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HARGREAVES

838

HARMONY

Hargreaves (hdr'grdvz), James, the inventor of the spinning-jenny, was an tin-educated weaver and carpenter of Standhill in Lancashire, England, where he was born in 1745. It is said that he was led to the invention from seeing a spinning-wheel, which one of his children had upset, continue to revolve horizontally while the spindle worked vertically. So strong was the prejudice of the weavers against the introduction of his machine, that they broke into his house and destroyed it. He removed to Nottingham in 1767, where he erected a spinning-mill. Three years later he took out a patent for his invention, but, as it was proved that he had sold several machines before the patent was obtained, it was for that reason declared void. Hargreaves died on April 22, 1778. See Lancashire Worthies by Francis Espinasse and Lives of Eminent Mechanics by Henry Howe.

Har'lan, John Marshall, was born in Boyle County, Ky., June i, 1833. He was a colonel in the Union army in 1861, and ill 1863 lie was made attorney-general of Kentucky, and became one of the associate justices of the United States supreme court in 1877. In 1893 he was one of the American arbitrators on the Bering Sea tribunal which met at Paris. Died Oct. 14, 1911.

Har'land, Marion. See TERHUNE, MARY VIRGINIA.

Har'ley, Robert. See OXFORD, EARL OF.

Har'mar, Josiah, an American general in the Revolutionary War, was born at Philadelphia in 1753. He served as lieutenant-colonel under Washington in 1778-80, and with General Greene in the south in 1781-82. He was selected to carry to France the ratification of the treaty with England, which ended the Revolutionary War, and became general-in-chief of the army in 1789. Fort Harmar, at the mouth of Muskingum River on the Ohio, was named after him. He died at Philadelphia, Aug. 20, 1813.

Har'mony, from the Greek word harmonia, meaning "a concord of sounds, music, or a system of music" (which itself is probably derived from an ancient root-word meaning to fit or join), is one of the three essentials elements of music, without which music never has existed and never can exist.

If the following succession of sounds, called tones,

EXAMPLE i

be thought, sung or played, it will be felt to be as meaningless, as incoherent, musically, as the following succession of SOUP %, called syllables,

EXAMPLE 2

Eightnez zar nebkud you ha is incoherent and meaningless as language. That is, the succession of tones in Example i does not express music, although there is rhythmic coherence; nor does the succession of syllables in Example 2 express language.

In the following succession of syllabic sounds

EXAMPLE 3

Nebuchadnezzar ate hay coherency, unity and meaning — therefore language — appear, although we have precisely the same sounds as in Example 2. The difference is solely in the relation of the sounds in respect to their order and groupings.

Similarly the following succession of tones, all of which are to be found in Example i,

EXAMPLE 4

expresses coherency, unity and music, because a feeling of tonal relationship is immediately recognized. There is a vital distinction to be made, however, between the syllabic and tonal relations. In the former they are largely if not purely arbitrary relations in respect to order and grouping established by usage; in the tonal succession, on the contrary, the relationship is not arbitrary, but immanent in every coherent grouping of tones, whether conceived of successively or simultaneously.

Further observation of melody reveals the fact that each melodic incident suggests a group of simultaneous tones in a definite relation to one another, as represented in the following example:

EXAMPLE 5

1 A.  ±.

That is, the first, third and sixth tones of the melody suggest the group g, b, d; the second and fifth tones, d, f, a (the line over a letter stands for a sharp); and the fourth tone, c, e, g. Here again we see that relation, that is, harmony, is the basis of the unity of these groups of simultaneous tones. Such groups of simultaneous tones expressing dermHe relationships are called, in general, chord*.