mightiest tone poets, accomplished his mission, not by means
of the contrapuntal fashion of his age, but in spite of it. The
laws of canon and fugue are based upon as prosaic a foundation
as those of the rondo and sonata form; I find it impossible to
imagine their ever having been a spur, or an incentive to poetic
musical speech. Neither, pure tonal beauty, so-called "form,"
nor what is termed the intellectual side of music (the art
of counterpoint, canon, and fugue), constitutes a really vital
factor in music. This narrows our analysis down to two things,
namely, the physical effect of musical sound, and suggestion.

The simplest manifestations of the purely sensuous effect of
sound are to be found in the savage's delight in noise. In
the more civilized state, this becomes the sensation of mere
pleasure in hearing pleasing sounds. It enters into folk song
in the form of the "Scotch snap," which is first cousin to the
Swiss _jodel_, and is undoubtedly the origin of the skips of
the augmented and (to a lesser degree) diminished intervals to
be found in the music of many nations. It consists of the trick
of alternating chest tones with falsetto. It is a kind of quirk
in the voice which pleases children and primitive folk alike,
a simple thing which has puzzled folklorists the world over.

The other sensuous influence of sound is one of the most
powerful elements of music, and all musical utterance
is involved with and inseparable from it. It consists of
repetition, recurrence, periodicity.

Now this repetition may be one of rhythm, tone tint, texture,
or colour, a repetition of figure or of pitch. We know that
savages, in their incantation ceremonies, keep up a continuous
drum beating or chant which, gradually increasing in violence,
drives the hearers into such a state of frenzy that physical
pain seems no longer to exist for them.

The value of the recurring rhythms and phrases of the march is
well recognized in the army. A body of men will instinctively
move in cadence with such music. The ever recurring lilt of a
waltz rhythm will set the feet moving unconsciously, and as the
energy of the repetition increases and decreases, so will the
involuntary accompanying physical sympathy increase or decrease.

Berlioz jokingly tells a story of a ballet dancer who objected
to the high pitch in which the orchestra played, and insisted
that the music be transposed to a lower key. Cradle songs are
fashioned on the same p