66 THE NATURE OF MUSIC 



of bird-music, primitive music, music-feeling and 

 progressive mental development in music. I say 

 exact analysis advisedly, since in the past no basis for 

 exact analysis of primitive music and common music- 

 feeling has been discovered. For the first time in the 

 history of music-science such a basis presents itself 

 in original harmony in one voice. The principles, 

 causes and conclusions thus far presented and exem- 

 plified are directly due to the discovery of original har- 

 mony in one voice, and its incontrovertible evidence in 

 the common reports of common feeling and percep- 

 tion. Thus original harmony and its common reports 

 place all observers and analysts on common ground, 

 a common basis from which to make observations and 

 draw conclusions from such observations, a point of 

 view at once new and common. Dissonance and 

 consonance, the most fundamental and perplexing, 

 therefore the foremost problem of music-science, have 

 remained a mystery, an unsolved problem, and now 

 find a simple solution through original harmony and 

 its common reports. Some musicians may object as 

 follows: Everybody knows that dissonance and con- 

 sonance did arise and are at the foundation of music, 

 that the cadence-tones not only did appear over and 

 under the three tones of the Tonic chord, but arose 

 in relation to this Tonic-triad and came to stay. The 

 facts are self-evident. Why not stop here and be satis- 

 fied ? It is otherwise with the scientific observer who 

 seeks causes; he cannot stop and has no rest until he 

 finds the causes that explain how forms and relations 

 came to be what they are. Our story of genesis is 

 simply this. In obedience to inherent principles 



