Suum Cuique; Essays in Music
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[Franklin for a moment leaves the musical subject and explains similar optical phenomena, stating that it is easier to retain the impression of lines than of colors.] Farther, when we consider by whom these ancient tunes were composed and how they were first performed, we shall see that such harmonical successions of sounds were natural, and even necessary, in their construction. They were composed by the minstrels of those days to be played on the harp, accompanied by the voice. The harp was s...trung with wire, which gives a sound of long continuance, and had no contrivance like that in the modern harpsichord, by which the sound of the preceding could be stopped the moment a succeeding note began. To avoid actual discord it was therefore necessary that the succeeding emphatical note should be a chord with the preceding, as their sounds must exist at the same time. Hence arose that beauty in those tunes that has so long pleased, and will please forever, though men scarce know why. That they were originally composed for the harp, and of the most simple kind, I mean a harp without any half notes but those in the natural scale and with no more than two octaves of strings, from C to C, I conjecture from another circumstance, which is, that not one of those tunes, really ancient, has a single artificial half note in it, and that in tunes where it was most con- venient for the voice to use the middle notes of the harp and place the key in F, then the B, which, if used, should be a B flat, is always omitted by passing over it with a third.
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To quickly assess the difficulty of the text, read a short excerpt:
[Franklin for a moment leaves the musical subject and explains similar optical phenomena, stating that it is easier to retain the impression of lines than of colors.] Farther, when we consider by whom these ancient tunes were composed and how they were first performed, we shall see that such harmonical successions of sounds were natural, and even necessary, in their construction. They were composed by the minstrels of those days to be played on the harp, accompanied by the voice. The harp was s...trung with wire, which gives a sound of long continuance, and had no contrivance like that in the modern harpsichord, by which the sound of the preceding could be stopped the moment a succeeding note began. To avoid actual discord it was therefore necessary that the succeeding emphatical note should be a chord with the preceding, as their sounds must exist at the same time. Hence arose that beauty in those tunes that has so long pleased, and will please forever, though men scarce know why. That they were originally composed for the harp, and of the most simple kind, I mean a harp without any half notes but those in the natural scale and with no more than two octaves of strings, from C to C, I conjecture from another circumstance, which is, that not one of those tunes, really ancient, has a single artificial half note in it, and that in tunes where it was most con- venient for the voice to use the middle notes of the harp and place the key in F, then the B, which, if used, should be a B flat, is always omitted by passing over it with a third.
What to read after Suum Cuique; Essays in Music?
You can find similar books in the "Read Also" column, or choose other free books by Oscar George Theodore Sonneck to read onlineMoreLess
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