How to Listen to Music, 7th ed. | Page 7

a new composition, and the more apt our memory in seizing upon them for the operation of the fancy, the greater shall be our pleasure.
[Sidenote: Melody, Harmony, and Rhythm.]
[Sidenote: Comprehensiveness of Melody.]
In simple phrase Melody is a well-ordered series of tones heard successively; Harmony, a well-ordered series heard simultaneously; Rhythm, a symmetrical grouping of tonal time units vitalized by accent. The life-blood of music is Melody, and a complete conception of the term embodies within itself the essence of both its companions. A succession of tones without harmonic regulation is not a perfect element in music; neither is a succession of tones which have harmonic regulation but are void of rhythm. The beauty and expressiveness, especially the emotionality, of a musical composition depend upon the harmonies which either accompany the melody in the form of chords (a group of melodic intervals sounded simultaneously), or are latent in the melody itself (harmonic intervals sounded successively). Melody is Harmony analyzed; Harmony is Melody synthetized.
[Sidenote: Repetition.]
[Sidenote: A melody analyzed.]
The fundamental principle of Form is repetition of melodies, which are to music what ideas are to poetry. Melodies themselves are made by repetition of smaller fractions called motives (a term borrowed from the fine arts), phrases, and periods, which derive their individuality from their rhythmical or intervallic characteristics. Melodies are not all of the simple kind which the musically illiterate, or the musically ill-trained, recognize as "tunes," but they all have a symmetrical organization. The dissection of a simple folk-tune may serve to make this plain and also indicate to the untrained how a single feature may be taken as a mark of identification and a holding-point for the memory. Here is the melody of a Creole song called sometimes Pov' piti Lolotte, sometimes _Pov' piti Momzelle Zizi_, in the patois of Louisiana and Martinique:
[Music illustration]
[Sidenote: Motives, phrases, and periods.]
It will be as apparent to the eye of one who cannot read music as it will to his ear when he hears this melody played, that it is built up of two groups of notes only. These groups are marked off by the heavy lines across the staff called bars, whose purpose it is to indicate rhythmical subdivisions in music. The second, third, fifth, sixth, and seventh of these groups are repetitions merely of the first group, which is the germ of the melody, but on different degrees of the scale; the fourth and eighth groups are identical and are an appendage hitched to the first group for the purpose of bringing it to a close, supplying a resting-point craved by man's innate sense of symmetry. Musicians call such groups cadences. A musical analyst would call each group a motive, and say that each successive two groups, beginning with the first, constitute a phrase, each two phrases a period, and the two periods a melody. We have therefore in this innocent Creole tune eight motives, four phrases, and two periods; yet its material is summed up in two groups, one of seven notes, one of five, which only need to be identified and remembered to enable a listener to recognize something of the design of a composer if he were to put the melody to the highest purposes that melody can be put in the art of musical composition.
[Sidenote: Repetition in music.]
Repetition is the constructive principle which was employed by the folk-musician in creating this melody; and repetition is the fundamental principle in all musical construction. It will suffice for many merely to be reminded of this to appreciate the fact that while the exercise of memory is a most necessary activity in listening to music, it lies in music to make that exercise easy. There is repetition of motives, phrases, and periods in melody; repetition of melodies in parts; and repetition of parts in the wholes of the larger forms.
[Sidenote: Repetition in poetry.]
The beginnings of poetic forms are also found in repetition; in primitive poetry it is exemplified in the refrain or burden, in the highly developed poetry of the Hebrews in parallelism. The Psalmist wrote:
"O Lord, rebuke me not in thy wrath, Neither chasten me in thy hot displeasure."
[Sidenote: Key relationship.]
Here is a period of two members, the latter repeating the thought of the former. A musical analyst might find in it an admirable analogue for the first period of a simple melody. He would divide it into four motives: "Rebuke me not | in thy wrath | neither chasten me | in thy hot displeasure," and point out as intimate a relationship between them as exists in the Creole tune. The bond of union between the motives of the melody as well as that in the poetry illustrates a principle of beauty which is the most important element in musical design after repetition, which is its necessary vehicle. It is because