ACCENT AND REGNANT HARMONY 103 



new homophonic harmonies. We have accounted for 

 the genesis of the foundation-group of seven com- 

 ponent tones and five harmonic percepts of the origi- 

 nal consonance and dissonance, and I have named 

 this original group the Major Tonic and its cadences. 

 From this original group new forms of harmony intro- 

 ducing new tones and new harmonic percepts have 

 been derived. How.? Through rhythmic relation 

 like their antecedents. The cause of the genesis of 

 consonance and dissonance we discovered to be the 

 rhythm-derived relation of cadence and repose. 

 Rhythmic relation has produced all subsequent 

 new forms of harmony. The psychology of this 

 evolutionary process is next defined in terms apply- 

 ing to every stage in the development of homo- 

 phony. Existing tones in existing relations generate 

 and report only existing forms of harmony, while in 

 new or changed relations they generate and report 

 new forms of harmony. Next we will apply these 

 principles to the foundation-group of tones. The 

 seven original tones in their original relations in 

 cadence and repose generate and report only the origi- 

 nal forms of harmony in which they arose, while in 

 new or changed relations they generate and report 

 new forms of harmony introducing new tones and 

 new harmonic percepts. The evolution of harmony 

 is therefore the direct cause of the expansion of 

 tonality and consequent expansion of the tone-sys- 

 tem. Each developmental step in music was there- 

 fore dependent on and due to the evolution of har- 

 mony, and the three successive and interdependent 

 stages of music, namely, homophony, polyphony and 



