In such a reference back to mere quantities and their intelligible, external definition music possesses its most pronounced affinity with architecture, inasmuch as it, just as this latter art does, builds up its inventions upon the secure basis and scheme of proportions, a basis which does not essentially expand and coalesce through vital unity in an organically free articulation, in which the remaining differentiated parts are given with the one aspect of definition, but only begins to grow into free art in the further elaborations, which are enabled by it to arise out of the aforesaid conditions.
Although architecture carries the process of liberation no further than a harmony of forms and the characteristic animation of a mysterious eurhythmy, music, on the contrary, for the reason that it has for its content the most intimate, personal, and free life and essence of the soul, strides into and emphasizes the profoundest opposition that exists between this free life of soul and those quantitative relations on which it is based. It is, however, unable to persist in this opposition; rather it is its difficult function to overcome it as essentially as it accepts it, by assigning to the free movements of the soul, which it expresses, a more secure foundation and basis by means of these necessary proportions, a basis on which it then, however, gives movement to and develops the inner life in the freedom which for the first time receives its fulness of content by virtue of such fundamental necessity[429].
In this respect there are in the first instance two aspects of tone we should distinguish, according to which it is artistically to be employed. First, we have the abstract foundation, the universal but not as yet physically specified element, that is, Time, in the domain of which tone falls. After that we get sound itself, the real distinction of tones, not merely according to aspects referable to the difference of the sensuous material, which sounds, but also in that aspect of the tones themselves as they are related to one another, whether in their singularity or as a whole. To such we must then adjoin thirdly, the soul, which gives animation to the tones, rounds them off in a free totality, and gives to them a spiritual expression in their temporal movement and their real sound. By virtue of these aspects we receive for their more definite classification a series of stages as follows.
First, we have to occupy our attention with the purely temporal duration and movement, which it is the function of art not merely to leave to chance in their arrangement, but to determine according to definite measures, and to render various by virtue of their differences, and once more again to establish their unity in these distinctions. From this we deduce the necessity for time-measure, beat, and rhythm.
Secondly, however, music has not merely to deal with abstract time and the relations of longer or shorter duration, musical phrase and so forth, but with the concrete time of their sound according to definite tones, which consequently are not merely distinct from one another according to their duration. This difference reposes, in the first place, on the specific quality of their sensuous material, by reason of whose oscillations the tone is produced; on the other hand it depends on the different number of such oscillations, in which the resonant bodies oscillate in an equal measure of time. And furthermore these differences assert themselves as essential aspects for the relation of tones in their concord, opposition, and mediation. We may give this portion of our subject the general designation of the theory of harmony.
Thirdly, and finally, it is the melody, by virtue of which on these foundations of a beat characterized by rhythmical vitality and of distinctions and movements of harmony itself that the realm of tones is unitedly discharged in a spiritually free mode of expression, and conducts us thereby to the final main section of our subject, which will undertake to consider music in its concrete unity with the spiritual content it is intended to express in beat, harmony, and rhythm.
(a) Time-measure, Beat, Rhythm
So far as in the first place the purely temporal aspect of musical tone is concerned, we have first to discuss the necessity, which generally in musical time is the dominant factor. Secondly, we shall consider beat under the aspect of time-measure wholly regulated under scientific rule. Thirdly, we shall treat of the rhythm, under which a start is made in animating this abstract rule by the prominence or subordination it attains to definite divisions of time.
(α) The figures of sculpture and painting are placed side by side in space and present the extension of reality in actual or apparent totality. Music, however, can only place before us tones in so far as it makes a body under the spatial condition tremble, setting the same in an oscillating motion. These oscillations only affect art under the aspect, that they follow one another; and for this reason the sensuous material generally only enters into music with the temporal duration of its movement instead of taking with it its spatial form. No doubt that motion of a body is always present in space, so that painting and sculpture have the right to exhibit the appearance of movement, albeit their figures are in their reality at rest. In respect to this aspect of Space, however, music does not accept movement, and there remains consequently as part of its configuration only the time, into which the oscillation of the body falls.
(αα) Time, however, in consequence of what we have already above considered, is not as Space is, the positive condition of juxtaposition, but on the contrary negative externality. As juxtaposition, which is cancelled, it is the point of passage, and as negative activity it is the abrogation of this point of time in another, which is itself immediately cancelled, and becomes another and so on continuously. In the continuous series of these points of time every single tone not merely is asserted independently as single, but is brought from a further point of view into quantitative association with other tones, by which process Time is referable to number. Conversely, however, for the reason that time is the unbroken rise and passage of such points of time, which, regarded as mere points of time, possess in this unparticularized abstraction no distinction one to another, for this reason to a like extent time appears as the equable stream, and the duration essentially undifferentiated.