VI. REPRESENTATION THROUGH MUSICAL QUALITY . PAGE 291-300 How Musical Quality is Determined-How Determined in the Human Voice-What Different Qualities of the Voice Represent -Their Correspondences in Nature-Analogies between Quality as Used in Elocution and in Music-Representation by Way of Association through the Use of Different Musical Instruments-The Same Continued-Representation through these by Way of Imitation-Other Examples. VII. MUSICAL REPRESENTATION IN SERIES OF PASSAGES WHEN NOT IMITATIVE. 301-313 Series of Passages as Representative-By Way of Association as in VIII. MUSICAL REPRESENTATION IN Series OF PASSAGES WHEN 314-323 Influence upon Representation of Slight Imitative Effects-Exam- RHYTHM AND HARMONY IN POETRY AND MUSIC. CHAPTER I. CORRESPONDENCES BETWEEN ELEMENTS OF FORM IN THE ARTS OF SOUND AND OF SIGHT. Introduction-Object of the Present Volume-The Arts as Separated by the Differences between Sound and Sight-Forms as Separated by Silences or Pauses among Sounds, and by Lines or Outlines among Sights-Chart of the Methods of Art-Composition-Separate Effects of Sound Differ in Duration, Force, Quality, and Pitch; and of Sights in Extension, in Light and Shade and in Quality and Pitch of Color -Respective Correspondences between Effects in Sound and in SightCombined Influences of these Effects as Manifested in Rhythm and in Proportion, and also in Harmony of Sound and of Color. IN the volume entitled "The Genesis of Art-Form," the prominent methods of composition in art were traced from their origin in elementary conditions of mind or of matter up to the period in which they were said to result in rhythm, as applied to duration in time; in proportion, as applied to extension in space; and in harmony, as applied to quality and pitch, whether of note or color. A chart representing these methods, as treated in that volume, as well as their order of development and their interdependence, is inserted on page 3. It should be known, too, that in the first volume of this series of essays, entitled "Art in Theory," Chapter XIV., the results attained by these methods were shown to be necessary to the effects not merely of art-composition, but also—and this explains their use in art-to those of all beauty, whether perceived in art or in nature. The present volume is intended to take up the discussion of our general subject at the point where it was dropped in "The Genesis of Art-Form," and to study the developments in poetry and music of rhythm and harmony. In order to perceive exactly the nature of the task which this intention involves, as well as the correspondences between the phases of sound that are to be treated and analogous phases in the arts of sight, let us begin by recalling a few of the more prominent facts with reference to the effects of the arts in general. As we do this, a first fact suggested is that poetry and music are composed of elements of sound appealing to the ear in the order of time, and that painting, sculpture, and architecture are composed of elements of sight appealing to the eye in the order of space. A second fact suggested is that, as a condition for constructing a form whether appealing to the ear or eye, one must be able to apprehend and use more than one sound or one object of sight. A sound single in the sense of manifesting neither alteration nor cessation, would soon come to convey no more intelligence to the ear than absence of sound; and a single hue of the same shade from nadir to zenith would soon convey no more intelligence to the eye than absence of hue. In order to be understood and used by a man who cannot conceive of time or space except as it is divided into parts, that which is heard must be interrupted by periods of silence and |