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* MUSIC. 174 MTJSIC. money on these shores. Dr. Antonin Dvorak made Xew York his home for three years as the director of the National Conservatory, and com- posed here his Sew World i'iyiiipliony. American singers, especially women, are bettor known abroad than our native composers; Albani, Clara Louise Kellogf;, Annie Louise Cary, Minnie Hauk, Emma Thursby, Antoinette Sterling, Lillian Xor- dica, Kmma Nevada, Emma Eamcs, Sibyl San- derson, Lilian Blauvelt, Zelie de Lussan, and others have honored their country with artistic triumphs. Adelina Patti s])ent the early years of her life in New York, and, as well as Chris- tine Nilsson, I'arepa, Gerster, ilelba, Sembrich, and Lilli Lehmann, has been adored by enthusi- astic operagoers. Thus far America has not produced a genuinely rei)resentativc composer. BliiLlOGB.M'iiY. Sjiccial articles, such as Oi'EK.v, Instki>iknt.tio., CJkeek JIlsic, have their own separate bibliographies, so the following is mere- ly a list of general reference books. Consult: Lavignac, Alusic and .Vusicians, trans. (New York, 1899) ; Ritter, Allgemeine iUustrii'yte Encyklopiidie dcr Musikge.ichichte (Leipzig, 1902) ; Ilehnholtz, On the Sensations of Tom; as a Plii/sioloi/icdl Uasis for the Theory of Music, trans. (London, IS".*)); Ambros, ile- srhichte dcr Mitsik (Breslau, 1862-82) ; Gevaert, Histoire et thcorir de la iniisiiiue de l'anli</uitc (Ghent, 1875-81) ; Reissmann, Ziir Aeslhclilc der Tonkiinst (Berlin. 1879) ; Savard. Principcs dc la musique ct mi'thode de transposition (Paris, 1898) ; and for more general works on the history and development of music, consult: The Oxford History of Music (O.xford. 1001 et. seq. ) ; Nan- mann. The History of Music, trans. (London, 1880) : Burney. .1 (leneral History of Music (London, 1879) ; Hawkins, ,1 General History of the Science and Practice of Music (London, 1876) ; Fi'tis, Histoire yenerale de la musique (Paris, 1860-76) ; Schnmann, Music and Musi- cians, trans, (new ed., London, 1902) ; Rock- stro, A General History of Music from the In- fancy of the Greek Drama to the Present Period (New York, 1886) ; Parry, The Evolution of the Art of Music lib., 1806)": Henderson, Hon- .U»- sic Dereloprd lib.. 1808) : Wallaschek. Primilire Music (London, 180.3) ; Krehbicl. Hair to Listen to Music (New York, 1806) : Huncker. Me::xo- tints in Modern Music (ib.. 1899); Jlatthew, The Literature of .Music (London. 18061 : Hiind- buch dcr niusikalischen Litteratur (Leipzig, 1900) ; Untersteiner, .-1 Short History of Music, trans. (New Y'ork, 1902). See Natiox.m, HvMN.s; OvERTi'RE; Sached Music ; Score; Mi'- SIC, SfllonI,.s OF CoMrosiTiox. MTJSIC, Psyriioi.ocY of. The psyeholog' of music deals with the mental processes which fur- nish both tlie motives for its production and the ground of its appreciation. It has an individual and a social aspect : for music as an art involves not only the individual consciousness, as such, but also, since it is a means of expressin and communication, the modification of one mind by another. The mental elements primarily iiivrdvcd in music are sensations of tone. Of the 10,000 or 11,000 tones which niav be distinguished in con- sciousness, music uses a comparatively small number. Our own elaborate musical system in- cludes only 85 or 90, ranging from about 40 to 4000 vibrations per second; something less than seven octaves. The simple tonal .sensation is produced by an uncompounded pendular vibra- tion of the air. The note or simple clang is com- posed of a number of simple sensations, called partials or partial tones, one of which (the lowest) is the fundamental; the others are called overtones. The character ('timbre,' 'clang-tint,' 'quality') of the note is determined by the num- ber and intensity of the various partials. (See Clano-Ti.nt, Explaxatiox of.) Every simple tone has three aspects or attributes: quality, intensity, and duration (qq.v. ). Quality is pitch (high or low); intensity is degree (a tone is 'loud" or '.soft,' strong or weak) ; duration is temporal length (long or short). To these some psychologists add a fourth attribute, extension or voluminousness; a tone is said to be 'big* or 'thin,' 'broad' or 'pointed.' It is a question whether the spatial attribute is not reducible to simple qualitative differences plus associations from vision and pressure. By the combination and variation of the first three attriliutes, all classes and forms of music are produced. There is, first of all, the combination of qualities and intensities in the note, which is the practical basis of music. Above this stand the alterna- tions of intensities which produce rliytlim, the successive rise and fall of pitch forming the essence of melody, and the synchronous combi- nations of pitches (see Fusion) known as har- mony. Music began, doubtless, with the simplest of these combinations. We find in jirimitive music a small number of qualities used over and over, without the finer shadings of intensive dif- ferences, with little or no appreciation of har- mony, but often with a strongly marked rhj-thra, accentuated by various bodily movements. (See Art, Primitive.) But the growth of music lias been marked not so much by complica- tions in quality, intensity, and duration — great as these have been — as by another factor in de- velopment which has proceeded pari passu with the mental evolution of the race. This factor is the capacity to group anil unify series of units, the capacity to form iicrccptions and associations between isolated tones. A perception (q.v.) is always simietliing more than the summation uf a series of sensational elements. It is the reading of meaning, of significance into the scries taken as a group or whole. Musical perception has de- veloped in precisely the same iiiamier as have other forms of perception, by the widening and deepening of meaning. Compare, e.g. a savage's perception of a protruding stratum of rock with a geologist's. ne is poor, simple, shallow — as bare as the rock itself; the other is rich, com- plex, dee]i — as complicated as the condidons un- der which the rock was formed: it contains group after group, and leads to complex trains of asso- ciations. The case is similar with music. Primi- tive man used a simple musical alpliabel and spelled out simple, ehilrlisli phrases. Take as an instance the fol|r)wing example which the abo- rigines of Australia were accustomed to reiterate over and over for hours: