ADMINISTRATIVK HEl'OKT I.XXI 



or storv of the nuisical coiiiixysitiDii, I)u1 rest satisfied with 

 the euiotioi'iil effects produced. Very tew persons read music 

 as an intellectual art, and there are but tew critics of the 

 art who survey these imellectnal elements. Indeed, the intel- 

 lectual thread of a musical (■(impositidu is very slender, and 

 much of it in tlie folk sonj^' of tlu^ world is unconsciousl\- 

 develo})ed, like the meaning- of words in folk sj)ecch. It is a 

 growth by minute increments found to be beautiful in exj)e- 

 rience. 



lilijlthm — Mnsic has its germ in the dance, for it begins with 

 the effort to control the i-hythm of the lilting folk. Rhythm, 

 therefore, is the first structural element of music, but new ele- 

 ments are added from time to time in the history of man as 

 he proceeds along the way of life from wildwood time to the 

 higher civilization in representative time — a long time indeed. 



Melody — Passing from the hunter stage to the shepherd stage 

 we find that a new element is added to music; then melody 

 appears fully fledged. As the more complicated dancing steps 

 become more pleasing than the primeval monotonous step, the 

 melodic chant becomes more pleasing than tlie simple rhythmic 

 chant: that is, a rhythm of rhythms is developed which makes 

 melody. So nuisic was endowed first with rhythm and tluui 

 with melod^•. 



Melody iN a pfeasing succession of sounds, or notes as they 

 are called in written nuisic, having a different ])itch, and we 

 have to considcn- how such notes come to obtain tliat quality 

 wdiich we call melody and which is so delightful to the hearer. 



The dance is a s})ort in which usually many persons simul- 

 taneously engage. In pi-imiti\e dancing the time is marked 

 by the voice, and the shouts of the dancers constitute a chant 

 in which oftentimes they all take part, but at other times 

 there is a leader and oidy one marks the time. As the dance 

 develops from the sim))le monotonous recognition of the same 

 step to a combination of two or more differentiated steps, they 

 are marked h\ differences in the pi*ch of the voice. To full\' 

 understand the ultimate effect of this device, we nuist appre- 

 ciate the universality of dancing and that it continued in the 

 first stage of society through thousands of years. 



