REVIEWS 165 



prominent or noticeable part of the volume of sound that makes up a 

 tone." 



On p. 10 occurs fig. i, which represents by a series of horizontal lines 

 the volumes of the tones in an ascending series. The left end of each line 

 is called the lower end of volume, the right end the upper end of volume. 

 In all the lines the right or upper ends are perpendicularly over one another. 

 The long lines representing the large volumes (or lower tones) are below and 

 the shorter lines representing the smaller volumes (or higher tones) are 

 above in order. Each line has a large dot (or pitch point) at its middle point 

 to indicate the pitch of the tone in question. 



If, on the above principle, a diagram is made for tones an octave apart, 

 it is pointed out that the lower end of the line for the volume of one tone 

 lies just above the pitch point of the tone an octave below. 



In this way it is sought to explain the degree of consonance of various 

 intervals. 



Taken in a fanciful or metaphorical sense these notions may prove attrac- 

 tive and suggestive to readers of a certain type, and so possibly serve the 

 chief end for which they were advanced. But it cannot be admitted that 

 this volumic theory of tone, taken literally as stated, shows any corre- 

 spondence with the crucial facts of the case, with which indeed it is in direct 

 conflict. Hence, whatever merit this theory may possess on the imagina- 

 tive side of the question, it can scarcely be said to form any contribution 

 to the science of music. 



The book closes with three chapters on outlines of instruction, the objec- 

 tivity of beauty and aesthetics as a pure science. At the end, in addition to 

 the usual indices of subjects and authors, there is a list of the eighty-three 

 works cited. r 



E. H. B. 



