ACCENT AND REGNANT HARMONY 147 



names and their true connection with the church- 

 modes from a state of greatest confusion. My chief 

 purpose in bringing forward these ancient modes at 

 this juncture is to point out the fact that they all lie 

 in and form part and parcel of our modern tone- 

 system. Thus far the attempts to harmonize the few 

 extant specimens of Greek melodies in accordance 

 with the arbitrary rules of chord-harmony appear 

 not to have been successful or satisfactory. The 

 same may be said of the harmonizations of Gregorian 

 and Ambrosian melodies. Indeed, the consensus of 

 opinion seems to be that the addition of chords 

 distorts and destroys the inherent character, power 

 and simple beauty of such melodies, and that they 

 should therefore be left unharmonized. This dis- 

 approval of adding chords to such music, which 

 originated in one voice, gains significance when we 

 consider on the one hand that this disapproval 

 springs directly from the common harmonic sense and 

 is therefore a common report of common music- 

 feeling while on the other hand it is natural that no 

 two investigators should agree on any one series of 

 chords for a given melody. And why.? Simply 

 because chord-harmony is purely selective and always 

 the expression of personal judgment and taste. But 

 original harmony in one voice and its common reports 

 place the subject of the music of antiquity and its 

 harmonization on a new basis and in a new light. 

 The Greeks had no multi-voice harmony, but they 

 had one-voice harmony although they did not know 

 it; they had no idea of harmony in our sense of 

 chords, but they had the harmonic sense and applied 



