526 Notices of Books. (October, 
among the Chinese, Arabs, Turks, Modern Greeks, and other 
peoples. Almost the only example that we now have of the 
‘spoken song,” or of something approximating to it, is in the 
intoning of Roman Catholic priests. Here we have differences 
of pitch, for emphasised words are spoken a tone higher than 
the rest; and modern recitative (invented by Giacomo Peri, 
about 1600) arose from the attempt to express these alterations 
of pitch by musical tones. Polyphonic music was invented by 
a Flemish Monk, Hucbald, in the beginning of the roth century. 
It was a part music sung by two voices in fifths or fourths, with 
occasional doublings of the octave, and the same melodic phrase 
was repeated by the different voices. Modern harmonic music 
was induced by various causes, among which the Protestant. 
ecclesiastical chorus is first cited, The founders of the new 
confession desired that the congregation itself should undertake 
the singing; hence harmonised chorales in which all the voices 
progressed at the same time had to be invented. The Roman 
Church also desired a reform in their music, and by order of 
Pope Pius IV., Palestrina (1524-94) undertook the embellish- 
ment of ecclesiastical music. 
We may give, in conclusion, a few important excerpts from 
the author’s summary of results:—P. 564. ‘‘ We are justified 
in assuming that historically, all music was developed from 
song. Afterwards the power of producing similar melodic 
effects was attained by means of other instruments, which had 
a quality of tone compounded in a manner resembling that of 
the human voice.” 
P. 568. ‘‘In the last part of my book I have endeavoured to 
show that the construction of scales and of harmonic tissue is a 
product of artistic invention, and by no means furnished by the 
natural formation or natural function of our ear, as it has been 
hitherto most generally asserted. Of course, the laws of the 
natural function of our ear play a great and influential part in 
this result. . . . . « Butjust as people with differently- 
directed tastes can erect extremely different kinds of buildings 
with the same stones, so also the history of music shows us 
that the same properties of the human ear could serve as the 
foundation of very different musical systems. . . . . The 
zsthetic problem” (inregard to music) ‘‘is thus referred to the 
common property of all sensual perceptions, namely, the apprehen- 
sion of compound aggregates of sensations, as sensible symbols 
of simple external objects, without analysing them. In our 
usual observations on external nature, our attention is so tho- 
roughly engaged by external objects that we are entirely unprac- 
tised in taking, as the subjects of conscious observation, any 
properties of our sensations themselves, which we do not know 
as the sensible expression of some individual external object or 
event.” A curious and most interesting comparison of the 
resembiances between the relations of the musical scale and of 
space will be found among the concluding pages (p. 576). 
eae 
