202 THE NATURE OF MUSIC 



in the second tetrachord, in which the harmonies both 

 of re 7 and ti 5 report the presence of the chromatic si 

 (git) as a concomitant and component 3, for which 

 reason they are classed as chromatic harmonies. 

 These common harmonic reports in one voice there- 

 fore plainly and conclusively demonstrate and prove 

 that even though a melody be entirely composed of 

 diatonics, yet that melody may not be diatonic. The 

 test as to whether a melody is or is not diatonic lies in 

 its concomitant harmony, which in one voice asserts 

 and reports itself, and this test and new view-point will 

 greatly modify the facts and conclusions which in the 

 past have been recorded by music-archaeologists in 

 their studies of homophony. But is there such a 

 thing as a pure diatonic minor melody.^ Such a 

 melody might easily be conceived and represented by 

 selecting diatonic chords as an accompaniment, but 

 this would be but an arbitrary conception void of any 

 archaeological value. On the other hand, if such a 

 melody is conceivable in one voice and itself generates 

 and reports only diatonic harmonies which we all per- 

 ceive in common, then indeed would we gain a fact of 

 considerable value to music-archseology and psycho- 

 logy. The common self-reports in the next illustration 

 answer our question in the affirmative, and conclusively 

 demonstrate that such melodies do arise in one voice, 

 and from this we may infer that they may have arisen 

 in the remote homophonic past. 



1 Sfi 36 8 1 81 6 1888 



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