DISSONANCE AND CONSONANCE 95 



Original harmonic forms and relations are the pro- 

 totypes of all like forms and relations. Such proto- 

 types are the major consonance, the four-tone and 

 five-tone dissonance, the Major mode, the five original 

 percepts 1, 3, 5, ?, 9, the upleader ti, the downleader 

 fa. We shall see that the evolutionary expansion of 

 tonality and of the tone-system are due on the one 

 hand to the multiplication of these prototypes, on the 

 other hand to the production of new types which in 

 their turn are multiplied. The multiplication of exist- 

 ing types will be explained by the psychological prin- 

 ciple that all forms and relations in experience are 

 potential in and pitchable ^ on all tones in experience. 

 The production of new types will be explained by the 

 psychological principle of tone-genesis, the eflficient 

 accent. Meanwhile the relation of tonality and tone- 

 system requires definition. The tone-system is the 

 index and scale of tones in use. The tones had their 

 origin in relation, therefore, in tonality. Tonality and 

 tone-system therefore stand in the relation of cause 

 and consequence. The development of the latter was 

 dependent on and concurrent with that of the former. 

 The diatonic stage of tonality caused the diatonic divi- 

 sion of the octave which resulted in the diatonic scale- 

 system. The chromatic stage of tonality caused the 

 chromatic division of the octave which resulted in the 

 chromatic scale-system. The enharmonic stage of 

 tonality caused the enharmonic division of the octave 

 which resulted in our modern enharmonic scale-sys- 

 tem. This division of the octave is due to tonality, 

 not to equal temperament as physicists believe. Tem- 



^ Reading uncertain. L. E. K. 



