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Popular History of the Art of Music

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<h2>CHAPTER V.</h2> <h3>THE NATURE OF THE TRANSFORMATION, AND THE AGENCIES EFFECTING IT.</h3> <hr style="width: 15%;" /> <ANTIMG src="images/capa.png" width-obs="118" height-obs="100" alt="A" title="A" class="floatl" />CCORDING to the division of the subject in the beginning of this work, the period from the Christian era to that of Palestrina, A.D. 1600, is one of apprentice work, in which the details of art were being mastered, but in which no music, according to our acceptation of the term, was produced. The history of this period is somewhat obscure, the writers who throw light on it averaging scarcely more than one to a century, scattered about in different parts of Europe. Nevertheless, the most important changes in the history of music took place during this period. The monody and empyrical tonality of the ancients gave place to polyphony and harmonized melodies resting upon the relations of tones in key. New instruments came in, and the entire practice of the art of music was deepened, ennobled and immeasurably enlarged in every direction. There were four causes co-operating in this transformation of the art, and it is not easy to say of any one of them that this one was the chief. First of these, in the Roman empire, or in the south of Europe more particularly, for about 800 years the Greek principles remained more or less in force. The Church is here the foremost[Pg 82] influence, and its part in the transformation already noted will be considered presently. In the north of Europe the Goths, Celts and Scandinavians built mighty empires and impressed their enthusiastic and idealistic natures upon the whole form of modern art. The Saracens conquered a foot-hold in the south of France about 819, and remained there for twenty years. Their influence was very important in the development of music, and became still more active after the crusades, where the armies of the west came again in contact with this peculiar civilization. Besides these three sources measurably unprofessional and outside of music, or amateur, as we say now, there was the work of the professional musicians strictly so-called, who, from about 1100 in the old French school, commenced the development of what is now known as polyphony, which culminated in the hands of the Netherlanders, about 1580, Palestrina himself being one of the latest products of this school. These influences reacted upon each other, and all have entered into modern art, and have imparted to it their most essential elements. All modern music differs from the ancient in two important particulars—Harmony and Tonality. Harmony is the use of combined sounds. These may be either dissonant, inharmonious in relation to each other, or harmonious, agreeable. All points of repose in a harmonized piece of music must be consonant; or, to say it differently, the combined sound (chord) standing at the beginning or end of a musical phrase must be harmonious. All the elements in it must bear consonant relations to all the others. Between the points of repose the combined sounds may or may not be consonant. Under certain conditions dissonances make an effect even better[Pg 83] than consonance—better because more appealing. The law of the introduction of dissonances is that every dissonance must arise out of a consonance, and subside into a consonance. When this law is observed there is hardly any combination possible in the range of music which may not be employed with good effect. Here already we have a progress in perception of tones, in the ability to discriminate between those which harmonize and those which dissonate. All consonance and dissonance are purely relative. There is no such thing as a dissonant tone in music, by itself considered; a tone becomes dissonant by being brought into juxtaposition with some other tone with which it does not agree. This part of the development of a tonal sense had its beginnings in Greece, but only reached the point where the most elementary relations were regarded as agreeable. The octave, the fourth and the fifth, were the only consonances which they knew, and of these they used in the combined sounds of their music only the octave. The third, which with us is the most agreeable part of a pure harmony, because it adds so many elements of agreement to the combined sound into which it enters, was not only regarded as a dissonance by them, but actually was a dissonance as they tuned their scale. The entire course of harmonic perception in modern music may be roughly divided into three steps: First, the recognition of consonance, especially of the most fruitful consonance of all—that of the thirds, and the differentiation between consonance and dissonance. A second step involved the recognition of dissonance as an element in musical expression, on account of the motion it imparts to a harmonic movement. Third, the establishment of these materials of music in the mind in such[Pg 84] depth and fullness that their æsthetic implications became realized as elements of expression, so that when a composer had a certain feeling to express, the proper combination of consonance and dissonance immediately presented itself to his mind. The first of these steps was taken by the minstrels of the north, somewhere between the Christian era and the tenth century. The second was the particular work of the old French school, the Netherlanders, and of all who composed music between about 1100 A.D. and the epoch of Palestrina, about 1600. The third, the spontaneous application of musical material to the expression of feeling, had in it another element, that of tonality, concerning which it is proper to say something at this point. By "tonality" is meant the dependence or interdependence of all the tones in a key upon some one principal tone called the Key-tone. The tonality of the music of the ancients was wholly artificial and unreal. A mode and a point of repose for the melody were chosen arbitrarily; the beginning was here made, and still more the ending was conducted to this point of repose. Between the beginning and the ending the same tones were employed, whether the melody proposed to repose upon re, upon fa or do. The usual points of repose in Greek music were mi, fa and re; never upon do, the real key tone, and rarely upon la, the natural tonic of the minor mode. One of the chief elements of modern musical expression, particularly in the expression of melody, is the unconscious perception of the "relation of tones in key." With every tone sung the singer conceives not only that tone, its predecessor and its follower, but all other tones in the entire course of the melody; and the expression[Pg 85] of every tone in the series rests upon its place in rhythm, and still more upon its "place in key." Change a single tone in a melody, as, for instance, to make fa a half step sharp, and the expression of the entire melody is thereby changed, until such time as the hearer has forgotten the change of key effected by the introduction of the foreign tone. It is not at all unlikely that what little of melodic expression the music of the Greeks had, may have rested to some extent upon an unconscious perception of these relations, which, although foreign to their musical theory, may nevertheless have made their way into the ears of these acute minstrels. The discovery of simple tonality seems to have been due to the northern minstrels, for it is here that we find the earliest melodies purely tonalized. But the natural bounds of a melodic tonality as established by these northern harpers have been very much exceeded in modern times, so that now there is hardly a chord possible which might not be introduced in the course of a composition in any key whatever, without effecting a digression into the new key suggested by the strange chord. Not only all the natural or diatonic notes are regarded as belonging to a key, but also all the chromatics, the sharps and flats, and the double sharps and double flats. All this implies a growth of tonal perception on the part of the hearers, and especially of the ability to co-ordinate tonal impressions over a wide and constantly increasing range. For the hearer has in mind not only the particular tone which at the moment occupies his ear, and the others which preceded it, and a sort of inner feeling of the tone which will follow the present one, but also all the other tones over which the singer would pass in going from one tone to another. And[Pg 86] unless he has this he cannot realize the true place of the melody tone in key, and therefore rests unconscious of its real expression. It is, indeed, possible for him to make a mistake in regard to the tones which he unconsciously associates with the tones actually heard—as, for example, when one hears an E followed by a C higher, and one thinks of the four white keys of the piano between them, while the melody may be thinking of the black keys between them. In the one case the melody would be in the key of C, in the other of C sharp minor. And the expression of the melodic skip would be enormously changed thereby. This larger education of the faculties of tonal perception and tonal co-ordination has been the work mainly of the last century and a half, and more particularly of the present century itself. During this period the progress has been more rapid than within any other in the entire course of the history of our art, and it is to the successive steps preparing for this that we now address ourselves.   <ANTIMG src="images/deco4.png" width-obs="200" height-obs="37" alt="decoration" title="decoration" />   [Pg 87] <div style="break-after:column;"></div>

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