Part 2 (1/2)

As music, unlike the other arts, lacks any model in the realm of nature, it has had to work out its os, and its spontaneity and directness are the result It has not become imitative, utilitarian or bound by arbitrary conventions As Berlioz says in the _Grotesques de la Musique_: ”Music exists by itself; it has no need of poetry, and if every hue were to perish, it would be none the less the randest and the freest of all the arts” When we reach the centuries in which definite records are available, we find a wealth of folk-songs frolish, French, German, Italian, Spanish, Russian, etc[23] In these we can trace the transition from the old modes to our modern major and minor scales; the principles of tonality and of rudiht into periodic lengths by s, the instinct for contrast and for the unity gained by restateiven than that of Parry in his _Evolution of the Art of Music_ where he calls the his notes so as to express his feelings in tern has been doy of the poetic stanzas hich they were associated; for between the structure of melody and that of poetry there is always a close correspondence In Folk-songs, therefore, we find a growing instinct for balanced musical expression and, above all, an application of the principle of Restate example drawn from Irish Folk-music[24]--which, for emotional depth, is justly considered the finest in the world--will make the point clear

[Music: THE FLIGHT OF THE EARLS]

[Footnote 23: The same statement is true of the Oriental nations, the Arabians, Persians and Greeks, who are left out of the enumeration only because their develop different lines fro all nations see _Primitive Music_ by Richard Wallaschek]

[Footnote 24: For illulish-speaking peoples see Chapter XII of Ernest Walker's _History of Music in England_ The famous Petrie collection of Irish Folk-tunes should also be consulted]

The statement is sometimes made that the principles of our modern system of tonality and of modulation are derived fros always developed under the influence of the oldbefore the establishment of our fixed le unaccoht connection with e of key in the modern sense of the term--which implies a system of harmonization in several voices It is true that there was an instinctive and growing recognition of the importance of the three chief tonal centres: the Tonic or Keynote, the Dominant (a perfect fifth _above_) and the Subdominant (a perfect fifth _below_) and at ties are illustrated in the _, in the fourth measure[25] there is an iht there is a distinct modulation to D major, the Dominant, and in the ninth measure to C major, the Subdominant This acceptance of other tonal centres--distant a fifth from the main key-note--doubtless arose from their simplicity and naturalness, and was later sanctioned by acoustical law; the interval of a perfect fifth having one of the si familiar to people as the first overtone (after the octave) struck off by any sounding body--such as a bell or an organ pipe The Venetian composers, notably Willaert, had also quite fully developed this principle of Tonic, Doeneity to their antiphonal choruses Even to-day these tonal centres are still used; for they are elemental, like the primitive colors of the spectroscope Butof the centre of gravity to _any one_ of the twelve semitones of our chromatic scale, was not developed and accepted until after the acoustical refor keyed instruments embodied in that work called the _Well-tempered Clavichord_ of Sebastian Bach Both these men published their discoveries about the year 1720

[Footnote 25: In counting the measures of a phrase always consider the first _complete_ measure,--_never_ a partial measure--as _one_]

As we have just used the ters in the old(hence the preposterous emendations of modern editors!) because our ears can listen only in terms of the fixedthe nature of the iven

Their essential peculiarity is the freer relationshi+p of tones and semitones than is found in the definite pattern of our reat importance that the music-lover should train himself to think naturally in these nificant return to their freedom and variety on the part of such modern composers as Brahms, Tchaikowsky, Dvo[vr]ak, d'Indy, Debussy and others, and soh the introduction ofmodes are those s

[Music: DORIAN]

[Music: PHRYGIAN]

[Music: LYDIAN]

[Music: MIXOLYDIAN]

[Music: AEOLIAN]

[Music: IONIAN]

The Dorian mode, at the outset, is identical with our modern minor scale; its peculiarity lies in the _serees and the _whole_ tone between the 7th and 8th An excellent example of a modern adaptation of this an (see Supple measures of Debussy's opera _Pelleas et Melisande_ also owe their atian mode is one of the most individual to our modern ears with its first step a _serees Under the influence of harmonic developian, which is often found inmeasures of the slow movement of Brahms's _Fourth Syian _

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The contrast between these e in measure four to theBach's well-known choral, _O Sacred Head noounded_ also begins in the Phrygian _

[Music]

For a beautiful ian mode see the introduction to FS Converse's _Dramatic Poem Job_, for voices and orchestra

The Lydian mode is identical with our major scale except for the see, however, gives a very characteristic effect -Quartet op 132--_Song of Thanksgiving_ in the Lydian mode (see Supplement Ex No 8) The Mixolydian mode is also identical with our modern major scale except for the _whole_ tone between the 7th and 8th degrees This e in modern music; because, with the develop for a leading tone (the 7th degree)--only a seinal whole tone has gradually disappeared The Aeolian Mode, mainly identical with our customary minor scale, has the characteristic whole tone between the 7th and 8th degrees Examples of this mode abound inthe first the_,

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and the following passage fro_