ACCENT AND REGNANT HARMONY 153 



unified all these parts into a great whole : yet when he 

 produces his work his consciousness is concentrated 

 upon each tone-moment, now — here, now — here. It 

 is precisely because the artist has conceived the whole 

 in all its parts, precisely because he knows and 

 anticipates each motive, phrase, sentence and para- 

 graph, that he is able to concentrate his attention 

 upon each moment, that he can express then and 

 there what he feels then and there. Certainly the 

 artist cannot express now when he is thinking of by 

 and by. Observe your pupil who while playing on 

 page 1 is disturbed by the consciousness of an 

 approaching difficulty on page 2. It is plain that 

 the thought of by and by is effectually musicidal to 

 the momentary expression of now. In each tone of 

 a melody there is a balance of the united harmonies 

 of time (rhythm) and space (tone) to be perceived, 

 which if unperceived then and there are lost forever. 

 Common music-feeling in which this union of har- 

 monies originated, whence it emanates, to which 

 it alone appeals and is directed, is therefore at once 

 the originator, the transmitter and receiver of the 

 rhythmo-harmonic voice of music, melody. The 

 psychology of music's elemental power presents an- 

 other chapter, the subject of which is the operation 

 of the law of gravitation in the domain of feeling and 

 thought. Light rhythm-periods tend and resolve into 

 heavy rhythm-periods, which are rhythmic centres 

 of gravity; dissonances tend and resolve into conso- 

 nances, which are harmonic centres of gravity : in both, 

 this tendency to resolve is attraction into equilibrium. 

 Having thus roughly explained music's elemental 



