DISSONANCE AND CONSONANCE 69 



Chord-harmony, on the other hand, is a compara- 

 tively recent product, a product of reflection and 

 theory, and its roots reach deep down into original 

 harmony from which it is a psychological evolution. 

 Though their connection has so long remained con- 

 cealed, it is safe to infer that the two, original harmony 

 and chord-harmony, have never been separated in 

 feeling, and that the feeling of the former has ever 

 directed and guided the course of development of the 

 latter. The feeling of original harmony in one voice, 

 being the universal and basic harmonic sense, may be 

 designated as the common harmonic sense. The truth 

 of this is demonstrated and proved by the common 

 reports of common feeling and perception. 



The common view of the chord as the only form and 

 as the basis of harmony has not alone created much 

 confusion in the theories of music, but its general ac- 

 ceptation as an ultimatum has acted as a check upon 

 scientific research. The questions What is music ? and 

 What is common music-feeling ? so often set aside as 

 insoluble mysteries, are not separable since the answer 

 to the first lies hidden in and awaits the answer to the 

 second. But these primary questions could not be 

 answered until the solution of the basic problem of 

 consonance and dissonance had been discovered and 

 a theory of music based on this solution had been ex- 

 pounded. The curious, among whom I count myself 

 as most curious, may well ask why so simple a solu- 

 tion of the problem as that of cadence and repose in one 

 voice has so long remained concealed. This oversight 

 may be assigned to two principal causes and fallacies 

 already suggested: first, to the chord-basis of har- 



