cious of
its real expression. It is, indeed, possible for him to make a mistake
in regard to the tones which he unconsciously associates with the
tones actually heard--as, for example, when one hears an E followed by
a C higher, and one thinks of the four white keys of the piano between
them, while the melody may be thinking of the black keys between them.
In the one case the melody would be in the key of C, in the other of C
sharp minor. And the expression of the melodic skip would be
enormously changed thereby. This larger education of the faculties of
tonal perception and tonal co-ordination has been the work mainly of
the last century and a half, and more particularly of the present
century itself. During this period the progress has been more rapid
than within any other in the entire course of the history of our art,
and it is to the successive steps preparing for this that we now
address ourselves.

[Illustration]

CHAPTER VI.

THE MINSTRELS OF THE NORTH.

Upon many accounts the development of minstrelsy by the Celtic singers
and harpers was one of the most important of all the forces operative
in the transformation of the art from the monody of the ancients to
the expressive melody and rich harmony of modern music. As it is to a
considerable extent one side of the direct course of this history,
which hitherto has dealt largely with the south of Europe, the present
is the most convenient time for giving it the consideration its
importance deserves. I do this more readily because English influence
upon the development of music has generally been underrated by
continental writers, the erudite Fetis alone excepted; while their own
national writers, even, have not shown themselves generally conscious
of the splendid record which was made by their fathers.

The Celts appear upon the field of history several centuries before
the Christian era. Caesar's account of them leaves no doubt of the
place which music held in their religion, education and national life.
The minstrel was a prominent figure, ready at a moment's notice to
perform the service of religion, patriotism or entertainment. There is
a tradition of one King Blegywied ap Scifyllt, who reigned in
Brittany about 160 B.C., who was a good musician and a player upon the
harp. While we have no precise knowledge of the music they sang in the
oldest times, it was very likely something like the following old
Breton air, which is supposed to have come do