New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-03-28

rnoct nseful public servant On honorable anu tEa
saeacious Minister, friend anu h nn99 nroHress.
poor, faithful champion o. peSSG T Robert Peers
Mr Mo9TSe and snccncty in this little volume
which we are inclined 20 rate as one nD Us s'
Of the excellent series IN WINCH "
PHILOSOPHY AND MUSlC.
rHr NATURE OF HARMONY AND MEf r6,fsd by
Moritz Hauptnann Trahs as,o mn. 352 New
York: NoveiO, Ever a Co.; London; sWSn' eO"'
nenschein d. Co. .u.,.,.s and
Except for those interested In metaphSS ..sv
familiar with tho termnology OF MUSIC u 70 Nv "a
A. convey n clear idea of the scope, ooh'en's anI
r.,hods q, this work, which has beer ranked among
tha most significant of writings on music "a Ssil~1
aupine the last generation The uansiafOr ~t,
ths task in an Introductory essay but u ooSes ,,
many paVes and at the end Of the uanSiauon NJ -.
So.yrs q necessary TO attempt an exposition Oh 'h0
treatise Hauptmann's book Is pnuosopni0". %
planst,op Of the received laws OF pr,h'ipp % :,
AFT of music (perhaps It would be better 10 say VI
:. :. vas understood and practsed BY what are
rov called the classical composors these DeNs uo'
,,,od from ma allpervading or fundamental Ia"
vhoce gradual embodiment is manifest IN the ms
tor4cal evolution OF the art The authors moNIou %
diaIectic and Hegelian. The law is thus @' ioi'u
Unity with the opposite OF Itself. ana uno Fonio''l
of the opposte immediate unity, which lnrousn an
oIor,an, ~ bene at two with itself passes INTO
three stages of thought are marked out: stage Oh
sinn,icty or unity o stage Of division or sepafnr
tion. and stage of reconcrement or restored unis'
In his application of the law Hanptmann 'ress 'no
octave as The prime unity in the triad, inc NTH rs
the factor of separation and tho third as .no i"o
NJ reconciliation. Prom the trisd Is developer u'o
idea of key end from this that of keyreanonship OF
incubation This, in briefest shape Is inc Starring
point of his inquiries into the nature OF harmony )
how bs proceeds with metro he states broadly as
follows: ,-.
aThat which is contained harmonic determine r,
ton In the three intervals of Octave. Fifth anu IhLu
we see taking shape in metTicl determination, as t"o
three and four numbered time unity. 1910. -,
major and minor upon which we cannot now enter
further even by way of auson Is repeated ~ me-
aTss and metre which begins with the thesis and as
Toohaic rhythm and is6io rhythm: for the three
clements of determination must reappesr In every In
Nor, rhyshmicslly as well as motrcaly.'
In this dalectIc manner no explains the phenomena
Of harmony metre and metrical harmony. Obviously
the book is not light reading, and the translation hto
English was probably made to satisfy Individual en-
thlsiasm rather than that somewhat indefinite thin8
called public want 1t is a product peculiar to tho
German mind with its bottom-scraping tendency
Hauutmann was beyond doubt the most learned theO-
ret,cIap of the century lie had mind OF peculiarly
fne and firm texture, and his comprehension OF tho
whole field OF music, its history, aesthetics, theory
and practice was complete. AS an influence In the
musical life of Germany, particularly so far as this
was dominated by Lcipsc and It's conservatory, Tor
moro than quarter Of century down to his DEATH In
1868, he scarcely had fellow except in the ranks
of such great friends as spohr and hcndclssohn His
book was designed as an incentive to the study OF the
philosophy of music, philosophy based on scientific
determination instead OF poetcsl and sentimental
speculaon like most Of the writings Of the ancents
Though his matter, as well as his literary manner
differs greatly from theirs, Professor Hauptnann was
the precursor Of Rieman, Fuchs, Lussy and our own
christian and his book is thtarting point Of thek
efforts to establish scientific basis for musical ex
preston That science and art may occasionally APP
pear 10 be in conflict In music ct may be because Of
individual blunders Of apprehension, for essentially
they should be at one suggested recently by tho
discussion in this journal OF the pasing Of Behovens
Symphony in major at its performance by tie Phil
harmonic Society. As against reading based on a
pedantic application Of certain laws of metrcal con
stzucton which have been deduced from analyses Of
the compositions Of great musicians. The Tribunes
viewer set UP tie plainly expressed purposes Of tho
composer himself who know nothing about the scientific
laws but followed his intutye Of the beautiful
There is no occasion to add to the discussion now,
further than to say that those Of patient and studIOs
mind who wish 10 learn how some OF the scientific laws
Hauptmann's book They win not be diverted, but IN
his clear and automatic writings they viii find many
gems Of thought touching the most beautiful elusive
and ethereal OF all the arts.