IV. GENERAL SUMMARY.

We have now followed the continuous and unbroken course of the development of music from the most primitive sounds grouped together in rude patterns by savages, up to the symphonies of Beethoven, which must always remain among its most wonderful and perfect monuments. We have seen how all music, which has any beauty or interest, is based on certain short characteristic groups of tones called motives, and how these are made to take on variety, without losing unity, by being "imitated," "transposed," "restated after contrast," "inverted," "augmented" or "diminished," "shifted in rhythm," and otherwise manipulated. We have examined simple cases of this treatment of musical ideas in representative folk-songs. We have seen how the polyphonic style of Bach, in which these bits of melody occur everywhere throughout the tissue of the music, arose and reached its perfection. We have studied the simple dances which, adopted by the musicians of the seventeenth and eighteenth centuries, were developed by them and combined in "suites." Then, proceeding to a higher stage of artistic evolution, we have examined the various plans which composers devised for making longer pieces in which variety and unity were still able to coexist—such forms as the minuet, the theme and variations, the rondo, and the sonata-form. In conclusion, we have analyzed representative examples of music composed in these typical forms during the great classical period of Haydn, Mozart, and Beethoven.

Yet all this study and analysis, which may often have seemed to the reader uselessly detailed and dully scientific, has been made with an ulterior aim in view, and unless that aim has been in some degree attained, our work has been futile indeed. The great object of musical analysis must always be to concentrate the attention of the music-lover, to focus his mind as well as his ears on the melodies, and their developments, which he hears, and so eventually to increase his pleasure in music, and to help him to substitute for that "drowsy reverie, relieved by nervous thrills," an active, joyful, vigorous co-operation with composers, through which alone he can truly appreciate their art.

That, and that alone, is the object of the analytic study of music. For what shall it profit a man if he can tell a second theme from a transition-passage, or a minuet from a set of variations, if he has not meanwhile, through this exercise, got into vital contact with the music itself? But that he can do, no matter how great his natural sensibility to sound, only by learning how to listen.

FOOTNOTES:

[48] Grove's "Beethoven and His Nine Symphonies," page 35.

[49] For convenience of reference number the measures and partial measures consecutively. There will be 69 in the scherzo proper, and 31 in the trio.

[50] The student should also study the interesting scherzo of the Eighteenth Sonata, which is not in minuet form but in regular sonata-form. It is carried out with immense spirit.

[51] The Fourth Symphony has again, like the First, a minuet, though a most active one.

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TRANSCRIBER'S NOTES:

A number of words in this book have both hyphenated and non-hyphenated variants. It was also detected that some words have two different spellings, both of which are correct. For the words with both variants present the one used more times has been kept.

Obvious punctuation and other printing errors have been corrected.

It was noted that the label FIGURE XXXVIII was used in two different places in the original book. The label was used in page [124] and in page [132] of the original. In this transcription the latter was changed to FIGURE XXXVIIIa. The reference made in the text to the latter figure was consistently changed to take into account the modification made.

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