e the importance of polyphonic music. In
fact, it is not too much to assert that _systematic repetition_ in
some form or other (several aspects of which we shall describe in due
season) is the most important constructive principle in music,
necessitated by the very nature of the material. This statement can be
corroborated by a glance at almost any page of music considered merely
as a _pattern_, quite regardless how the notes sound. We observe at
once that some portions of the page look much or exactly like other
portions. Frequently whole movements or long parts of a work are based
entirely upon some terse and characteristic motive. Famous examples of
this practise are the first movement of Beethoven's _Fifth Symphony in
C minor_ which, with certain subsidiary themes to afford contrast, is
entirely based on the motive:

[Music]

the Finale of Wagner's opera _The Valkyrie_ (see Supplement, Example
No. 3) the chief motive of which

[Music]

is presented in every phase of modulatory and rhythmic development,
and the middle portion of the _Reconnaissance_ from Schumann's
_Carnaval_ (see Supplement, Example No. 4.)

Music, just because its substance is so elusive and requires such
alert attention on the part of the listener, cannot continually
present new material[17] without becoming diffuse; but instead, must
make its impression by varied emphasis upon the main thought.
Otherwise it would become so discursive that one could not possibly
follow it. From these historical facts as to the structure of music
certain inferences may be drawn; the vital importance of which to the
listener can hardly be exaggerated. As polyphonic treatment (the
imitation and interweaving of independent melodic lines) is the
foundation of any large work of music, be it symphony, symphonic poem
or string quartet, so the listener must acquire what may be called a
_polyphonic ear_. For with the majority of listeners, the whole
difficulty and the cause of their dissatisfaction with so-called
"classic music" is merely lack of equipment. Everyone can hear the
tune in the soprano or upper voice, for the intensity of pitch makes
it stand out with telling effect; and, as a fact, many of the best
tunes in musical literature are so placed. But how about the tune when
it is in the _bass_ as is the case so frequently in Beethoven's
Symphonies or in Wagner's Operas? Some of the most eloquent parts of
the musical message are, indeed, often in the bass, the