\6 THE POPULAR SCIENCE MONTHLY. 



whatever may be tlie merit of its form. This primitive element 

 may with tolerable clearness be distinguished from the other ele- 

 ments, and may coexist with them in various degrees : in some 

 cases being the predominant element. Any one who, in analytical 

 mood, listens to such a song as Robert, toi que faime, can not, I 

 think, fail to perceive that its effectiveness depends on the way in 

 which it exalts and intensifies the traits of passionate utterance. 

 No doubt as music develops, the emotional element (which affects 

 structure chiefly through the forms of phrases) is increasingly 

 complicated with, and obscured by, the perceptional element ; 

 which both modifies these phrases and unites them into symmet- 

 rical and contrasted combinations. But though the groups of 

 notes which emotion prompts admit of elaboration into structures 

 that have additional charms due to artfully-arranged contrasts 

 and repetitions, the essential element is liable to be thus sub- 

 merged in the non-essential. Only in melodies of high types, such 

 as the Addio of Mozart and Adelaide of Beethoven, do we see the 

 two requirements simultaneously fulfilled. Musical genius is 

 shown in achieving the decorative beauty without losing the 

 beauty of emotional meaning. 



It goes without saying that there must be otherwise accounted 

 for that relatively modern element in musical effect which has 

 now almost outgrown in importance the other elements I mean 

 harmony. This can not be affiliated on the natural language of 

 emotion ; since, in such language, limited to successive tones, 

 there can not originate the effects wrought by simultaneous tones. 

 Dependent as harmony is on relations among rates of aerial pulses, 

 its primary basis is purely mechanical ; and its secondary basis 

 lies in the compound vibrations which certain combinations of 

 mechanical rhythms cause in the auditory apparatus. The result- 

 ing pleasure must, therefore, be due to nervous excitations of 

 kinds which, by their congruity, exalt one another ; and thus gen- 

 erate a larger volume of agreeable sensation. A further pleasure 

 of sensational origin which harmony yields is due to contrapuntal 

 effects. Skillful counterpoint has the general character that it 

 does not repeat in immediate succession similar combinations of 

 tones and similar directions of change ; and by thus avoiding tem- 

 porary overtax of the nervous structures brought into action, 

 keeps them in better condition for subsequent action. Absence of 

 regard for this requirement characterizes the music of Gluck, of 

 whom Handel said " He knows no more counterpoint than my 

 cook ; ''' and it is this disregard which produces its cloying char- 

 acter. Respecting the effects of harmony I will add only that the 

 vague emotional accompaniment to the sensation produced by a 

 single sweet tone, is paralleled by the stronger emotional accom- 

 paniment to the more voluminous and complex sensation produced 



