224 



NATURE 



\yan. 9, 1879 



investigations of Helmholtz as to the nature of musical 

 sounds and musical sensations form a fund of knowledge 

 of the most interesting and instructive kind, and illustra- 

 tion and discussion of such topics would be by no means 

 out of place before the society. We believe that the 

 great fundamental fact of the compound nature of 

 musical sounds, which now has become as firmly esta- 

 blished as any physical fact can be, is hardly yet 

 understood, or its great significance appreciated by the 

 great mass of the persons who have to do with its effects 

 every day of their lives. 



It happens, however (no doubt for good and suf- 

 ficient reasons), that the more abstract principles of 

 acoustics have received but little attention in the society. 

 We only notice three papers which come within this 

 category, and these on quite subsidiary points, namely, 

 " On our Perception of the Direction of a Source of 

 Sound," by Lord Rayleigh ; "On the Sensitiveness of 

 the Ear to Pitch and Change of Pitch," by Mr. A, 

 J. Ellis; and "On the Musical Inventions and Dis- 

 coveries of the late Sir C. Wheatstone," by Prof. W. G. 

 Adams. 



But the science of acoustics is a very different thing 

 from the theory of music. There is much misunderstand- 

 ing on this point ; many people confuse the two, whereas 

 the former is in reality only the introduction to the latter, 

 A student may be well acquainted with all the scientific 

 facts and theories relating to the production and trans- 

 mission of musical sounds, and yet know nothing of the 

 mode in which these data bear on music itself. Helm- 

 holtz, who, with wonderful knowledge and sagacity, 

 appears to have anticipated almost every possible view of 

 the subject, has fully expressed this distinction not only 

 in the substance of his great work, but in its very title- 

 page. He calls it " Die Lehre von den Tonempfindungen 

 als physiologische Gnindlage fiir die Theorie der Musik," 

 thereby declaring that the acoustical doctrines he so 

 admirably lays down are not to be considered as forming 

 of themselves a theory of music, but are merely intended 

 to serve as a basis for such a theory. Starting from these 

 data, it becomes necessary to consider the influence they 

 have on the varied and complicated forms and rules 

 which guide the structure of musical composition, as, for 

 example, the construction of the ordinary scale, the 

 nature of chromatic notes, tonality, the combinations and 

 progressions of harmony, the rules of melodial counter- 

 point, musical form, and so on. A crowd of most in- 

 teresting questions arise as to how far all these practical 

 matters have been influenced by the physical properties 

 of musical sounds, or how far they are the result of free 

 artistic invention. Helmholtz devotes the second part of 

 his work to the discussion of these and kindred questions, 

 on which, aided by a competent knowledge of music, his 

 great reasoning powers hare enabled him to throw much 

 new light. But this part of his labours has been hitherto 

 almost a sealed book to musicians ; it is difficult, often 

 elaborate, and sometimes obscure, and the interpreters 

 who have so ably popularised his acoustical researches 

 have stopped short before venturing on what was to 

 physicists a less familiar region. Yet this is by far the 

 most important section of the work, from a musical point 

 of view; it is, in fact, the real "Theory of Music," the 

 true musical philosophy, in which the proper application 

 of science to music is to be found ; moreover, unlike 

 abstract acoustics, it touches closely on the practice of the 

 musical art, and the habits of thought of its professors. 

 There are few teachers of musical composition who do 

 not to some extent attempt to found their instruction on 

 natural principles, or what they think to be such ; but the 

 theories thus propounded are for the most part crude, 

 vague, and founded on merely empirical fancies, having 

 no philosophical origin, and such as will not stand the 

 test of scientific investigation or strict logical reason- 

 ing ; and hence we can hardly wonder at the fact that 



they rather obstruct than aid the efficiency of musical 

 instruction. 



This subject, therefore, the "Application of Scientific 

 Data and Scientific Reasoning to the Theory of Music," 

 is one which offers every inducement for the higher order 

 of musical study, and its discussion is eminently in place 

 in such a society as that before us. The results of the 

 modern investigations are so new, and in many respects 

 so antagonistic to the ideas hitherto prevailing among 

 musicians, that it is not to be expected they will be at 

 once fully understood or favourably received. Already 

 a considerable amount of opposition has been manifested 

 to them ; it is reasonable and proper that they should be 

 fairly considered, and it is in the highest degree desirable 

 that they should be clearly explained. The subject 

 has not been neglected at the meetings of the Associa- 

 tion, for, although no systematic treatment of it has yet 

 been attempted, we find no less than eight papers on 

 various points of theoretical detail. Four of these are 

 on intonation and temperament (a favourite theme with 

 musical mathematicians, but somewhat unpalatable to 

 practical men, who consider the out-of-tune equal division 

 of the octave "good enough for them") ; a fifth aims at 

 exposing the fallacies and inconsistencies of certain of 

 the old theoretical systems ; another treats of the philo- 

 sophical nature of intervals and of the construction of the 

 scale ; another expounds some elementary views on 

 harmony ; and the eighth exhibits various numerical, 

 calculations on musical ratios, &c. 



Another point that furnishes a most profitable topic of 

 study is musical history. It is impossible to look far 

 into music without becoming aware how largely modern 

 form and structure are derived from what has gone 

 before, and the careful examination of this clears up 

 many points of theory for which no other sufficient ex- 

 planation can be found. Nothing could be more in place 

 for a "musical association" than historical papers, not 

 as mere matters of antiquarian curiosity, but as bearing 

 on the various changes of musical form. We only, how- 

 ever, find two historical papers, one, an instructive essay, 

 by Sir Frederick Ouseley, on the " History of Ecclesias- 

 tical Music in Western Europe/"' the other an interesting 

 monograph, by Mr. Cummings, on " Purcell." 



The construction of musical instruments offers a large 

 and varied source of interest, combining the laws of 

 acoustics, the application of mechanical skill and inven- 

 tion, and the adaptation to practical musical use. There 

 are six papers on this, relating to stringed and brass in- 

 struments, drums, and the voice. 



Finally, there are abundance of topics connected wdth 

 the practice of the musical art which admit of discussion 

 in such a society; for although, in a scientific journal, it is 

 our chief province to point to the subjects in which science 

 takes part, yet it would be a misuse of the society to let 

 these predominate to the prejudice of the more practical 

 matters which come home more directly to professional 

 men, and we consider it a good evidence of the flourishing 

 condition and prospects of the society that these prac- 

 tical points have received so large a share of attention. 

 By far the larger number of the papers have been of this 

 practical kind, relating to musical notations and nomen- 

 clature, criticism, practical standards of pitch, the analysis 

 of great musical works, pianoforte playing, the cultivation 

 of sacred music, the connection of music with language, 

 the laws of expression, modes of tuition, and musical 

 libraries. A paper on the last-named subject led to a 

 memorial to the British Museum, and elicited an answer 

 explaining the facilities which that institution affords for 

 musical reference and study. 



The Association deserves the support and co-operation 

 of every one interested in the cultivation of music either 

 theoretically or practically, and we cordially wish it the 

 permanent success it seoms in a fair way to attain, 



W. Pole 



