TONETONICS. 



639 



are at present used also in another sense, as will 

 appear below.) If on the double B the higher 

 tone (now h) was taken, the song was called cantus 

 durus ; if the lower one was taken, the cantus inol- 

 lis was produced. Now as every one of the seven 

 tones of the octave may be taken as the fundamen- 

 tal tone, or tonic (q. v.), and thus the semitones of 

 the diatonic system may assume constantly a differ- 

 ent situation, seven different keys originate. The 

 ancient church singers, who were not allowed to go 

 beyond the limits of an octave, were enabled, by 

 sometimes ascending from the tonic to the fifth and 

 eight, sometimes from the fifth of the tonic (the 

 dominant) to the eighth and twelfth, to obtain a 

 duplication of their modes, viz. the authentic and the 

 plagal. If each tone of their system had had its pure 

 fifth and fourth, there would have been on the whole 

 fourteen keys, viz. seven authentic and seven pla- 

 gal ; but as the H had no fifth, and the F no fourth, 

 the former could only be plagal, and the latter only 

 authentic; hence there were but twelve, viz. six 

 authentic and six plagal keys in the ancient church 

 music. Every one of these keys, also called tones 

 in ecclesiastical music, had its proper Greek name, 

 contained in the following table : 

 ( Auth. d P f g a h "c d 



e L L _ a - 

 h c d e 



I I ?_ h 

 c a e _f 

 a if c 



r 



( Auth. 

 \Plag 



f Auth. 

 \Plag. 

 f Auth. 



d 

 A H 



Doric 



Hypo-Doric 



Phrygian 



Hypo-Phrygian 



Lydian 



Hypo-Lydian 



Mixo -Lydian 



f Auth. a 



( Auth. 

 t.Plag. 



h 

 e f 

 c d 

 G A 



h c d e f g 



f g _a h j; <l Hypomixo-Lydian 



~c a 1? 7" gf ji .ffiolian 



g a h ~c d Is Hypo-^Eolian 



e f g a h c Ionian 



H c d e f g Hypo- Ionian 



There yet remain a number of choral melodies in 

 these keys. According to the ancient diatonic sys- 

 tem, no tone, with the exception of b, could be en- 

 larged. The feeling of this imperfection, and the 

 want of transposition, gave rise to the invention of 



system are measured equally.by which, consequently, 

 all the perfect fifths lose something of their original 

 purity, which is added to the fourths, and also a 

 major third is tuned as much too high as the others. 

 The uneven temperament is that in which some 

 fifths and thirds are so tuned that some are a little 

 higher, some a little lower than perfect. The chief 

 harmony, or the chief concord, of atone can be two- 

 fold, according as it has a major or minor third ; and 

 this is called, in a narrower sense, key or mode, viz. 

 in the first case, the sharp or greater third, in the 

 second, the flat or smaller third. Hence there are, 

 in modern music, twenty four scales or keys in the 

 wider sense (genera of tones capable of being con- 

 nected in a musical composition, in relation to a 

 fundamental tone). Each flat and sharp key has its 

 peculiar character ; the latter serves more particu- 

 larly for the expression of gay and lively ; the for- 

 mer of soft and melancholy feelings. Uncivilized 

 nations prefer the flat keys. Every scale has, also, 

 according to its fundamental tone, and its situation 

 and relations to the whole system, its peculiar cha- 

 acter, so as to be particularly fit for the expression 

 f certain emotions. This point is connected with 

 he fact, that the flat and sharp keys are not en- 

 .irely equal in all the tones, as neither the thirds 

 lor the sixths are equal. This advantage of differ- 

 ence of the scale does not take place in the even 

 ;emperament, in which the scales of C major and A 

 minor are merely repeated in the other tones. See 

 ;he articles, in this Encyclopedia, Enharmonic and 

 Music. 



TONG, OR TOUNG (Chinese for copper) ; in 

 many geographical names, as Tong-chan (Copper 

 mountain). Tong also signifies, in Chinese, east ; 

 as Tong-konq (Eastern palace). 



TONGATABOO properly Tonga; taboo being 

 merely an epithet signifying sacred'), one of the 

 Friendly islands, about sixty miles in circuit, was 



new semitones between the whole tones ; hence the 

 octave was divided into twelve degrees or semi- 

 tones, so that, with the repetition of the fundamen- 

 tal tone, it received thirteen degrees and strings. 

 If, now, to every string of the instrument its pure 

 third (both lesser and greater), pure fourth and 

 fifth had been given, many more intermediate tones 

 would have been produced, and by the use of 

 quarter-tones, the practice of music would have 

 been rendered infinitely difficult. The thirteen 

 tones and chords, therefore, were retained, so 

 that each of the twelve tones of the octave may be 

 made the fundamental tone of the sharp or flat key, 

 yet not so that all the intervals are given perfectly 

 pure, but sometimes one, sometimes another tone is 

 made a little sharper or flatter. This is called the 

 temperament of the system of tones. In Sulzcr's 

 work it is defined as a small deviation, judiciously- 

 made from perfect correctness in an interval, in or- 

 der to render it more useful in connexion with 

 others. He also defines it, more particularly, as 

 the arrangement of a whole system of tones, in such 

 a manner that some tones lose a little of their per- 

 fection, so that they may serve in different keys 

 and all remain in the highest attainable harmony 

 The object of temperament is that each of the 

 twelve tones of the system may be used as a funda 

 mental tone in the flat and sharp keys, without in 

 creasing the number of strings, that the octave ma} 

 be perfect, and the fifth not fall much short of be 

 ing perfect. The even temperament is that ii 

 which all the twelve half tones or intervals of the 



first discovered by Tasman, who called it Amster- 

 dam. The productions and climate are the same 

 as those of the other Friendly islands, and the So- 

 ciety islands. (See the articles.) The Wesleyan 

 missionary society has established a mission here, 

 and many of the natives have been converted to 

 Christianity. 



TONGUE ; an organ found in most animals, and 

 serving in many as the organ of taste ; in all for 

 taking in food. We are not justified in considering 

 the tongue as an organ of taste in all animals; and 

 Blumenbach thinks that it serves this purpose in 

 very few genera of birds See his Manual of Com- 

 parative Anatomy, 2d Engl. edit, by W. Coulson, 

 (London, 1827). The human tongue is a soft, 

 fleshy viscus, very movable in every direction, situ- 

 ated interiorly in the cavity of the mouth, and con- 

 stituting the organ of taste. It is composed ot 

 muscular fibres, covered by a nervous membrane, 

 on which are a great number of nervous papilla", 

 particularly at the point and sides, the rete mucosum 

 and epidermis. The use of this organ is for chew- 

 ing, swallowing, sucking, and tasting. 



TONIC, in music; the first or fundamental note 

 of the diatonic scale, and, in general, the funda- 

 mental and key-note of every piece. The fifth 

 note (counted upwards) from the tonic is the do- 

 minant. 



TONICS, in medicine (from rev*;, tension), are 

 medicines given to increase the tone of the fibres 

 of the stomach and bowels, and, in fact, of the mus- 

 cular fibre in general ; such arc vegetable bitters, 

 also stimulants, astringents, &c. 



