RHYTHM AND TONE 51 



Although this legendary definition omits the seed, 

 tone or balanced sound; the nursery, common feeling; 

 the potential life, energy; the inherent shaping prin- 

 ciple, equilibrium; and although this definition is not 

 in complete accord with the facts presented in the fore- 

 going pages, yet it has a psychological value inasmuch 

 as it indicates the true sequence of observation which 

 is always the inverse of the evolutionary sequence. 

 To explain: Observation always proceeds from what 

 is most apparent to what is less and less apparent. 

 This inverse sequence has been followed by music- 

 observers. Melody, the flower, was observed first, 

 was the first subject of music-theory. Next, but 

 yesterday, came the observation and theory of har- 

 mony, the plant, in the form, however, of chords. 

 Then last of all came rhythm, the root. In fact, the 

 scientific inquiry by musicians into rhythm is so recent 

 that we can truly say it has just begun.* Thus far 

 this subject has been in the hands of those who 

 may be called separatists who separate the insepa- 

 rable, namely, music's rhythm, harmony and melody. 

 Melody without harmony, a tone without harmony, 

 are unfeelable, unperceivable, do not exist. The 

 moment of tone-genesis being a rhythmic moment it 

 follows that rhythm, harmony and melody have never 

 been separable in feeling. Because this inseparability 

 was not perceived, rhythm, harmony and melody 

 were separated in theory, but not in practice. To- 

 day they are united in common feeling, and it is safe 

 to postulate that they always have been united. We 

 judge of what has been by what is. The music of 

 to-day is connected with the music of all the past in 



