounds are
not necessarily
felt in
quick tempo,
if
the feeling of
and
is
maintained.
realised as obtained
does not
and can be employed consistently with the maintenance of the feeling of even the slowest tempo.
Adagio
cantabile.
Beethoven, Op.
8,
No.
2.
ee-
m ^^ m ^^
^f
ftf
z3iE:
J ^
^i
I
^mm ^ ii^
pz^^^^
-H-F-
g^
^h
^^
6o
THE THOUGHT
:^M!^--=
IN MUSIC
ch.
& W
is
^
^^^-
although,
i.e.
modification of the
The
the melodic
will
generally indicate
more or
dimension
by the
composer
in
accordance with
the
In a
slow
movement
to
these
eflFects
melody and
which
harmony
the
serve
comparatively
long
interval
V
successive accents
;
TEMPO
tension
mental
which
is
relieved
consequent accent
reached.
In a quick
i.e.
movement
mind
one another
The
realisation
of tempo
:
is
accentual succession
M.M. J=i6o.
M.M. J=i6o. M.M. J=i6o.
(a)
(^)JJJJjJJJJ
k)
J >
> J
J
>
J >
J
>
J >
While
the
in each
respectively.
There
is,
two
points,
is
realised as
move-
ment from
The
succession, therefore,
realised as slow
move-
in a notation
which makes
it
Thus
Mjmjmij'
62
In
(b),
THE THOUGHT
by thinking an
(a),
IN MUSIC
ch.
those in
the series
is
two groups,
{a),
consequently
felt as in a
the
same
Its
appropriate notation
would be
M.M. j=8o.
f|.n .n|.n
n\^
is
(J?)
;
In
(c)
a fuller
and the
from
realised in a third
(J>).
manner,
distinct
both () and
It
now conveys
the feeling of
its
appropriate notation
would be
->>
M.M.J=:6o. f|J
|J
J
is
|J
|J
The
in a
rhythmic succession,
it
is
long as
divisions
retains
its
sub-
do not manifest
the
mutual
accent.
By
is
investing
subdivisions
of the
beat
with
beat
bar.
makes impression
But
this
as a
group of
beats,
i.e.
as a
V
beats
TEMPO
63
bars,
now
bars.
Complete
therefore,
like
The proper
is,
That
group of
as
group every
beats.
associated
weak
Every
as
written,
should
contain
less,
accent, neither
associated with
more nor
that
in
strong accent.
Examples are
common, however,
less or
in
and, on
one
strong accent.
have
such
is
as
most
real
bar
and weak
beats,
which
more of the
bars as written.
In a similar manner, in
is
often equivalent to
two or more
real
bars
as
heard
the feeling of
which
is
movement
clearly
by a notation which
64
THE THOUGHT
as
i.e.
IN MUSIC
ch.
the
m
^)br
Molto vivace.
*-T^
W-
r
eifect
\^=^^-^&
Rhythmical
te
'p\
As
written:
=M=t
r
:(s=4=
r-r=^i|
t^J
|j-a^
in
Mozart, Sonata
min.
The
must be understood
as
not
necessarily as written.
V
alter in
TEMPO
one and the same work without
if
65
affecting the
is
to a
is
directly
first stated.
As
the bar-line
is
in itself indicate
employed
The
simpler and
more obvious
new
unit which
is
substituted for
it,
the
more apparent
will
be the con-
tinuity of progression.
complex
Thus
a change of unit of
f of the
plexity.
its
arithmetical
simplicity, a
The
is
case
there
new rhythm.
Original.
Substituted Unit,
66
THE THOUGHT
IN
MUSIC
CH.
Changes even more complex than the above are met with in musical systems of races which have
developed the rhythmic sense further than we have,
but these modifications
represent
relations
which
rhythmic sense, in
appreciate.
its
The two
(3)
of
triple
metre (a) f J
J,
as, in
augmen-
of speed
in the other, as
an equally
speed.
will
show
As
these
two
principles in operation
^m
effect
written
^
J J
|g^^d=jd=i-j-^
Rhythmical
^^
3 4-"g^
^ ^^
3n
-*--
V
As
written
TEMPO
67
^
it
effect
Rhythmical
^m
Note.
lattatLft
is
tT[v
-'
T^
athfii
-*
'
It
CHAPTER
VI.
What
ligible
is
called a
sentence in language
in
statement
words
an
intel-
implies
movement
or
ment.
commands,
e.g.
etc.,
sonal
movement between
weak and
a strong
;
at least
i.e.
two
rhythmic
factors, a
implies
progression from a
essential
of musical expression.
in time,
by reference
to
Movement of an
some
CH.vi
69
and shape-
and function
music
concerned.
The
factors in musical
become the
by the contrast of
sound cannot
it
two
different
pitch.
One
rhythmic
movement,
although
may
maintain
ment
as
is
mind of
the musician.
Both
in period in
and
in character (or,
in
we
usually say,
tempo and
it
metre)
it
is
is
chosen,
more or
less
by
The
thought
smallest
indivisible
expression
of musical
more or
less
uniformity throughout,
be stated, and
a
will
the
sum of
number of
outlined and
made
70
THE THOUGHT
IN
MUSIC
ch.
The
"
Unit of Thought,"
mum "
must comprise
associated
weak
beat or
But, as
it is
found
in
type
is
realised as a contrast
of and move(the
as a
successive
beats
is felt
primary
the second
movement
The
essential difference
between these
first
lies in
there
to
direct
beat, with
in the
no appreciable intermediate
is
factor, while
connected to
obvious
medium of an
intermediate
weak
beat.
case, help to
realises
The melodic and harmonic outline will, in every show how the composer regards and
progression, whether as from beat to beat,
is
VI
71
of unit respectively
as
limited to these
a
movement of thought which proceeds from a first to a second idea by way of a third intermediate idea. The same fundamental principles of classification
is
are
found
in the expression
of musical thought.
is
In
:
involved
it
it
(though
is
tween
it
beat.
Along with
its
associated
weak beat
it
ment.
is
a definite connection
The
and accepts
in
this
compound whole
unit
apprehended
one
intuitive act
of thought.
In each
is
72
felt
THE THOUGHT
as accented,
IN
MUSIC
CH.
transitive or
intransitive
is
felt as
cohering round
this point as
nucleus.
The
realisation
one whole.
The
unit of thought
is,
association of
and
beats or bars
elements.
off
and by combination
^te^
It will,
is
or consequent in a group
VI
>
73
in
from
weak
to
strong.
The
above
e.g.
^ J^
in analysis
it
^^^^^p^^^
m
is
-"s
While
occasionally convenient to
weak
essentia/ that
to
strong
should
be realised
It is
and
displayed.
quite
common
weak
beat
e.g.
ji \y^ o
d/^,
=j/^
s.
74
THE THOUGHT
IN MUSIC
ch.
The
tained
by an examination of the
,
outline.
v^
i
The
i.e.
yp
1^.
rs
i\
^T ^-
rqI
1-
-T^-^-al-
4=t
rint
unit
itself
this
is
secured by what
may
The
unit, being
rhythmic
in nature,
when
the
rhythm
fully established
immediately after the entry of the second strong accent. This involves an instantaneous " glancing
first
If
felt as
a separate thing
from the
with and
second, the
intransitive
;
unit
if it
will
is
be
felt
what
has
been termed
as connected
leading
up
transitive.
The intransitive unit may include any number of notes both before and after the
beat
;
possible
accented
it
is
realised
in
VI
75
accented pulsation.
any suggestion of
more than one accented pulsation, the intermediate weak beat which connects such accents is distinctly
perceptible,
the transitive.
has
initiated, it
it is
outlined
So that "rests"
may
be
employed
as constituent syllables
of the
Beethoven, Op.
7.
^P
^^^
m
bars
^s=^=F
-^Fz
Beethoven, Op.
18,
No.
6.
*t ^
,ft^j-,-I It
4=^
F-
etc.
However,
a rest which
is
so large as to include
will
i.e.
will tend
Analogous to
this, it is possible
to have an effect
cf.
be described
as a
"
silent
" unit
movement,
bars 9
and 10.
76
THE THOUGHT
From
IN MUSIC
ch.
tent generally,
are
particularly,
the
factors
compose
the
complete
The
application
of
these
principles
to
musical
The grouping of
and meaning of
first place,
dependent on the
of
this classification.
The
converse of this
is
classification will
be
strictly in
from
first
to last a function of
The
two
varieties
of unit are
really identical in
nature,
the difference between the two being a difference in the dimension of the rhythmic elements which
em-
body these
relationships.
is
The
essential
is
distinction
between them
realised as
VI
it
77
these
an
artistic
necessity, as
each expresses
found to be
Unit of Thought.
as a
combination of units of
felt
thought)
at a
and
is
realised
as a single unit
originally
Examine
the
following
succession
of
sounds
(f).
(a)
i te
M.M.
~*^
I
^ J
aI
)
J =88.
(*)
ii^^Sg^a^
M.M.
-d-h*
J =88.
-i=aqs
w
As
the speed of thinking increases, the subordinate
78
accents
THE THOUGHT
fall
its
IN MUSIC
ch.
character,
appeals
in {a)
What
a combination of
distinct caden-
tial
in (h)
one single
two
one one
phrase
made up of two
unit
transitive
units
;
with
in (c)
and
with
only one
primary and
secondary accent.
By carrying
ary
accent
the reduction
still
loses weight,
appeals to the
mind
as
pounded of
M.M.
weak and
a strong beat.
J=88.
is
is
non-existent.
As
the accents
come
becomes
effect
closely knit,
almost
obliterated in (f),
and
may often be
usefully applied
showing the
internal relationships
of the constituent
VI
sounds.
79
as
by what may be
described
glass,"
i.e.
by
pronounced accentual
character.
As
the dimension
The
this
the
mental tension, which the musical sense is only too glad to relieve by creating a " resting-place " or
cadence between these original accents.
Note.
(See p. 105.)
The
do not
in
themas
However,
the
as it departs
that rate
which
is
felt
as
15)
a greater
the
tempo.
output of mental energy is required to realise Unless the variation from the " mean tempo " is
mean
rate
series as
of such a succession.
CHAPTER
VII.
{Continued).
entirely
and the
sitive
distinction
classified as
Tranmental
and
Intransitive
from
this
operation.
When
one
act
in
unit.
On
effects
and devices,
;
from
each other
in
which
case, each
The rhythmic
gression
in the
is,
contrast which
is
necessary to pro-
bar.
in the
subject to certain
CH. VII
8i
intransitive unit (a
by the operation
will in
The very
consisting of
kind of accentual
pulsations, a
contrast,
a
two equal
weak and
mind
in
as an intransitive unit
duple metre.
> r
I
(f)r
it
is
is felt
(t)
1/
I
U
is
1 I I
retained, the
added
of
mind
as the beginning
new
unit,
and
will require to
move
to a following
in this
82
relation.
THE THOUGHT
While
the
is
IN MUSIC
ch.
actually
its
disappear, each
indissolubly
with
formed
is
realised as consisting
;
in short, as a transitive
two bars
in length, resulting
from contrast of
bar-accent.
'
I*
I I
^
I
On
tained,
is
main-
and
if the
is
thought
relations
in triple
metre
again realised
The
two groups,
Although
i.e.
combine
to
form
a bar
of
triple
metre.
metre
is
it is
which
tive,
even when
accent
is
clearly
perceptible.
1=1
.^
I
Mf
I
*
I
the unit
may
be varied
VII
(in
83
effects
and treatment.
Two
the
successive units
may
overlap
in
which case
the beat
first will
appear curtailed by so
much of
it,
or the second
m
the
first
Intransitive unit.
ML.
M-
^^^ 5=4
Bb
Transitive unit.
is
compounded of two
and a
transitive.
The
full
value
quaver
is
the
initial
quarter of the
first
bar,
is
exactly
two bars
in
length.
There
is,
therefore, an
example of overlap-
be
in
two
is
different ways.
In the
of these,
its
dimension
The
is
84
THE THOUGHT
IN MUSIC
T21
CH.
1st unit.
^2=
?=
2nd
unit.
is
regarded as of
note of the
place
first
when
this
completed.
The
increases
work by
the
introduction of
new and
contrasted outlines.
'^
lr^
L
w^-
?^
w-^-p
An
effect
is
fre-
may
apparently be increased.
first unit,
In this the
note or notes of a
although rhythmi-
cally part
may by
special
their
prolonging the
first
As we
first
may
say,
by the
first,
effect
of making the
of
abnormal length.
Occasionally a unit
may both
VII
85
im-
precedes
and be prolonged
it.
into
that which
mediately follows
^^m
f>
^E
r>^~^f
i
The
of a
first
effect
may be
regarded
i
-J-
letc.l
i M J: ^
sein
-
U$
-^i
op
-
2:
^
221
zu
sein.
es
^
fers
i J:A
werth
An
ivAich
effect in
somewhat
employed
which the
art separate
rhythmically.,
completed
in
::
86
THE THOUGHT
is
IN MUSIC
where
ch.
this
The
is
realised in
bar,
time, each
i ^te^ a^
^ps
As
realised
As
written
o- vr^
i #=3
The
1^
^E
unit
is
=?zi
=p=s
first
i a
to the first accent,
notes,
amount
neither to
to
is
one
bar.
To
must be added
to this group.
is *
1
^^p
may be termed " Dovetailing."
This
effect
VII
87
which completes
the phrase
C"
as its prefix.
i
That
this
(")
O"^
view
is a
correct
and
sensible
one can be
{b),
as at {a)
and
and
by comparison of the
results obtained.
^ im
(^5)
'-^--
^-^
P
H*n>-ft-m-
^
is
Q-
^
is
'
^-
^^=0-
if it is
occupied by more
cadence
is
described as feminine.
^M^
^m w
Thus,
in ()
(*)
^
(h) the
f-r^
and
88
THE THOUGHT
is
IN MUSIC
not completed
till
CH.
the
value of a dotted
is
minim has
reached.
by one sound,
hy more
in (^) filled
what
v^ue
liiiiits
tci
is
lengthened or shortened.
notes following the accent
the
first unit,
;
outside the
as the prefix
of
a suc-
ceeding unit
these limits,
comprisea within
'
In
(c)
and
example,
it
factors
more
tiaturally
thought as
initiating a
new
first.
(Cf
(e)
and (/).)
i ^^ =^ ip
i=^
w^^^
VII
(/)
89
mi=_i^
The comparison
determine
in
2nd
unit.
most
"-TcT
feminine cadence.
The above example (^) is a transitive unit with a The value of the cadence notes
to the prefix
added
metre
one
dotted minim.
The
over-
cadential part.
is
minim F
takes
up
the, whole
of
of this
"E"
upsets the
^
as in {k).
so
THE THOUGHT
E"
IN MUSIC
ch.
vn
initiates a
new movement of
i-r-r-|'
None of
position
^
and
^'^~^
etc.
unchanged.
They
in
enabling
similarity in outline
units.
and dimension of
component
The more
tion
radical modifications
of the rhythmic
to
in Chapter III.
These
will
be illustrated at length
when
the
phrase.
The
is
that
an indication
of notation
more or
less temporarily, a
new
unit of speed.
* In defining the limits of the unit the melodic outline and harmonic arrangement play a considerable (though only an auxiliary) part. See Chap. XIII.
CHAPTER
VIII.
SHAPE IN MUSIC.
The method by
thesis in
work,
a process of synbuilt
up
into a
But, although
sum of
number of such
these parts.
sum of
However,
the
go
through a
series
of mental
and
processes
The
particular
power
of music
lies in
medium of
degree
expression,
though perhaps
these states.
The
92
THE THOUGHT
IN MUSIC
ch.
development of the thought from the beginning onwards, endeavouring to reach a sympathetic under-
standing of
it
by feeling the
logical progression
from
by a syn-
vital
The method of analysis, the sorting out of the various parts of a work by the systematic disintegration
of the whole,
is
The
essential difference
is
that while
the synthetical
method requires
a constant
and unreis in
many
lectual
cases reduced to a
intel-
and calculating
faculty.
down
nomy
of
its
own
what
is
might almost be
it
personality,
and
in so far as
possesses individuality
expresses
to
itself,
feeling
which
is
peculiar
in the
and which
in
no
other.
Even
is
of a composite nature.
Each
made up of
parts,
fitting together
To
must
be able to individualise
VIII
relative
SHAPE IN MUSIC
importance of each
93
may be
realised in per-
formance.
The
must be
differentiated
same time
not be obscured
distri-
variety of inflection
must be employed,
all
To
do
:
this
is
to
correctly
to give a convincing
The
number
first
Melody,
;
The
pitch-relationship
In modern
inextricably
are
so
modern European
Melody,
in its
most general
sense,
;
is
usually defined
music
of prehistoric man,
it
is
entirely inadequate
when
of which
we have
effect
To
produce the
94
THE THOUGHT
in definite
IN MUSIC
ch.
employed must be
and time.
The
consists
usual definition of
it
harmony
in
is
based on the
;
idea that
is
viz. that
it
of musical sounds
combination.
is
The
essential
indicated
principles
both by
origin
its
underlying
practice in
modern music.
combine single sounds,
The
very
earliest
outcome not of
a desire to
So
also
in
modern
practice,
harmonic
effect
in
is
movement
neces-
harmony.
themselves,
evidenced both
modern
practice
and
no musical existence
they represent a
chord, considered by
Much
ot
VIII
SHAPE IN MUSIC
and most of the misunderstanding
95
in
the difficulty,
work,
arises
fact.
both successions of
single sounds
sounds
harmony,
melody,
owe
:
is
determinate
movement in time this principle we call rhythm. Rhythm is the essential factor in musical shape, and may be defined as that principle of balance and proportion which, in conjunction with the principle of
tonality,
welds a
series
organic whole.
Shape
in tangible things
is
expressed in terms of
three dimensions
Ex-
of a thing
sion
is
incomplete.
Expression
in
one dimen;
in
three.
we may draw
a rough kind of
analogy.
To
com-
of a musical idea
it is
necessary to
are
in
These
Rhythm.
Tone.
:
(/) Pitch,
(c)
1
Cf,
H.
Part II.
96
THE THOUGHT
Rhythm
is
IN MUSIC
ch. viii
relations
Pitch
Tone
intensity
is
and
CHAPTER
IX.
PHRASE-CONSTRUCTION.
There
two methods by means of which the construction of a work may be made clear the
are
Analytical,
which
component
parts,
and
of the thought
it
The
first is
the
method of the
is
and
is
the principle
upon which
called
based
that
Musical
Form.
and
any
is
The second
that which
is
the
method of
the composer,
must be followed
in the course
of
artistic
performance.
The
method
is
i.e.
of four
beats.
strong accents
associated
weak
98
halves,
THE THOUGHT
IN MUSIC
;
ch.
and when
phrases)
associated with
(or other
forms what
is
sentence
or period.
or
may even
consist
of complete and
incomplete sentences.
The
divisions
as
;
regarded
cadences
being
by what
are
termed
certain definite
and
more or
further
character,
A
in
subdivision
is
of the
phrase,
called
theoretical
into
what
are
motives.
The
where
Motif
is
harmony
requires
it,
The
tance attached to
matter.
the function
of harmony
The
extraordinary development
of harmony
in
Both with
many European
musicians
is
IX
PHRASE-CONSTRUCTION
;
99
in the
view which,
one
tion,
course of evolu-
and
in the other, is
physiological
1
and psychological
the
all
considered
as
This view
is
modern
scales
at least
But
scales existed
ence of harmony at
And when we
see historically
what
how
their
to
accompany
attempts
first
were,
we
cannot
feel a
at all for
harmonic accompaniment,
the
even
at the present
day
many of
more
gifted
Orientals
also
are
opposed
to our
own
harmonic music.
We
must
many
popular
harmonic accompaniment at all, without injury to their character. " The same remark applies to Rameau's assumption of an ' understood
'
scales
certainly imagine
invents.
melody he
But how could that be the case with musicians who had never heard any harmonic music, and had no idea how to compose any ? Granted
that
an
artist's
genius
often
unconsciously
'feels
out'
many
asserted
relations,
we
much
to
it
if
we
and employed
The
Sensations
till
many
of Tone, Ch.
XIV
trans,
by A.
J. Ellis.)
loo
THE THOUGHT
IN MUSIC
ch.
The office of harmony in determining shape in music The realisation of shape in music is is only auxiliary.
a realisation of the articulations and proportions of
result
from
its
that
the
musical
more or
activity.
calls
for fresh
That
on the
completed.
The
is
original
;
progression
coinciding
with
the
more or
less
used
by Eliza-
dying
fall."
In
into an expression
of harmonic relationship.
But
is
an
rhythm.
movement
IX
PHRASE-CONSTRUCTION
is
lOI
dependent on
J J
either.
.TJ
.T i
,TJ
/^
J
J^
He)
J
(*)
.T
and
(^), will
show
ment
while
indicated, (a)
{/>)
is felt
as balanced
and complete,
teristics,
significant
:
only by
Wj J^^
in
triple
J J
last
J^^
group
J
is
/jj
as
J ^ J
in
felt
one unit
The
addition of
to these
almost as clearly
in
the skeleton
i^^^fe^^E
I02
THE THOUGHT
IN MUSIC
CH.
m
fm
Cadence,
t:
E^3i
ii
i^.
While
W
r
therefore,
results
which
be
cadential feeling
may
cadences only
of a
Besides
it is
common
fact that in
the
that
he takes care
of stereotyped
to avoid as
much
harmonic progressions
Obviously, then,
if
at a
rhythm.
To
say that
rhythm
is
a matter
of arrange-
ment of cadences
sense
is
meaning
what
is
cadence in a harmonic
is
to define
accessory.
IX
PHRASE-CONSTRUCTION
While the phrase
is
103
which
a convenient standard in
to express
and
realise the
is
In the
first
;
smaller parts
and although
in
just as important,
and
it
is
and meaning.
To
is
not enough
it
must be placed
sound and
assumes
its
own
This
composer
first
thought
it
i.e.
a part.
is
an almost
the
infinite
regard
to
internal
con-
The
arbitrary classification
by any means
adopted
is
in
any one
Even
in the case
of what
Normal
Phrase "
(i.e.
consisting of four
interior articula-
I04
tion
is
THE THOUGHT
possible,
IN MUSIC
ch.
varieties
its
individual features,
The terms
in
section
harmonic terms.
As
of music
in every degree,
state-
ment down
but
is
not conditioned,
;
so that these
harmony may
The terms
understood
as
sentence
or
period, applied
to
and
it
will be useful to
the process.
These
are three
in
number
its
the
in
both
varieties.
of musical thought, single and indivisible. It is the " irreducible minimum " of expression. In the one
type
the
;
transitive
it
is
a statement in terms of
bar-accent
in the other,
;
it is
expressed in terms of
it is
beat-accent
indivisible so far
as expression
concerned.
IX
PHRASE-CONSTRUCTION
The Phrase
is
105
any combination of
units, which,
is
externally
The
Sentence
is
Beyond
it is
im-
possible to go.
The
principles
of rhythmical shape
composer.
shall
necessary
is
The
intrinsic nature
combine to produce the process of segmentation by means of which full and symmetrical expression is
obtained.
Points
of segmentation,
or
be.
is
what
are
limit
usually
called
cadences, there
must
A
fact
what
is,
realised as a
is
necessitated
by the
that
during
its
progress the
mind
the
so to speak, kept
is
on the
stretch,
and
if
tension
maintained
beyond a
even
So
that,
These
articulations
more
or less
by
the con-
io6
tinuity
THE THOUGHT
IN MUSIC
ch.
is
the expression.
members of the musical structure rhythmic progression must be realised as movement of thought from secondary
In both the smaller and the larger
(or
In this sense, however, the term accent must be considered strictly as culmination of
individuality
is
movement.
The
the larger
members
no
it
is
pulsation to
significance.
On
as
is
definitely articulated
may
inasmuch
;
be regarded as
existing apart
from the
rest
of the structure
itself, is
but
its
potential rather
than actual.
be regarded as having a
but deprived of
structure,
it is
its
can be considered
no
live musical
it
meaning
is
when
merely
a part.
The
phrase,
organised, approaches
more
IX
PHRASE-CONSTRUCTION
;
107
it
expresses a
more
at the
fully balanced
The
increase in dimension
vitalises
its
and
these,
by
their
mutual
dependence and
structure,
relationship, illustrate
musical structure
is it
sense in proportion as
organised, and (h)
()
more or
less highly
more or
less
perfectly balanced
and
stable.
In the smaller
members
this organisation
it
is
only
Just
members
it
is
actual.
as
all
the the
seed
carries
within
the
potentiality
of
the
high
organisation
which
characterises
fully
the
germ
from
which
the
work
grows
work.
In the intransitive unit the element of
practically nil
:
stability is
is
concentrated round
is
subjected
out
the
importance
of
the
subordinate
is
accentuation,
still
in
one particular
prominence
towards that
io8
THE THOUGHT
which
is
IN MUSIC
ch.
feeling of stability
more or
is
less perfect in
more or
less
com-
is
carried
further,
and,
as
this
process
develops,
the
the structure
about one
spot and
is
more
fully realised.
The whole
To
pro-
minence
will
member
concerned.
The
member
rank
process
is
more
the tempo
or rather,
that
particular
mental
activity
on which the
in the
realisation
of tempo depends,
and which
of what
is
synthetical,
or
The
is
IX
PHRASE-CONSTRUCTION
statement which has
109
(a) Intransitive
i.e.
only
(l>)
or,
;
Transitive
i.e.
The
until
it
continuation of this
initial
first
unit of thought
finally
may
These may be
(a)
(^)
Methods of continuation.
Methods of contrast.
in
the development of
its
development,
will the
continuation
earlier
portions.
an ordered and
and cadence,
no
(a)
(l>)
THE THOUGHT
is
IN MUSIC
:
ch.
Continuation
By
By
parallelism or sequence.
is
Repetition
chiefly
or "
perfunctory manner, as
it
frequently
when the original idea is both concise and incisive. However, there are definite limits to the application
of
is
this principle,
invention, and
will
who
his
relies
too
much on
this
one
effect,
import into
work
a fatal
monotony of thought
of other kinds.
necessary to invest
;
so,
in
be freely
employed
wise engendered.
When
the
first
unit
is
modification
practically
may
development by contrast, or
may be
so
physiognomy of the
first unit.
Modification
IX
PHRASE-CONSTRUCTION
affect rhythmic,
III
may The
initial
The
Wagner,
Tristan
and
Isolda.
M^^ ^^
^31
f^-F-
=fp
i* -f
BE
^
10.
Beethoven, Op.
i ^^
^
TscHAiKOWSKY,
Pathetic
Symphony.
II
^^
1
^1
^
:
22
^9
its
When
dimension can
and
"anacrusis" or
of the beat
:
prefix,
i.e.
progression
may be
can
i.e.
(2) the
initial
accent
be considered
the
progression
may
(see p. 44).
however,
it is
which
112
THE THOUGHT
TTT
IN MUSIC
Brahms, Op.
ch.
120.
i^^
71 r r^ J
^ m rP tr=td t^
Beethoven, Op.
7.
DvoKXk, Op.
80.
Brahms, Op.
98.
1A5
-^ |l^s^
l
=F;^=S:
a
repetition.
m
is
Development by
cally a
parallelism or sequence
practi-
form of modified
it
obvious method,
of organisation of structure.
may
be of a very
in, it is
if
continuity.
Many of the
most
effective
and
affecting
;
but
it
is
apt to mislead
from
its
very
IX
PHRASE-CONSTRUCTION
set forth with appropriate
113
when
and harmonic
successions.
DEVELOPMENT BY SEQUENCE.
^S
ipqbp
[
i
Beethoven, Op.
II
106.
I
;^=^f^=p
Wagner,
Tristan
and
Izolda.
VP--P-
"^^
105.
DvoSak, Op.
^^^^^E^E^^^^
DEVELOPMENT BY PARALLELISM.
Beethoven, Op.
3.
i^
\,
i^ S
Wagner,
'-r
tii;
Tristan
and
Isolda.
^. f-.-r-
f- i^ .f
Schubert, Op.
147.
^S ^ m
ment may be
said to be
-L
i^=p?^
114
THE THOUGHT
IN MUSIC
ch.
concerned,
it
that
I^he repetition of
same movement, or
to
the execution
of a second movement
parallel
So
that, the
employment
effects invariably
Development by
cipal ways.
contrast
may
first
intransitive
transitive or
is
the
number or arrangement of
the
unit
the constituent
syllables.
When
versa
first
is
tially different
type
transitive
is
by
intransitive or vice
contrast
of outline
the
necessarily
for
implied;
although,
occasionally,
feeling
unity
may
As
in their
such as
found
in the
will
one
transitive.
But,
it is
and to regard
as balanced
IX
PHRASE-CONSTRUCTION
parts.
115
This
arises
from the
The
so-called
"abnormal" phrase
results
from
employment of
this prin-
The
usual
ways
:
in
carried out
ii6
THE THOUGHT
IN MUSIC
Bach,
CH.
Italian Concerto.
sS^^^^fe^ ^rg=j^^;^^
The development of
called
the
initial
normal phrase
is
is
essentially a process in
which
symmetry
the
unit,
Therefore,
if
movement
there
is
is
represented by a transitive
unit of speed, there
and
if
no change of
which
are only
two ways
is
in
this balance
can be secured.
unit by
The
first
by following
this
transitive
The second
transitive
unit
two
intransitive
units,
the
sum of
No.
i.
transitive.
Brahms, Op,
51,
^m
1^
unit.
=t
?2-
a
variety
i^
is
More
of structure
is
possible
when
the
first
statement of thought
in the
form of an
intransitive
IX
PHRASE-CONSTRUCTION
The
:
117
bilities
^1
f^^M^
^ $^
''^
^=t
^=t
DvorXk, Symphony
in
E minor.
^gjtlfcfez^i^^
r^-4 Jf ^
Ij
N -r ^ W 4 M ! ^
'''
1.1
ii8
THE THOUGHT
B
flat,
IN MUSIC
movement of
CH.
the
Sonata in
Op. 22, by the same composer. In each of these there is the same arrangement of units,
but
how
different
is
Even
if a
results
^ i ^^
im
feEt
>o-y:=i
^
-mII
d-.jtl
.1
-n-F
^F
H-
II
:H=t
^a
fe
a:g
IS
:
g>^^^-^"^^^
^it
^^^
*LkJ*L
IX
PHRASE-CONSTRUCTION
From
119
appreciation
The
articulations
clear
statement,
must be maintained.
is
Just as in perfect
elocution there
clear
and
distinct articulation
of
each
individual
clauses
that each
realised
is
by the hearer
as
an individual
thing, there
maintained
and expressed
there
so, in the
component
interruption of
comthe
The
successive units
may be compared
first
to
The momentum
acquired in the
step carries
is
a self-
Indeed,
this idea
of musical
momentum
supplies
of phrase construction.
The
I20
THE THOUGHT
thought.
IN MUSIC
ch.
ix.
mind of
musical
movement of
off
as
The
phrase
starts
it
the
pendulum
starts swinging,
and as
to
moves
acquires
momentum
which tends
will
maintain
movement.
of
swing an approximately
side
either
of the
centre
round some
centre.
But
as
swing
case,
of the pendulum by
one
its
natural
of
musical
momentum
The
is
operation of some
termed the
"Ab-
CHAPTER
THE ABNORMAL
The
analytical
X.
PHRASE.
taining
to the
more or
than four
is
to refer such
their construc-
number.
which the normal
are
According to
this
two ways
phrase
These
or augmentation
of the
By
or bars.
Similarly, the
in
two ways
(a)
By
the
;
overlapping
successive
first
phrases
being
By
122
is
THE THOUGHT
less
IN MUSIC
ch.
more or
as irregular
and abnormal.
is
The
what
is
an expression
of accentual relationship
between
two
contrasted
rhythmic
elements.
As
are,
there
unit
two
different
forms
of
this
in
of
thought.
dimension,
found
in
the
other.
In
each
there
is
definite
to a primary element;
one case
this is ex-
Every
intelligible
tion of these
two forms of
together, and
in its extent
may be
constructed so as to embrace
two upwards.
The number
by
its
is
not unlimited, as
when the
will
i.e.
dimensions
it
inevitably,
own
the
component
point.
by melodic
and
harmonic
device,
accelerates
or
123
Stated
cadence.
five bars
reached
when
of the
Successions of
more than
not as
five
be
realised,
but as composite,
i.e.
vidual phrase.
The
the
whole
subject,
and
clears
up
of these
so-called
irregular
phrases,
The
artistic
is
sufficiently obvious.
phrases in a composition
if
the
component
symmetry so obtained
So composers,
as
would
pall
on the musical
sense.
their artistic
is
formulated.
The
ness "
general
principles which
preside over
essential
and
the
" dupleis
which
in
in
various
forms
and
sequence
embodied
every metre
operate in a similar
way
As
124
THE THOUGHT
identical
in
so
IN MUSIC
differing
as
it is
ch.
relationships
kind,
only in
far
realised as
and progression
The
to
a
is
progression
primary, even
unit
;
when composed of
different types of
more
Just as
bar
of
triple
Such a phrase
is
is felt
intransitive
realised as balanced
because
to
it
one another
primary.
five-bar phrases ()
realised as
must each be
progressing from a secondary to a primary accent. By " reducing " these to the forms (c) and {d), the
^
The
distinction
is
that the
phrase cannot be
one
intuitive act of
thought.
125
unequal dimensions of the rhythmic elements associated with each accent, can be clearly seen.
(a)
ii*=
\f
F^
^^=^
g
J>
m
(i)
1**=
!~^
=
(^)
'
ilF
geg
(^
The two-bar
phrase,
phrase, as such,
is
subordinate accentuation
must be so
distinctly
its
into
two
divisions,
each with
own
it
of stable equilibrium.
is
126
THE THOUGHT
IN MUSIC
CH.
group
as a four-bar phrase
The
compounded
in
two
different
ways
:^
Transitive
are
The
following
methods of construction
13.
FT
lit
?^l
Bbethoven, Op.
31,
No.
I.
i
^
-j^
^^
its
P^ ^t
In a phrase which appears to be compounded wholly of intransitive units,
no matter what
dimensions
may
be,
it
will
which
gives
is
active.
last
either the
two or the
two
associated with
is,
in spite of
parallel to the
127
produced by combin-
Two
One
transitive
one
intransitive,
in
any
order.
(J>)
transitive
and three
intransitive,
in
any order.
The
following
examples
illustrate
some of the
possible combinations
FIVE-BAR PHRASES.
ScHUBBRT, Sonata
in
(Post.).
^*
I
P=
S=
~P~F"
-!
L-
^
i
^fe*.#rr*^^fe^j
^^ ^^ m^
-m
^
r
f-
*lfeii
-F-
m^^^^^^
128
THE THOUGHT
IN MUSIC
Brahms, Op.
79,
ch.
No.
i.
^m
^m
i
^m
^^-
i3
mM
II
I
Erfffrf
i^g^g^
w^
*
i
^s mm n
I
?F
pg
^
M
Haydn, Sonata
in G.
^^
j=zM=
129
Post.).
^(i)^
J-
:i
AiJ.^
mff"-f-=^
Beethoven, Choral Symphony.
^E(i);
^d^
E^
tl
:fc^
te^
ittit
I30
THE THOUGHT
IN MUSIC
ch.
#==8=
^ '=^=^
^.
zziz
^W^^
l4qs=^
^
f^^^e
=1;'
^
The
cessive units
S^
it
form of notation
on
different staves to
lapping.
i
i
f-
S^Efe
^m
=?=p=
131
m
i
The
the system according to which the
are arranged.
-i^m
rhythmical effect of any phrase will depend,
component
he
units
Each individual
to the performer,
own problem
an
and
if
is
to give
intelligible rendering,
will
grouping,
phrasing,
accentuation
will
and
all
the
the
details,
be based on
will,
in
practically
of the smaller numbers, each separate part being constructed in accordance with the foregoing principles.
The
novel
prolongation length
in
or
pause
indefinite
of
definite
or of
is
frequently
used
to
produce
is
effects
structure.
The
following
132
THE THOUGHT
a transitive unit
IN MUSIC
CH.
compounding
final
with
I
a pause
on the
note
with an
={5=1=
intransitive.
Schubert, Op.
120.
tf if i:
i^
is is
^
perhaps
in the unit of
other means.
it
In
fact, this
device
is
so
common
that
seldom conceived
as a departure
from
strict regularity.
The
ciple,
distinction
from the
composer,
the
in
response to
emotional stimulus,
is
may vary
dimension of what
thought.
realised in
one intuitive
act
of
conceived in terms of
the
beat
in
the
stated in terms of
the bar.
However,
his
after
work on
may
alter his
thought so that
it
new
unit of speed
is in
133
movement
is
not disin
turbed.
detail
when
of augmenta-
The opening of
latter
:
^(S^
i
EEE
=^
^
is
^^^^
slow duple, with the minim as the
The metre
value of the
beat.
after-
cannot be
is
conceived as really two bars of f time. That is, the temporarily alters the base composer of his tempo,
and, instead of thinking in bars of
|-,
thinks at this
original,
ir
'
134
THE THOUGHT
IN
MUSIC
ch.
s
^(i^
J--1>
*V-
^ ?
of a unit
is
as the nucleus
new tempo.
opposite process
is
The
speed
augmentation
Sonata
in
of unit of
excerpt
from
:
minor,
Op. 31
t|^a^
I1
i
The
time
is
IC2Z
:g=
^,
is
which
minim.
The
best
seen
crotchets,
in-
semibreve.
135
fe~T-r l^^^^-^h4,M^5H
i
r
m
this point,
JOL.
At
of
Instead of thinking
beats of a
minim
as
much
and
must
be phrased and
performed
fe
-^sm
changes in which
is
combined
an
metre)
is
not
uncommon.
The
following
is
example of
this effect
Allegro.
Beethoven, Op.
7.
i w m^
136
THE THOUGHT
that
it
IN MUSIC
CH.
of view) thus:
i fe^
That
is,
;tt
^
as
=t
transitive
unit
with
feminine
However, the
two
parallelism
shows
in
intransitive units
f time
i
So that
original to
at
s
this
^
point
the
value,
^
composer modifies
and
his
unit of speed
half
original
at
The
proportion
easily
new
change of notation
inadvisable.
is
ment
If>^
137
^m
Comparison with
are maintained, will
ijz
^
in
-P-P-
the
following,
which
the
of the
original,
and
student as to
how
the easy-going
method of develop-
I^j^r
^
these
avoided.^
^^^
i^^^F=^
F=P=Pthe
modifications
in
^^
^
E^
to
effects
Analogous
are
the
The
is
the most
to
rhyme
is
When
a line
introin the
is
i.e.
a syllable
which
keel nine
fathom deep
From
snow
spirit slid
and
it
was he
to go.
also."
when
interrupted or displaced by
unit of speed.
138
THE THOUGHT
subject
,
IN MUSIC
is
ch.
The whole
irregularity
is
of what
called
rhythmic
performer.
One of the
itself
this
power of thinking
Such
and expressing
is
ture which
methods produce
The
two
lines,
is
to indiviin
one
unit.
"
Of
Fortiine beguiling
its its
favours,
blessing,
and found
its
decay
Sweet was
Kind
Cf.
its
caressing.
it is fled'
But now
it is
fled far p.
away."
Prof.
Manual of
English
Prosody,
35,
Saintsbury
(Macmillan).
^
The
II
pesition Musical/)
interesting
"
la
danse,
la
construction de
la carrure, ou division symetrique des mesures en 4, et en multiples de 4. Bien au contraire, cette forme carrde qu'on croit souvent populaire alors qu'elle est seulement vulgaire,
toujours soumise k
dtait a
le
XVIIe
siecle
elle est
dpoque."
(Premier
livre, p. 89.)
139
but are individual forms resulting from various combinations of the unit of thought, will
remove from
the
mind any
difficulty v?ith
When
called
to
is
form what
usual,
in
are
sentences
short
phrases
should
this
be
more or
is
less
By
means
perfect
most
easily
feeling
of
mem-
The
rhythmic
arrangement,
factors in
most
easily
understood
when the
this
dimensions.
In larger works, however, this absolute equality
is
It is
of equal length.
The
phrase, although
is felt,
rate units,
intelligence as
one entity
and
this
oneness
is
owing
Consequently, so long
is
clear
and
can be ignored.
Any one
I40
THE THOUGHT
is
IN MUSIC
ch.
and defined
Length
it is
is
phrase
its
felt as
what
length
may
it
is
^and the
sound
ciple
satisfactory.
is
of balance
most
Indeed, were
it
otherwise the
process of
The symmetry
required
is
of the kind
Nature,
artist,
;
proportion
not that
which
figure.
characteristic
The
leaf,
cannot be expressed
exactness.
The
disintegration of
is
into
"phrases"
involving
much
cases devoid
of any
practical utility.
141
successive units.
distinct, as in
school,
phrase feeling is clear and most of the compositions of the formal the articulation marked by the phrase cadence
in the continuous melos of the modern musician such pronounced breaks are
by the composer.
apply to the
works of Bach,
which there
is
found that
modern music
since
Wagner.
The
compounded
the units.
The
vincula denote
Haydn, Sonata
in E.
142
^^
m^
THE THOUGHT
IN MUSIC
ch.
^i
1K
z5=z^
^^^m
^g
s^^
^
-^
r
^^
^
(2)
=lt
Schubert, Op.
42.
3E
f
^
143
^W ^^
,,.
1
1 !
!
S
j^=::
:^^
--=--
=&
^-i=fe
-^
^^
(3)
-(S>
^.
m^n-^A
ii
*i
S)
if^
*=^-|o
Beethoven, Op.
27,
No.
2.
f^^mwrn
^^&)\
i
^
p"It
tT" --^1
CIJ^
SBe
144
THE THOUGHT
Ifc
IN MUSIC
ch.
'zzJ
"^
^^^
II
^jj
-e-
P^ tL
ip-
=i^=i:
Wrj!^^ i T
1
iS^
3
-=r
IZZ
^tecgj;,pp^ ,rg"^,i33^
r r-
SJHJm
:
TS-
145
S3-
&iW
^mm
*
(4)
Schubert, Op.
^^^ ^=3
*-
^m
^
i ^ i
f=ttt=H
(-
146
THE THOUGHT
33; =1=8
IN MUSIC
ch.
^^
^
(5)
g^ T
Schubert, Op.
ft*-
113.
tr-^^
fe
P
3=Pz
i3i=Ez
P
m
-le-
=m
3=
-i
i
m
bft-
ftji^
:3=n=
-^F^
:3iEz
--
--
- 4=
Y-
- _
__ '^
"^
^F -r
;^^
^^^ *
147
21,
Brahms, Op.
No.
i.
pm
lft=S=^
m
-^
IjE
^m
J
-*-
-Ti
F
i^ a
1>
i
^
p^ f^^
g^
f
3
I I
^^Jtj3tg=a
^.J^
^^i
-+=:-
*:iirt:
E^3Egl
**;
j^ S^S
ii-i
l=M^
(7)
t_r
eE
=f^=t
f^
2,
Beethoven, Op.
No.
2.
Meb g^
mifl-^tr=^
Ib^
148
THE THOUGHT
Iei^=l.l
F=
IN MUSIC
ch.
^
^m
fe
lz=^=^ ^^ i^^
^S
^11
M 1^
^^^^
i
:^
fe
-#*^-2:-
^bl=^=E:
Brahms, Op.
ji,
No.
2.
^& r
^$^
f^^^f^
149
m
W-
&
r
st>
^
f
:^
^f^
"^=9^
^^
^ t^
1 =
,
W=^
J
=^*i=s=^
J-
j-siiA_^
=^
l^
-y
TT"
i ^
.1
.1
a ij
j^^L-J-
J-
^^ ^ il^^^
i J^
JO
THE THOUGHT
IN MUSIC
ch.
i=^
J
1
^ si^
d!J=i:
"
^J
i
^4=^=^
II
-^
^-
-4.
^i^
d-d-^^
i ^=1
>
(8)
I
^^^-^iE:
i r
-*
-e^
-I?:
Z2I
r
Tristan
^
-^
Wagner,
and Isolde.
^=t^Q)=
^s ^ ^ i:^ ^= ^j=^^ =^
*
>.n
^ ^r^
I ^ S^
151
^ibfc
i
=J=^
*P=
-<
^^
d=lt: m^ ^^
^^
im
3 &
d=^ i
^M
:^^
^
^ii3i^^
d=t^ ^ O
:
J-
-f
fe ^^
^^L^^
"II
*^
bj
H^
152
THE THOUGHT
IN MUSIC
ch.
^
m=^
E
psgp i
^POTl
i=d
^ ^^
^
d::
SS
Wagner,
I
a=
Parsifal.
I
'-
ifeS
Si
^
.t=i-=^
j-oai^
^
>
153
m^=&^^ ^"St^ m:
li^ S3
fe^
XJ.
3=t
:t^=:T
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CHAPTER XL
CLIMAX,
TEMPO RUBATO,
Etc.
discussed in the
is,
and emotionstrict
or
less -deviation
from
and
mechanical regularity.
As
is
The performance of
"
strict
a work, even in
what
is
called
coincident with
the accented
places
in
the work,
in congruity
with
harmonic vibration.
The
feeling
movement
is
what has
CH. XI
CLIMAX,
TEMPO RUBATO,
ETC.
155
is
displaces
it
is
of the
However,
it
impossible to indicate
them
in
our notation except by the use of vague and general " terms these are, first, the effects of " stringendo
:
is
called
Tempo
are directly
due to the
The
itself
is
and pitch-relationships
personal equation.
bounds
of rhythm
of
crisis
i.e.
periodic
it
has a
sometimes opposed to
with which
it
has
its
own
peculiar fluctuations.
In
more or
velop
less
entirely
from
the
intrinsic
nature
of
the
in the state-
156
THE THOUGHT
in
IN MUSIC
ch.
ment
subject to
no obvious law or
principle
of periodic
movement.
The
FORM
tent.
constructional
climax
Is
dependent on the
on the con-
The
rest
constructional climax
;
is
objective
i.e. it is
conditioned in
qualities
relations to the
characteristics
of the structure by
and
The emotional
climax,
on
subjective as regards
its
relations
It
is is
variously
felt
and
the
principal
personality
of the
performer finds
expression
The
that point
where the
particular division
concerned
attains completion.
It is practically
independent of
its signi-
is
of the structure
is
indeterminate.
is
more important
from
point of view
will
that
cadence be.
The emotional
climax,
usually
XI
157
state-
ment.
There
is,
music
may
is
that in proportion to
content, so
forms of climax to
In
music which
level,
is
we
find
more or
climax.
of cadence and
climax
is
is
a "slope"
of the nature of
or belownormal
is
The
a progression
so graduated
and quality
below
definite
more or
is
less
above
or
normal.
This idea
and necessary
purposeful
;
is
actual
and
explicit.
if
only
so
is
not
158
THE THOUGHT
chief climax in a
IN MUSIC
is
ch.
reached.
led
The
up
to
by a
series
in
artistic
the
anticlimax.^
work which
its
is
constructionally adequate
may
arrangement of
other hand, a
emotional climaxes
its
and, on the
climaxes arranged in
effect in
not warranted by
its intrinsic
is
an invariable accom-
This
may
take
is
;
two ways.
In the
first
of these there
to a
a
in
maximum
the
to a
second,
and
necessary progression
minimum.
It is entirely a
;
emo-
may
find
its
direction of
decrease.
dynamic increase or
of dynamic
Similarly, the
emotional stimulus
may
affect the
rhythmic progression in
In the
Cf, Corder,
Modem
XI
CLIMAX,
come
TEMPO RUBATO,
closer together.
ETC.
159
gradually
intervals
The
put
it
itself felt
by
to
due.
by dynamic development
there
will
either
be a
more or
attained
less
abrupt change
at
in value,
or the value
to
new normal
stimuli.
by fresh emotional
be more or
and the
original
progression
resumed, or
new normal
dependent
rhythmic progression
will be substituted
to
When
work
is
reached,
it
will
is
not so
much
work
to a close
on the level
work
which
is
the expression.
is
Not
the part
can
play, in
i6o
THE THOUGHT
cases
IN MUSIC
ch.
many
two separate
divisions
of a work,
feeling,
may
is
be
leads
to be
one emotional stratum to another, the division preceding the climax representing a higher
level than that
or lower
which follows
it.
While
the emotional
meaning
de-
Attention to the
first
and
in the hearer.
On
and tumultuous,
These two
by various
the other.
Only
supreme
artist is
xr
CLIMAX,
TEMPO RUBATO,
ETC.
is
i6i
primarily
The more
this periodicity is
emphasised,
come
larger
into
series
of pulse
successions.
In
the
statements
there
as
has
been
indicated, a justifiable
the rhythmic
these.
movement
and quitting
With regard
units
and
phrases,
they
also
are
invested
with
emotional significance
rhythmic progression
The
feeling of rigidity
is
eliminated by the
to
momen-
movement
in
62
THE THOUGHT
The
is
IN MUSIC
ch.
beauty.
of this effect
The
Chapter
rhythmic
known
as
tempo
only a
even
in the
were
possible to outline
absolutely continuous succession of sounds arranged so that change of pitch proceeded at the
same
rate as
com-
Our movement
series
appreciation
of the
is
approach
to,
and
from, accent
some
definite point
in time,
realising the
;
actual rhythmic
movement
effect.
the
same
Rhythmic movement
is
con-
tinuous,
rapid passages,
discontinuous.
The
niceties in grada:tion
notation.
They
by the subconscious
XI
163
and
must have
is
free
and
unimpeded
less
action.
The
feeling
of rubato
more or
unconscious, or, at
realised
least, it is
not self-conscious,
and cannot be
a passage.
it is
This must be
heard
the
composer did
create
it
beginperIn
and
let his
reflex
of
this imagining.
and react on
is
to
rubato
in
performance.
Tempo
rubato
is
none the
less a distortion,
performance
expression
the
result
of individual
distinction,
which
64
THE THOUGHT
all
IN MUSIC
ch. xi
elude
the
attempts at
record,
is
outcome
expression through
PART
III.
CHAPTER
XII.
a collection
of
not
a theoretical
semitone.
With
This__semitone
is
combinations.
when they
when
of musical thought.
it
The
;
only
can understand
if
it
can
appreciate the
"
68
THE THOUGHT
IN MUSIC
ch.
is
It is practically
is
As Helmholtz says "The system of Scales, Modes and Harmonic tissues does not rest solely
:
upon
is
still
The comprehension of modern European music, like that of the musical systems we call " primitive," is only possible to those who have inherited and
developed the necessary aesthetic bias towards the
particular
and into
five
no doubt our
in those systems.
In our musical system the general principle, according to which both successions and combinations of
is
supplied by what
This
principle,
however,
The
Sensationi
Helmholtz,
op. cit.
Ch. XIII.
XII
DEVELOPMENT OF HARMONY
169
some centre of gravity , of cohesion, is necessary, if the mind is to be enabled to gauge the efflect of both
successions and combinations.
,
,
i^k.,'-'
When we
mean
is
in a certa in
ke y, we
more
or less
arbitrarily,
starts to write
in pitch as his
The sounds
available in
They may
feeling
The work
movecircles
ment but
moves
short
is
the
first
must perform
evolution
These
circles in
are
necessarily
of small
diameter
point.
there
is little
music forces
evolutions.
to larger
and frequently
less definite
The
The
Examination of the
earliest
The same
lyo
in the
THE THOUGHT
IN MUSIC
ch.
Many
of harmonic
effect.
The
first
attempts in harmonisthis.
The power
;
in
some
in others,
it
Most
when using
the very
own
succession of harlogical
monies
sense and
pro-
gression, even
when
supplemented
by the
possibility realisation
The
was the
many
years.
principles as guided
were not
at first
harmonic.
as
it
Harmony, such
became
as
was
at first,
and even
in the sixteenth
ment of the contrapuntal school, was not an intention it was what we might call an unavoidable accident.
The purpose of
all
Of course,
XII
DEVELOPMENT OF HARMONY
fulfilled
first
171
the purpose of
prin-
of harmonic discrimination
the
distinction
The
to the
total result
of
work of
the composer
up
end of the
six-
the point of
in the
above
What were
came
the discord
and
its
Their harmonic
effects
were
as
" suspensions."
In addition to
this,
between these
indefinite.
As
speak, complete in
was
sufficient
owes
to
172
THE THOUGHT
it is
IN MUSIC
ch.
to be referred to a special
Melodic
of each
call
its
standard or formula.
is
The emotional
effect
influenced
chiefly
;
horizontal outline
as har-
mony,
all
sound much
The
eventual result
what
is
termed
counterpoint.
The
artistic side
ecclesiastical influence,
and
fabric
of sounds was
built
up
The
entire absence of
harmonic relationship were wanting, forced the composers of this time to the only other means by which
organisation
could
be accomplished
the
artificial
it
and
was
subtleties
drove
all
left a result as
as a geometrical figure.
From
being a natural
limited
means of
if
repetition
of
XII
DEVELOPMENT OF HARMONY
company.
an instructive fact that the
first
173
It is
use of the
all
ages and
all
peoples
merely
machinery
sion.
Monteverde, the
Italian
musician
who
is
credited
in their
ought to
it
is
this
first
and
this principle.
Emotion, as
if
its
name
implies,
is
movement
it
and
movement
in this sense
means anything,
means
and
satisfaction.
The
feelings, excited
and moved
from a
state
pitch, sink
we call a disof this movement cordant combination is a mental and the appreciation of what we term key or type
psychological effect of what
;
The
174
tonality
THE THOUGHT
is is
IN MUSIC
ch.
discord
as a disturbance
of equilibrium, and
implies a necessary
movement
to a relatively restful
in
combination.
In the
must
rest
oscillate
it.
round
that,
on
So
sonance and
the
its
realisation
of what
is
inevitable.
Whatever the
discord, with
at the
same time.
first
The
combination of
is
this
the
dominant seventh.
But
we
find practically
every
The element
made
possible
XII
DEVELOPMENT OF HARMONY
of regularity of rhythm
175
principles
and
tonality,
of the period
puntal epoch.
led
of the
art
by
undue attention
greatest, the
to the mechanical
thing.
That
what
underlies
called
itself.
form became to
everything
them an end
in
Form became
The two
rhythm and
siveness
codified
tonality,
to
music,
became
basis.
conventionalised
and
on a narrow
"
in con-
with
general
natural root
belief."^
Art
The Romantic
School, as
it
is
to
its
primitive
and
function as the
176
THE THOUGHT
IN
MUSIC
ch.
first
there
The
rigorous limits of
down under
the
rated
into
narrow and
restriction
of
of wider
issues,
developed an expansive
To
bination to combination, that essential characteristic of dissonance, were added the larger
The
contrast of chord
key
same time was rendered possible by key, was amplified into a scheme in which emotional
and
at the
eflfects
were
realised
remote.
as peculiar to
one
in
and
The
The
idea of
relationship
was widened. so
as to
comprehend the
startling
and keys.
XII
effect
DEVELOPMENT OF HARMONY
177
means
for
the
vitalising
of emotional expression.
is
The
found
in
the
In these, subject to
and embody the emotional developments of the drama, we find this " polychrois
music
to illuminate
matic" method
in its highest
development.
Obedient
moves from
brilliancy
glittering
iridescence
or
scintillating
in a flash, if
need be
to deepest
gloom
Harhis
mony
is
heaped
principal
resource
on
which
The
interior
movements
pressed.
this
powerful
Its
modern music.
power
178
THE THOUGHT
in not a
;
IN MUSIC
ch.
where shape
is
conditioned
in the
first
is
place
by the verbal
structure,
and where
colour
However,
yet been said
word
in
in
the
same
direction,
colour
effects, is
somewhat doubtful.
The
develop-
ment of shape or
its essentials,
com-
As
and
shape in music
is
is
so colour
essentially a matter
of tone combinations
(so-called)
contrasts.
The
ordinary rules
of
the
harmony
theorist
made by
artist,
and
music,
these
it is
first
;
by every
musician
composer
and
performer
alike.
The
the
XII
DEVELOPMENT OF HARMONY
Once
this
179
is
combinations.
elementary groundwork
by the
composer
will
make
definite
appeal.
use
such cases
is
to be typical.
And
so,
as
possible meanings
become
clear
and
sensible.
Note.
For
a full survey
of the course of
artistic
is
development
referred to
The
Wallace.
CHAPTER
SHAPE.
XIII.
be
devoted
to
the
of ascertaining how
far,
and
in
affect
much when
we
is
profitable to systematise.
harmonic
have furnished a
ment, the other equally important factors have been somewhat neglected, even
in
in
effect
practice-
That harmony
is
CH. XIII
INFLUENCE OF HARMONY
is
i8i
the
shown by
the directions of
virtually non-existent.
Its
recognised
considered
the
fact
that
all
along
it
has been
which
is
Teachers of harmony
know from
who
learn
have
at first
any
intuitive realisation
of the musical
absent,
may
to a very con-
The
of a musical
structure
that
it is
apart
meaning.
The
by
interest
itself,
may
be acoustical, but
cannot be musical.
To
must
i.e. it
must
The
realisation
82
THE THOUGHT
members of the
IN MUSIC
ch.
rate at
which
With
regard to
the
first
is
in every case,
and
in all
movement between
associated with a
first
As
by the educated
principle.
ear
as illustrative
of the
same broad
It is
tion
of such
educated ear.
The harmonic
attribute
not by any
meatus
universal
of humanity.
Many
Oriental musicians
do not
realise
musical
different
sense
has
developed
in
in
directions
totally
from those
progressed.
Experience shows,
in
also, that
may have
xin
INFLUENCE OF HARMONY
its
183
unsatisfying
same time
is
combination which
necessary to complete
the effect.
The
with a " resolution " has been realised, are the most
The
cord to
logical
its
dis-
consonance, inasmuch as
exemplifies completion
as
of
movement, may be
regarded
"Harmonic
Accent."
Associating these two different sides of the contrasted
states
we
movement
last,
completed
the cadences
pletion.
in proportion to
be the feeling of
cluding harmonies.
As
84
THE THOUGHT
IN MUSIC
ch.
this
harmony
in the
finality.
In
or repose
is
of the tonality,
the
key-note and
its
derived
harmony.
less
degree of
implied
by any
particular
rhythmic cadence, so
more
or less
final.
The
very
expressed.
is,
However,
as
har-
itself,
rela-
is
combination
may
less
pronounced and
at
less final
occurs
fulfil
the
Only, in order to
harmonic repose,
it
must
be contrasted
in virtue either
its
of
the
own
inherent character or of
place to
in
movement
some such
XIII
INFLUENCE OF HARMONY
progression
as
185
so-called
Such a
the
common
The two
triads
which
form
by the
fact that
movement
it,
and the
of
fulfilment of this
movement
characteristic
i
In the case even of dissonance, as there are degrees
of dissonance,
effects
it
is
latter
relatively the
more complete of
effect
is
the
two.
Obviously,
the
cadential
all
then
somewhat
simplest,
disguised, because
suggest
;
movement
it
to
something beyond
themselves
but
either farther
away
is
of
therefore
more pronounced
The
the
more
it
approximates
The chord
86
THE THOUGHT
IN MUSIC
is
ch.
which
not
only the
to
the
modern
ear almost
the
of consonance.
when
the
fact
heard by
itself,
as
discord.
It
seems to be so
that
definitely connected
with the
key-centre
the
is
in reality
centre.
istic
Used
as
in
effect
more
it
easily realised,
when
it
has behind
combinations.
principles
may
is
down
as
and harmonic
accent.
The
interior articulations
of a statement,
if
accom-
nent as to
make
In achieving
is
of the
first
importance.
at
XIII
INFLUENCE OF HARMONY
187
unduly prominent; or by using "harmonic accents" in such a way that they conflict with the rhythmic
accent, the "joints" between the various units of
less imperceptible,
and
maintained unbroken.
With
same
The
Wagner and
the
modern composer
of
this
go
to
But
the
the
articulations,
be
is
realised
by
performer
if
his
no more
for a
out,
regular
is
human
being to go on continually
in breath.
breathing
and
essential
element
The harmonic
progressions which in
modern theory
but the actual
Harmony, by
realised.
i88
THE THOUGHT
is
IN MUSIC
CH
monic arrangement
realised in a quicker
felt as in
tempo by
altering the
Owing
to
the
inevitable
tendency to associate
Thus, while
in slow
(a) is
most naturally
felt as
one bar
in
tempo,
or
two bars
moderate
additional
accents,
as
four
bars
in
fast
tempo.
The
suc-
harmony
in (^)
M.M.
0=72.
^
@t
(*)
^
M.M.
c3=72.
Ir
m
^-tT
XIII
INFLUENCE OF HARMONY
movement above
189
Similarly, melodic
sustained har-
mony
tempo
when
movement
is
stated
in conjunction with
(f)
^r
i&
M.M.
c).=8o.
i
-0^
-AJ=nM P^ f
^jt-A vyrf^r
J
p
j-t^-p-
&
J-
#E-^
J_
^a m
i
EE
-m
-P-F-
(<^)
M.M.
c'-=8o.
^=^5
^ ^
T
^=E
effect
:E=Ei
Comparison of the
The
I90
THE THOUGHT
tempo.
IN MUSIC
ch.
special
This
fifth
quickening of tempo
and
sixth bars
of the original.
At
of
triple metre.
ducing these
office.
harmony only
fills
an auxiliary
It is
harmony.
The
unit of speed, as
originally
throughout one
not in
itself
The composer
at
is
by the speed
tempo,
realised.
Music conceived
i.e.
in slow
ance
of
rapid
harmonic changes
changes
which
XIII
INFLUENCE OF HARMONY
slow
191
The
har-
movement
than
a
has generally
more
is
monic
interest
quick
movement
not
When
the
tempo
subtle
and
delicate gradations
each meltand
Isolde.
the
nextas
to
avoid
Wagner,
any feeling of
Tristan
^^
m ? fr-T7
Ei
:fe
^^^^^^^^^.
The frequent pronounced harmonic changes in a slow movement are due in reality to modification of
192
THE THOUGHT
IN MUSIC
ch
as in the
a feeling of quickening of
movement.
The
movement
is
movement, and
plex
interest
invariably represents a
more com-
sequence of thought.
is
relative alteration
this
of tempo, which
is
illustrated
by
slow
start to finish at
By
beginning
the
movement
are
of increase
in
as the unit
power
its
original size.
of which
is
is
of harmony,
in
most
cases
and the attainment of climax, or the recession from it, is generally accompanied by harmonic arrangements
which confirm the enlargement of the unit of speed.
XIII
INFLUENCE OF HARMONY
^^
S^3
^m
193
Beethoven, Sonata
Path^tique.
^
111/'
^^^
^n3^
Se
^aijy-6=^==g
^^^^
fe^S^ KDi^^^^^
SS"
f-
ayyi' J' ^
:(i)P
194
In
THE THOUGHT
instrumental
in
IN MUSIC
ch.
frequently
met with
seems to be concentrated in the harmonic successions. In pieces of the " Study " type, such as a number
of the preludes of the " Wohltemperirte Klavier " of
Bach, where a
cession
is
suc-
made
of different
is
of a rhythmic line
often
it
matter of some
doubtful
difficulty.
But although
or
is
generally
as
to
how
where
in
such
of "jelly-like"
structure.
protoplasm,
so
Chap. V.
statement
By
of the original
as so
is
many
two types
original
of
unit,
their
of which
will
provide
To
illustrate
we
shall
which are of
this type
No.
i,
in
major; No.
2,
xiii
INFLUENCE OF HARMONY
minor; No. 27,
in
195
write
in
sharp major
and
way
^g
W^
^^
O.
C^L.
^
7>
l()
-^Q
p-
te
s B
i
^^
P-*
=^
-fe<=-
^J #
-4^
>^ ^
E
.
-eJ-
IE:
^^
^
^ ^#
?=f=3:
^
-ci-
ic
rJ
196
THE THOUGHT
IN MUSIC
CH
it
at
{a).
The
first
of these forms
a perfectly
sym-
the relationship of
is
easily discernible.
The
rest
of
this
may be
on the scheme
by the phrase-marks.
If
Ave Maria
he
the well-known
shows a rhythmic
features,
it
arrangement corresponding,
to this scheme.^
in its general
The
minor suggests
in
it
Written out
f
is
which, by a modification
in
triple time.
im
fc
za:
^ =^
^^ 5
serted by
p^
contains one extra bar, in-
to improve Bach's
many
later editors.
XIII
INFLUENCE OF HARMONY
197
i^
=^
"O
^ S
^
32:
-r^
fE
:^
f^^
^"
etc.
^^^
IE
i|^-
^^
^ Si
The harmonic
those found
in
3S=
progressions in the
33r
sharp major
perfectly reasonable,
and has
its
own
features of
198
THE THOUGHT
IN MUSIC
ch.
#fti*frri
i
a.
^#^N^
^il
life
^^^
Ji
-3"
-0
i^^H^
r
In pieces constructed
*^s^
^^ ^^ ^ ^
etc.
on
and cadence
XIII
INFLUENCE OF HARMONY
more important than
in
;
199
is
naturally
is
works where
will afford
there
and
most help
shape.
some reasonable
Thus, in the
last
of,
strong accent
suspensions
up
to
and the
consider
each of these
them
an arrangement which
The
tonic
transposition of
key
at
(c)
obviously demands
movement.
that
these
and
They
are
only attempts
to
supply
reasonable
method of regarding such works, and have been undertaken in order to show that there is no necessity for considering
them
as absolutely structureless.
it is
The
on quite
a different plane,
may
also be subjected to
some such
200
THE THOUGHT
at the
artist,
is,
IN MUSIC
ch.
Looking
derived
obvious.
That
no performer
is
who
lacks the
This, however,
is
Names
use
to
things
it is
knowledge,
;
which
that
is
essential.
Theory has
its
own
viz,
classification
of various
kinds
we
and
easily
place that
in
filled
simply this
that
some
common
heritage,
and
of
with a hetero-
theory of
facts
is
;
harmony
is
a systematised
is
body of musical
system which
by
as art
present
we do not even
is
suspect.
assisted
by
syste-
XIII
INFLUENCE OF HARMONY
essential thing
is,
201
The
to acquire the
knowledge of the
is
results
theory of harmony.
possibilities
at
is
The
affair
invention of
new harmonic
an
white
heat,
made
in
order
in relation to
CHAPTER
XIV.
succes-
more
easily
attained
than
the
As
far
back
in the history
of mankind
present in
as
we
first
some degree or
is
period which
human
As
earliest
fusion of two or
more
different melodies
sung
this
at the
same
time.
The
logical
development of
method
harmony,
thought
in
the
modern
of.
Although the
result
of the
all
dis-
these
CH. XIV
203
for the
is
called
was
the
it
soon
felt
to
be
inadequate.
who
those
ushered
in
new
on
of
who
carried
on to modern times, we
practically
find the
two
principles
united
equal
terms.
is
That high
characteristic
organisation
of
detail,
which
the
in
the end,
cilable
not antagonistic
Not only
these
in
connection with
a
principles
polyphony
acquired
new and
The
and
as,
homophonic system
;
which had
We
per
se,
some
musical
meaning
but
nothing
is
more
204
THE THOUGHT
IN MUSIC
ch.
com-
when he aims
at the fullest
and movement
of emotion than
the shape.
In
apparent
this
or
in
which
larger
so complicated
by the
only to
is
Its place
the
scheme
is
then
taken
by () the
logical
dynamic
or
an
intellectual
is
climax.
The
often compara-
is
structional.
The
of statement
appears
regularity
of rhythm
such
frequently disthis
is
altogether.
In
movements
XIV
205
sacrificed to a
this
continuity.
What
one
may
call
the
"artificial"
imitations of various
strettos
and
combinations
the
often
more apparent
to the eye
The
of such works
;
is
intellectual
i.e.
the
mind
complicated
;
structure
obtained
these
amounts
or
nothing.
To
the
educated
may
give pleasure, in
the exercise
of the purely
intellectual side
them renders
it
stir
any
answering feeling
On
is
when polyphony
it
is
used, as
it
in
But
may
The
high organisation of
ao6
detail
THE THOUGHT
which these "
IN MUSIC
" can confer
ch,
artificialities
on
of emotional tension.
this
under
same
influence,
expressive,
Each assumes
its
the
imagination
of the
hearer.
The
chief function of
is
polyphony, therefore, in
modern music
pressiveness
to heighten
The
rendering of these
is
concerned.
ness.
But
The
main
line
of shape, and
the
relative
striking
and
is
characteristic features
it
of music
the power
possesses
at first sight,
XIV
to
207
one another.
of the
web of sound produced by the operation modern musical sense, the unity of the whole
apprehended
in
work
is
no
less a
make up
the whole.
absolutely necessary
construction
of each of these
Each
it
of these
details,
may
must
its
it
reference
to
elucidating the
This
will
be
made
will
clear
by
work
Either
or
it
will
and by
continuity, so that a
in-
movement
will possess
its
own,
in virtue
of which
will
make
its
These
and
realised in performance,
2o8
THE THOUGHT
full
IN MUSIC
ch.
As
these subordinate
movements
are
movements of
If
the
it
particular
detail
revolves
round one
accent,
will
;
involving progression
it
of
The
position
are
to
be
considered as
strong
from
the
point of
be
quite
independent
of
the
written
The harmonic
two
aspect of music
makes
itself felt in
is
distinct ways.
In the
first
a matter resulting
illustrate
and enrich
is
more or
less
independently.
The
and to a
tune
the other.
Thus,
in an ordinary
harmonised hymn-
we have
XIV
209
harmonic
separate
that
accompany
it.
The
however,
which
go
to
make up
From
this point
of view, polyphony
simple chorale.
exists
one
and the
distinction
between them
of each the
music
of view.
It is necessary,
two
first
They
all
follow the
same
outline,
arrangement.
The
and
parallel to
what
is
exemplified in every
other part.
which the
others are
more
This
is
best described as
"Accompaniment," and
must be
2IO
THE THOUGHT
j
IN MUSIC
J'
CH.
X9 h*
j^-j
k:
XIV
211
In the
in
work.
Variety of combination
or by a
effect
of
another voice.
first
Example
devices
;
(i),
below,
illustrates
the
at
of these
{b)
()
and
illustrate the
(I)
Beethoven, Op.
7.
PRF -^1pm=^=^FE^
in:
-1p-^-p-
^I
^^
w W
i
53^5^3=
~<3~
212
(2)
THE THOUGHT
IN MUSIC
Beethoven, Op.
2,
ch.
No.
3.
=6=2
:z
^
*:
()
m
^m
i W'
W
il^LuCL
-p-^-
^=f=s
S^ ^ m
* Originally
written in
f time.
(3)
Beethoven, Op.
10,
No.
i.
^ m
P3 ^
-^-1=^
^^
S
le
5=% i ^P^
XIV
213
^^^
m^
bj
rn ^
w
^^W-
a2F==B
iMt m i
^
w
zz
to
a^
etc.
Mm
it is
^ M^ ^ ^ 32F^
combine
in
in
polyphony units
of
The employment by
at
some
less
length, but
more or
temporary,
In polyphony,
temporary interruption of
this standard
it.
rhythm,
examples of this
effect are
found
fugues, where
214
THE THOUGHT
is
IN MUSIC
CH.
the subject
tion.
The
such cases
it
alter,
but the
either
becomes
The
formed,
originally
therefore,
with the
it
same "phrasing"
as
characterised
work
in
is
maintained.
pianoforte music, at
comparatively
the
rare,
in
least,
to find
original
unit
of speed and
it is
its
augmentation
used
together,
though
more
a
in
common
very
in
orchestral
clear
example
of
effect
is
found
Beethoven's Sonata in
Op. 8i,
mostly
in the first
movement
(Allegro).
the time-signature
realised
in
duple metre,
The
opening phrase
^-^V-f{ i|
i^^
is
built
in slow
tempo, the
Introduction starts
XIV
21 ^
The
minim
flat
at
the
beginning
of
the
preceding
Intro-
duction,
phrase.
and
is
extra
to
the
rhythm
of
the
same unit
is
flat,
in
the Allegro,
unit
is
is
parts, this
^
and
tion
is,
therefore, an
i fe^
f^FW
i^^f ^ i
^
J.
2i6
THE THOUGHT
IN MUSIC
ch.
The simultaneous use of the original tempo and its diminution is much more common than the combination just examined.
A very clear
instance of this
in
is
flat,
Op. no.
t^yrtf
=^
This movement
characteristic
is
striking
example
in
of the
which
is
of extraordinary dimensions.
beats,
The
intermediate
weak
in
spite
XIV
strictly
217
i.e.
as
weak
beats leading
up
Although written
as
^
is
time,
must be thought
be
realised.
The
final
the
phrase
is
which
indicated
by writing
it
as at {b) in bars
of -^
^
^^-^-^'
There
two
is,
distinct
of rhythmic
progression
the
a
original standard
rhythm which
rhythm.
is
diminution
of
this
standard
^ ^m
2i8
THE THOUGHT
IN MUSIC
ch.
^^
feS
F=5z=
^
fe^
larger
^
is
P
expressed
is
In music which
in
the polyphonic
affected largely
by the
is
members of
The
necessity for
unbroken
of
characteristic
of the
first class
found
on the balance
The
formed
fatal
to
musical
The
and conveyed.
This
is
the
more neces-
is
by
this
XIV
219
content.
stated
in
terms of unit of
not so obvious as
when
the
it is
re-
necessary
to
remember
that
unit
of
rela-
in
dimension
"
w**"
i.e.
;
the phrase
power "
and,
conversely,
the
phrase reduced
in a similar degree.
The
work which,
results.
at first sight,
regularity,
will
the case of
many
for the
whole
work may
In
by
its
application.
a fugue
the
Where
own,
no
or
musical interest of
its
i.e.
where
it
has
little
no
definite features
is
interest
subjects,
importance
structurally.
variety of rhythmic
found in these
will
be
rhythmic
scheme generally.
When, however,
the
it
220
THE THOUGHT
IN MUSIC
CH.
when the
subject
is
present
its
rhythmic features
will
first
of the Wohltemperirte
is
scarcely ever
The
{a)
subject
is
written thus
I3ti
ffr
rrn
f
,
u
:
Regarding ^ as
(i)
really
double
it
becomes
fe^g^^ ^W-
i.e.
arrangement indicated.
" Magnified " to twice
its original
dimensions, so as
it
appears
i
cated
*-#
fact
XIV
221
the
first unit,
not the
initial
note of
The "phrasing"
therefore, be
(d)
:
^^^^^^m
unless the whole subject be thought as one bar in
time
-not an impossibility
in
interior
articulation
{')
may be
reduced.
^^m
The
shows regular three-bar construction.
ss
f
time,
^
W-
tIJ ^STEF TJ
^If=p^ 3^
tj
^^
222
THE THOUGHT
.C-J_4
IN MUSIC
ch.
^^
@i=
n. B^
p-jgii
CT
JB
S=F
I
B UJ s
time,
it
3^
etc.
Written out
in
>
>
s
i
^=
"(-DtJ-T
y FIt^
^ iTJ S ^n-j
P^iia:
P^l
7-
XIV
223
^^^^
i g:arr^ ^
m^
"5
etc.
^-^
>->>
r^rff-\m-f^\
^m
the
whole fugue
in
^
all
rhythm
except
{a)
prevails
the
way throughout
is
work
"Where
in
sequential de-
velopment of the
Where
there
is
ducing similar
(c)
the effect,
to,
analogous to synco-
weak accent of
To
indicate the
accentual
arrangement of such
224
THE THOUGHT
part might
:
IN MUSIC
CH.
strettos each
'"""
i
Tenor.
:>
*-
K^S
^X
^
1
lfe=r^
XIV
225
he can acquire,
endeavour to under-
and
and
own
personal emotion.
To
bear in
mind the
is
vehicle
of emotional expression,
to
realise
the
art.
Even
in the
bloom
own
personal emotional
" They seem Dead do they ? lapsed things lost in limbo ? Bring Our life to kindle theirs, and straight each king
Starts,
you
from head
to foot
No
inch that
not Purcell
"
!
APPENDIX
The
following, taken
A.
Study of Rhythm
in Primitive
printed by
S.
Myers.
Myers during
number of
a musical
Each
tenths of
The
is
signs
or
its
value
very slightly
A
c
dotted line
3-5.
is
undecipherable.
M
4
I
11*11
2,
+11
>
II
3
2,
3-5
3.
4-S
2-5
3,
1-5,
_
3-5.
II
2.
II
i-s
2,
_i
3-5,
2-s
ll+?
2.
2-5, 3-s,
1-5
M+M
2,
3-5,
3-5,
2-5
c
4
I
II
2-5
2,
2-s
3-5,
1-5,
aoxb
3-5.
II
2,
+rf
3,
II
1-5
2,
.11*1
3
3,
4-S
3
-^
2-s,
4-s
+
4, 4,
2, 2,
2,
35
i-S
2-3
3, 4,
2.
APPENDIX A
Professor
227
Myers
writes
grouped
two
alternately
recurring
'
bars
'
The
The
and
3.
and
3,
The
figures
sometimes do not
so small as to be
if
we
represent one
unit interval by the quaver, various groups may be written thus "
:
met with
(a)
?T
(b)
Orr"
(^)
CT* y
ir
("'
r rir
p2
APPENDIX
Simple harmonic motion
is
B.
in
thus described
Thom-
son and Tait's Treatise on Natural Philosophy, 53 : " When a point moves uni-
formly in a
dicular
circle,
the perpen-
QP, drawn
AA' of the
from
its
diameter
circle, inter-
whose
simple harmonic motion."
position
changes
by
manner
31234567
18
010 1112131*1516
F
any distance RS.
QR
to
APPENDIX B
Let
229
RS represent the time of a single period, and divide RS and the circumference of the circle into
the same
there are
parts.
the
dividing
of
QR, and
drawn
RS
draw perpen-
and
the
circle
drawn
from
RS
will
harmonic motion.^
Considering
this
curve as indicating
rhythmic
movement, the
abscissae
the
divisions of
RS
will
Cf.
Helmholtz,
op. at.
chap.
i.
INDEX.
Abnormal
phrase, 121.
Accent, dynamic, 50 ; harmonic, 183 ; primary and secondary, 74, 106 ; rhythmic, 30, 50.
Cadential second inversion, 185. Cerebellum, 12. Climax, constructional, 156; emotional, 156.
Accompaniment, 209.
Acoustic nerve, 12.
Anacrusis,
definition
of,
Compound
40
time, 54.
its
Concord, 171.
Consciousness,
functions, 3.
of
Continuity of rhythmic
gression, 162.
pro-
musical sounds, 6, 55. Attention, definition of, 16; Renewal of, 14 ; span of, 22 ;
Counterpoint, 172.
accented,
effect,
Beat, 18.
Cadence, essentials of, 2 3 ; Feminine, 44, 88, 89 ; harmonic, 98 ; harmonic significance of, 23 ; masculine, 44, 88 rhythmic significance of, 23.
;
173
almost a concord,
186.
Duple metre,
32, 50.
INDEX
Ear, 12.
231
Elements, rhythmic,
pri-
mary
and
;
secondary,
i8
6*
disturbance
Melody, 93.
Melos, 141, 187. Metre, 32; duple,
triple,
artistic,
4;
essentials
32,
51;
93of,
44
88.
33, 51; quadruple, 33, 52; quintuple, 33, 52. Mode, 171. Modification of unit of speed,
132.
Fugue, 219.
Momentum,
Motif, 98.
musical, 119.
Monteverde, 173.
Movement, culmination
50, 72-
of,
31,
rhythmic
Harmonic vibration, 228. Harmony, its influence on shape, 1 00 ; confirmation of modification of unit of speed by,
63
Incorrect, 63.
192
principle from
which
it
of
Parallelism,
development
by,
no.
Passing-notes, 171. Pause, 75. Perception, of rhythm,
pitch, 12
;
1 1
of
reflex, 10.
Interpretation, 93. Intransitive unit, 71. Intuition, act of, 21, 71.
Performance
of
contrapuntal of rhythmic
1 1
Key,
7.
how
realised, 9,
232
INDEX
Romantic School, 175.
Rubato, tempo, 38
39;
Phrase, normal, 97 ; abnormal, 121; two-bar, 125; threebar, 126 ; five-bar, 127. Phrasing, basis of, 76.
vibration,
Pitch
12.
variations
are
disconof,
tinuous,
162; perception
;
Polyphony, 202
function
of,
10.
206
two
kinds, 209.
Shape in music, 91
of,
realisation
rhythmic
74,
95
of unit of thought,
element, 25.
.7+-
Primary
accent,
82
of
to
rhythmic, 22.
1
Strict time,
54.
Quadruple metre,
33.
new
unit
of
Syncopation, 37.
Synthesis, 92.
of
Tempo, maintenance of
mity
of,
unifor-
Rendering, 93.
31, 58 ; mean, 15 ; realisation of, 57 ; rubato, 38, 162 ; change of, 58. Tertiary rhythmic element, 22.
by,
Renewal of attention,
Repetition,
14.
development
no.
Response to stimulus, 10.
Rests, as syllables of unit, 75. Rhythm, basis of, 9 ; spon-
Tonality,
7,
174.
Tone,
,
quality,
.
96
quantity,
96..
taneous, 14.
Rhythmic curve, 29
cycle, 16
INDEX
dimensions, 21 ; dovetailing of, 86 ; shape of, 74 ; overlapping of, 83 ; prolongation
of,
^33
rhythmic, 28 ; amplitude of, character of, 69 ; period
;
dular,
normal,
3
1
;
200 29
Unit definition of, 31; itE dimensions determine tempo, 31 ; augmentation of, 36 36.
;
of,
69
rubato, 38.
diminution
of,
Wagner, his " polychromatic method," 177. Warp and woof, 49.
Wave
harmonic
or
of attention, 16.
Will, 4.
Vibration,
pen-
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in in
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Songs.
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B.
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Day by Day.
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my
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