148 THE NATURE OF MUSIC 



the term harmonies to the tones composing their 

 modes. Their possession of the common harmonic 

 sense is proved by the fact that on one hand they 

 perceived that certain tones tended to others (sense 

 of dissonance), and on the other hand that a certain 

 tone was final, the tone to stop on (sense of conso- 

 nance). When Aristoxenus describes the sudden 

 transition from the pitch of one tone to that of another 

 as ** the topical motion from the repose of one tone 

 to that of another" he is unconsciously expressing 

 his intuitive sense of one-voice harmony. His defini- 

 tion of rhythm would indeed be a credit to twentieth- 

 century text-books and encyclopaedias.* If not his 

 intuitive harmonic sense, what was it that caused 

 Aristides, pupil of Aristotle, to make these queries, 

 ** Why is it that when I change the mese (middle tone) 

 all the other tones are wrong; why when I change one 

 of the other tones, that one alone is wrong.?" Such 

 evidence that the Greeks possessed the harmonic 

 sense might be multiplied indefinitely. Books which 

 shall embody the common reports of original harmony 

 on Greek, ecclesiastical, in short, on all one-voice 

 music, remain to be written, a life-work not for one, 

 but for many. In another place analyses of several 

 Greek melodies and Gregorian chants will be pre- 

 sented. Certain types of music are spoken of by 

 historians and theorists as music without harmony 

 and music without rhythm. As I have said and 

 shall reiterate over and over again, melody without 

 harmony and melody without rhythm never existed. 

 The concomitant harmony of melody being self- 

 assertive and its reports being common it follows 



