Euphony

“ The function makes us unconscious of the instrument, all the more as it is an indispensable and almost invariable one. The sense of euphony accordingly attaches itself rather to another and more variable quality; the tune, or measure, or rhythm of speech. The elementary sounds are prescribed by the language we use, and the selection we may make among those sounds is limited; but the arrangement of words is still undetermined, and by casting our speech into the moulds of metre and rhyme we can give it a heightened power, apart from its significance. ”

“ It is a gross misconception to regard music as merely a "concord of sweet sounds," for that would be a barren art which had no contrasting features. Much great music is not beautiful, for it may be tragical, sombre, or may voice any of the moods incident to life. Euphony was doubtless one of the last developed qualities, for it springs from joy, love, or reverence. We must look among the coarser emotions for the germ which was first used in tone expression. ”

“ That genius, and in our opinion he only, can reveal the legitimate possibilities of sound. In his tonal creations the cacophonious, as well as the euphonious, [Pg 92] must be employed in such way that every mood of man and every shade of human feeling shall be faithfully portrayed, and the world itself epitomized. His must be a sane equipoise, an unfailing sense of fitness, the consummate ability to adjust to a nicety, so that always the end justifies the means. Already his predecessors in the great acknowledged schools have developed the art of euphony. ”

“ The conditions which approximate most closely to our present, perfect, future and imperative are marked either by aspiration of the initial or by one of the five prefix consonants according to the rules of euphony, and the whole looks like a former system thrown into confusion and disorder by phonetic decay. ”

“ The whole point of this filling-out is that, the polyphonic design of the main instruments being complete in itself, there is no room for any such additional inner parts as can attract attention. In the interest of euphony some harmonious sound is needed to bridge the great gap which almost always exists between the bass and the upper instruments, but this filling out must be of the softest and most atmospheric kind. ”

“ For example, in a language so remarkable for the euphony of its sounds, if that euphony is preserved in particular combinations of its letters, by an adherence to the powers ordinarily ascribed to them, and is destroyed by a change of these powers, and the sound of the word thereby rendered harsh, inharmonious, and inidiomatical, here we may presume some degeneracy has taken place. ”

“ As one who loves wind-instruments, I like to think that the flutes, oboes, and clarinets are the flowers of my vernal orchestra, decorating the great mass of stringed instruments with streaks and flames of colour.
In real music, we cannot say why certain sounds make an appropriate opening for a symphony ”

“ The Power of Harmony in Relation to Prayer.
“Again I say unto you that if two of you shall agree [1] on earth as touching anything that they shall ask, it shall be done for them.” [2] The word symphony is strictly applied to the harmonies of sounds in music. And there are indeed among musical sounds some accordant and others discordant. But the Evangelic Scripture is familiar with the name as applied to musical matters in the passage, “He heard a symphony and dancing.” ”

“ These irregular forms of rhythm are called syncopation. See also Ex. 6, second Phrase.
MELODY.—Any succession of single tones is a melody. If we strike the keys of the piano with two or more fingers of each hand simultaneously, we produce a body of tones, which—if they are so chosen that they blend harmoniously—is called a Chord; and a series of such chords is an illustration of what is known as Harmony. If, however, we play with one finger only, we produce a melody. The human voice, the flute, horn,—all instruments capable of emitting but one tone at a time,—produce melody. ”

“ When science comes and the nature of sound itself is understood as a property, instruments are invented and improved by the husbandry of mind until a great variety of musical instruments are developed; thus symphony grows from the soil of time. What, then, is symphony? It is a succession of melodies, every one of which is produced by a group of instruments, one of which may be that of the human voice. Now, as these instruments play in unison, one or another is selected to play the leading melody, and the other instruments are made to play subsidiary melodies in harmony with the leading melody. ”

“ We think, then, that the “psalms” are those which are simply played to an instrument, without the accompaniment of the voice, and (which are composed) for the musical melody of the instrument; and that those are called “songs” which are rendered by the voice in concert with the music; and that they are called “psalms of song” when the voice takes the lead, while the appropriate sound is also made to accompany it, rendered harmoniously by the instruments; and “songs of psalmody,” when the instrument takes the lead, while the voice has the second place, and accompanies the music of the strings. ”

“ Concerning symphony, he shows how sounds harmonize. A quick sound is acute, a slow is grave. Therefore acute sounds move the senses the quicker; and these dying and grave sounds supervening, what arises from the contemperation of one with the other causes pleasure to the ear, which we call harmony. And by what has been said, it may easily be understood that air is the instrument of these things. For sound is the stroke upon the sense of the hearer, caused by the air; and the air strikes as it is struck by the thing moving,—if violent, acutely,—if languid, softly. ”

“ The wind moves the stiff, hard leaves, they touch the strings, and these light, continuous contacts fill the air with a hot, intoxicating sound. It is not yet music, but a sound as if unseen hands were tuning hundreds of invisible harps, and one awaits impatiently the moment of silence before a powerful hymn bursts forth, a hymn to the sun, the sky and the sea, played on numberless stringed instruments. ”

“ For the human voice can produce sounds 'possessing in some degree the characteristics not only of all musical instruments, but of all sounds of whatever description.' By means of this chord I hope to utter a certain sound, a certain name, of which you shall know more hereafter. But a name, as you surely know, need not be composed of one or two syllables only; a whole symphony may be a name, and a whole orchestra playing for days, or an entire nation chanting for years, may be required to pronounce the beginning merely of—of certain names. ”

“ The sense in which the ancient Greeks viewed harmony is as follows:—“They by that term understood the succession of simple sounds according to their scale, with respect to acuteness or gravity.” Whilst it appears that by harmony, the moderns understand—“The succession of simple sounds, according to the laws of counterpoints.” From the same authority—“By melody, the ancients understood the succession of simple sounds, according to the laws of rhythm and metre, or in other words, according to time, measure, or cadence. ”

“ Simple melody or harmony appeals mostly to the sensuous love of sweet sounds. The symphony does this in an enlarged and complicated sense, but is still more marked by the marvelous suggestive energy with which it unlocks all the secret raptures of fancy, floods the border-lands of thought with a glory not to be found on sea or land, and paints ravishing pictures, that come and go like dreams, with colors drawn from the "twelve-tinted tone-spectrum." ”

“ If during an orchestral symphony you look steadily enough at one musician or another you can always hear his instrument above the rest and follow his part in the symphony. In the same way when I look at fairy throngs I can hear them sing. If I single out one of them for observation I hear him or her sing—not words, never words; they have none. I saw once, like a driven cloud, the spirits of the North-west [48] wind sweep down the sky over the bare ridge of a chalk down, winged and shrouded, eager creatures, embattled like a host. They were grey and dun-coloured, pale in the face. ”

“ There were sonatas, or rather veiled symphonies; songs whose poetry might be understood without words; piano pieces both of a demonaic nature and of the most graceful form; sonatas for piano and violin; string quartets, each so different from every other that they seemed to flow from many different springs. Whenever he bends his magic wand, there, when the powers of the orchestra and chorus lend him their aid, further glimpses of the magic world will be revealed to us. May the highest genius strengthen him! ”

“ The music of the hymn to Apollo is written in the vocal notation. The metre is the cretic or paeonic , and the key, as M. Reinach has shown, is the Phrygian—the scale of C minor, with the conjunct tetrachord c—d♭—d—f.
In the following transcription I have followed M. Reinach except in a few minor points. When two notes are sung to the same syllable the vowel or diphthong is repeated, as in the fragment of the Orestes (p. 132) : but I have thought it best to adhere to the modern method. ”

“ And that the mere hearing of the Symphony, even accompanied by the appropriate emotion, is not sufficient, may be easily seen, if we consider what would be the state of a man, who should hear all the notes, but should not be aware of any of those melodic and harmonic relations, which are necessary to constitute the smallest beautiful elements in the Symphony. ”

“ Across the gauzy play, horns and wood blow a slow phrase, like a motto of Fate in the sombre harmony, with one ardent burst of pleading.
In clearer articulation sings a dual song, still softly o'ercast with sweet sadness, ever richer in the harmonies of multiple strings, tipped with the light mood,—and again the wistful cadence. Siren figures of entrancing grace that move amid the other melody, bring enchantment that has no cheer, nor escape the insistent sighing phrase. Once more come the ominous call and the passionate plea, then assurance with the returning main melody in renewed fervor. ”

“ The word Music itself, to the Greek, meant the whole circle of the sciences, especially Astronomy and Mathematics. Melody meant the rising and falling of the voice in either speaking or singing. Harmonia meant rather what we call Melody than our Harmony. This latter, namely, the sounding together of different sounds, was called Symphony. Antiphony originally meant singing in octaves, that is, men with women or boys. ”

“ Any one who has seen an Æolian harp, and listened to the wild notes of its music, will be aware that the wires of the harp are swept by accidental currents of air; that when those currents have been strong, the notes of the harp have been raised to the highest pitch, and as the intensity of the currents has fallen, the musical sounds have deepened and softened, until, with melodious sighing, they have died away. No finger has touched the strings; no musical genius has presided at the harp to wake its inspiring sounds ”

“ From out the maze and turmoil the shadowy melody rises in appealing beauty like heavenly vision and lo! is but a guise of the first strain of rhapsody. It rises amid flashes of fiery brass in bewildering blare of main theme, then sinks again to the depth of brooding, though the revery of the appealing phrase has a climactic height of its own, with the strange, palpitating harmonies. ”

“ All of the great sonatas and symphonies are of this wonderfully varied form of writing. How full it can be of expressiveness you know from the Songs without Words by Mendelssohn, and the Nocturnes of Chopin; how full of flickering humor you hear in the Scherzo of a Beethoven symphony; how full of deep solemnity and grief one feels in the funeral marches. [50]
This school of composition has been followed by both the greater and the lesser masters. Every part is made to say something as naturally and interestingly as possible, being neither too restricted nor too free. ”

“ At the close of this number begins a choral theme for trumpets, horns, and trombones, followed by [162] strings and woodwinds, and introducing a soprano recitative (“With Grace, thy Gaze, O Harmony”) descriptive of the blessing brought into the world by music, followed by a picture of the misery of the race without its consolation. At the close the brasses give out a solemn march-like theme. A short chorus (“Joy to us! Again descending, thou Heavenly One”) describes the might of song. ”

“ Every tone which proceeds from a stringed instrument, as a violin, a harp, a piano-forte, or from a pipe, as a flute, or an organ, or from a bell, gives out at the same time other sounds which are not the same, but yet unite so as to form one whole in their effect. In a large bell this can easily be perceived when it is tolled slowly ; the note sounds, and immediately after we hear others, more particularly the twelfth, fifteenth, and seventeenth. A delicate ear will perceive the same in a piano-forte ”

“ Almost frightening in the quickest, pulsing motion is the sudden stillness, as the weird poising of trembling sprites. Best of all is the resonant beauty of the second melody in enchanting surprise of tone. ”

“ Music, however, has the strongest claims to our notice. We know, for example, that each instrument symbolises some particular colour. So, according to Haydn, the trombone is deep red—the trumpet, scarlet—the clarionet, orange—the oboe, yellow—the bassoon, deep yellow—the flute, sky blue—the diapason, deep blue—the double diapason, purple—the horn, violet:—while the violin is pink—the viola, rose—the violoncello, red—and the double-bass, crimson. ”