It will be necessary, however, to linger still a little longer on the threshold, in order to examine in more detail yet the two scarcely less interesting periods which preceded it,—the periods of Palestrina and Bach,—and to define yet more precisely those fundamental principles of pure music on the efficacy of which its glory depended.
FOOTNOTES:
[1] See the author’s “From Grieg to Brahms,” pp. 219-223.
[2] “First Principles,” American edition, p. 358.
[3] Op. cit., p. 326.
[4] For a fuller statement of this theory of musical expression, see “From Grieg to Brahms,” pp. 6-11.
[5] These principles will be studied more in detail in the chapter on The Principles of Pure Music.
[6] For a technical explanation of equal temperament, see Dr. Parry’s “Evolution of the Art of Music,” pp. 187-188.