CHORDS IN THE LIGHT OF THEIR ORIGIN 289 



young child may now gain as perfect an intellectual 

 grasp of the rhythmo-harmonic form and content of 

 a melody as that of his teacher. Each step in such 

 analysis renders clearer and deeper the child's musical 

 appreciation, since it directly reports and causes the 

 child to realize the purely miosical content of a melody. 

 The child sets out with a purely sensory perception 

 and appreciation of melody: through rhythmo-har- 

 monic analysis this perception and appreciation are 

 elevated from that lowest domain of mere sensation 

 to the higher and alone dignified domain of the 

 intellect. Thus a little musical savage is at once 

 metamorphosed into a little intelligent musician. 

 From A to Z the study of music is the study of the 

 rhythm and harmony of melody. Thus from the 

 start our youngest students may not alone really study 

 but may really study music itself, may begin and con- 

 tinue with the study of melody, its rhythm and its 

 harmony. Young students may learn to appreciate 

 and perform their little pieces by Bach, Mozart and 

 Beethoven with the same adequate intelligence and 

 consummate art with which mature artists produce 

 the more complex works of these masters, in short, so 

 far as he goes the student may be an intelligent musi- 

 cian and a true artist. Theory and practice may be 

 united from the start, their separation is a thing of the 

 past. The intellectual appreciation and enjoyment 

 of music may in consequence spread far and wide and 

 need no longer be regarded as an exclusive possession 

 of the enlightened few. Than music no art is more 

 accessible and democratic, therefore less esoteric. 



