Page:The New International Encyclopædia 1st ed. v. 13.djvu/329

* MELODY. 295 MELON. harnioiiic basis. To illustratu lliis let us take the ippcMiing tlionio of the famous aiulatite of Beethoven's f''ifth Symphony. Tlie harmonic pUin is as follows: ^iPi^plplili Upon this basis Beethoven wrote the nu4ody originallv in this form: ^ When he came to write the full score the mas- ter felt that his theme was oommonplaee. By retaininj; the harmonic basis and only altering the melodic intervals the following noble melody, such as we know it, arose: , The following is a reduction to the simplest harmonic basis of the principal themes of the well-known Sonata op. 53 (Waldstein) : of eipial value. And vice versa, all melodies can be reduced to a monotonous succession of inter- vals, it is the composer's individual genius that imparts its character to each melody. Within recent years several theorists have attempted a scientilic exposition of the principles of melodic formations with practical hints toward their invention. Among the best works of thi.- kind are: Bussler, Elemcnturmelodik (Berlin, 1870); Riemann, A'e«e Schule der Mctoilik (Hamburg, 1883). MELOGRAPH (from Gk. fieXoypaipoc, melo- graphos, song-writing, from |UfAof, melos, song -- }lid(i>cn', graphein, to write). A mechanical device for making a record of music as it ia played on a pianoforte. It is supposed to repro- duce on pa])er, by means of characters, all the notes struck on the keyboard (with their dura- 5i?^^Sa£t^ ^ tion), so that there may be a readable record of any music which a player may improvise. Since 1747 numerous nielographs have been J-,— J- Comparing this with the original, it will be seen how Beethoven constructs his melody. The reader should examine in the score the successive melodic changes which the theme of the third ex- ample undergoes in the course of the movement. Wagner in the Prelude to Die iliistersinger re- duces the ilastersinger's motive and the second theme from Walter's Prize Song to a common harmonic basis (slightly different from that of either of the themes in its original form), and thus is enaldcil to make bolli themes resound sinuiltancously on dill'erent instruments. ( Piano score, p. 7.) Without making the slightest altera- tion in Bach's G major prelude from the M'ell- tempcivd Chn^ichord, Gotinod writes an addition- al melody to the harmonic basis, which has be- come famous as Gounod's Ave Maria. The following examples show how a mere suc- cession of intervals can be changed by the in- fusion of the rhythmic element into a distinctive melody. In Wagenseil's book, ^'on der Meister- singcr Jioldicligcn Kitnst, we find the following two tunes of prize-crowned master-songs : (a) „ (h) 1^ $ Both these simple tunes Wagner uses in the Processional March of Die Meislersingcr, where they occur in these forms : (a) I I f patented, but with the exception of Fenby's 'elec- tric melograph' or 'phonautograph' none has given lasting satisfaction. In the phonaiitograph under each key is placed a stud : when the kej' is depressed an electric connection is formed, and the particular note struck, and its duration, are recorded on paper. MELOIDjE, me-lO'i-de. A family of moder- ate-sized l)ectles, with the head constructed behind the eyes, the prothorax at its hinder edge nar- rower than the el^-tra, the legs long, with front haunches large and conical, the feet with the last segment but one not liilobed, and the claws s]ilit to the base. The larv;e of several undergo meta- morphosis, as explained imder JIet.vmori'iiosis ; and most of the species exude an odorous oil. high- ly serviceable in medicine. ( See Bli.stek Beetle. ) Consult: Le Conte, "Synopsis of the Jleloids of the United States," in Proceedings of the .Ic/irf- emiy of Natural ficience, vol. ti. (Philadelphia. 1853) ; Horn, "Revision . . . Meloida- of the United States," in Proceedings of the American. Philosophical l^oeielg, vol. xiii. (Philadelphia, 1873) ; Horn, "Studies Among the Meloida'," in Transactions of the American Entomological «S'o- ciet;/ (Philadelphia. 1885). MELON (OF. melon, millon, Fr. melon, from Lat. melo, for melopepo, from Gk. p.7i?.oTt^7rav, melopepon, melon, from fif/lov, melon, apple -+- j AH melody can be conceived as a rhythmic ■n-eirov, pepon, melon, so called from the shape). I evolution from a succession of intervals in notes A name given to the fruit of Cucumis Melo and