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Mill somewhere makes in comparing ancient with modern literature: the substance has improved, but the form has in some respects deteriorated. The modern music expresses the results of a richer and more varied emotional experience, and in wealth of harmonic resources, to say nothing of increased skill in orchestration, it is notably superior to the old music.
Many of us, perhaps, can call to mind certain individuals, whose sense of hearing is as acute as our own, who yet can by no possibility be made to recognize the slightest relation between the according notes of the simplest melody; and, though they can as readily as others distinguish the individual sounds, even to the degrees of flatness and sharpness, the harmonic agreement is to them as mere noise.
Harmony exists not in time, for the time-element in music is melody; nor does it exist in space, for the simultaneousness of tones is not one of extension or space. Hence our harmonic sense is not hampered by the forms of the mind, but gives us a glimpse of things as they are in themselves a glimpse of the world as a superior spirit would behold it.
It was upon the great scientific doctrine, which we have since seen so completely and brilliantly developed, of the law of harmonic vibrations, extending from atoms and molecules at one end of the series up to the worlds and suns at the other end, that Mr. Edison based his invention. Every kind of substance has its own vibratory rhythm. That of iron differs from that of pine wood.
Using a two-measure motive, which he announces at the very start, the singer works the material over and over, first in one harmonic mode and then in the other, frequently changing the form of the motive through embellishments or altered metric values, but always leaving an impression which harks back to the original motive.
A Quaker carpenter who studied five years at Oberlin College, he took up electrical invention, and brought out many ingenious devices in rapid succession in the telegraphic field, including the now universal needle annunciator for hotels, etc., the useful telautograph, automatic self-adjusting relays, private-line printers leading up to his famous "harmonic" system.
The delight of music depends, in his opinion, on an unconscious numbering and measuring of the harmonic and rhythmic relations of tones, aesthetic enjoyment of the beautiful in general, and even sensuous pleasure, on the confused perception of a perfection, order, or harmony. The application of the lex continui to the inner life has a very wide range.
His most important work is a suite of symphonies; and it was the fifth symphony of this suite that he conducted at the Strasburg festival. The first symphony, called Titan, was composed in 1894. The construction of the whole is on a massive and gigantic scale; and the melodies on which these works are built up are like rough-hewn blocks of not very good quality, but imposing by reason of their size, and by the obstinate repetition of their rhythmic design, which is maintained as if it were an obsession. This heaping-up of music both crude and learned in style, with harmonies that are sometimes clumsy and sometimes delicate, is worth considering on account of its bulk. The orchestration is heavy and noisy; and the brass dominates and roughly gilds the rather sombre colouring of the great edifice. The underlying idea of the composition is neo-classic, and rather spongy and diffuse. Its harmonic structure is composite: we get the style of Bach, Schubert, and Mendelssohn fighting that of Wagner and Bruckner; and, by a decided liking for canon form, it even recalls some of Franck's work. The whole is like a showy and expensive collection of bric-
Sanders and Hubbard, much annoyed that Bell had abandoned his harmonic telegraph for so visionary an idea as a long distance talking machine, refused to finance him further unless he returned to his original quest. Disappointed and disconsolate, Bell and his assistant, Thomas A. Watson, had started work on the top floor of the Williams Manufacturing Company's shop in Boston.
This certainly satisfies the mind in that it suggests variety in unity, balance, completeness, and in the actual portrayal, in color, of these chords in any "key" this judgment is confirmed by the eye, provided that the colors have been thrown into proper harmonic suppression.
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