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WEAD. 
hensive term, association; “Yankee Doodle” heard in a 
foreign land, the “Marseillaise” heard anywhere, the memo- 
ries recalled by a strain heard long ago, illustrate the senti- 
mental phase of this; all songs, hymns, operatic airs neces- 
sarily have association with ideas expressible in words, though 
oftentimes it is arbitrary and unnatural ; even music without 
words often has a sort of program or label with it, due to the 
composer or critic, as the “Pastoral Symphony.” Another 
kind of association of sounds is that involved in such terms 
as “scale,” “harmony,” “tonality;” which will be considered 
later. But no scientific analysis of music into its elements 
pretends to explain fully its charm or power; for in every 
work of art the whole is more than the sum of its parts, as a 
house is more than bricks and lumber. 
The next idea in the definition is “combination of sounds.” 
The sounds may be successive, one at a time, the result being 
a simple melody or tune ; if all the sounds used in it are re-ar- 
ranged so as to come in order of pitch, the result is a scale (a 
more exact meaning of this word will be given later) . Or the 
sounds may be simultaneous; the result, often loosely called 
harmony, may be (1) two or more parallel lines of melody, 
as when men and women sing the same air in Octaves, or when 
men in medieval times, or primitive singers today, take parts 
at intervals of a Fourth or Fifth; (2) two or more nearly 
identical parts, but begun at different times, as in a fugue or 
catch; (3) two or more independent tunes adapted to one 
another, as in the old polyphony; (4) true harmony, where 
the successive elements are chords or discords, not single 
tones. The evidence is very slight that non-European peo- 
ples have ever known any kind of harmony except the first. 
All these sounds are to be combined with a view to “beauty 
of form.” Musical form is as varied as poetical form, and the 
fashion changes from generation to generation ; one does not 
look often for fugues or sonatas or rhapsodies from recent com- 
posers. Each age has its rules by which to measure music and 
a musician, as Wagner found to his sorrow, and illustrates 
in his “Meistersanger.” The singer who took the part of 
Venus in the first performance of Tannhauser in 1845 said 
