A theory of harmony by Ernst Levy, Siegmund Levarie

By Ernst Levy, Siegmund Levarie

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We might see them as fleeting appearances within an all-pervading movement. This way of looking at the phenomena we call gignetic. We might, on the contrary, observe the timeless quality of the instant, the morphé of the attitude, which is the essence of the gesture. This way of looking at Page 41 the phenomena we call ontic. Now the two concepts penetrate into the natural realms of consonance and dissonance. ) and, as it expands, a relatively smaller and smaller part of the outer circle. The gignetic quality is proper to dissonance.

The second octave contains only one tone, the fifth. The third octave repeats the fifth, and two new tones are added, the third and the seventh. From there on the octave space is filled at an ever increasing rate. From the foregoing it follows that the natural tendency to form chords will decrease with spatial and dynamic remoteness. The fifth occupies a special place, being the only tone present in the second octave. In absolute conception, the generator 1/1 c produces 1/3 g'; the generator 1/3 g' produces 3/3 c=1/1.

The index may be limited to 9. Trim the paper along the 0/0 line, that is, exactly one-haft square behind the original series 1/1, 1/2 ... and 1/1, 2/1 .... Draw a number of identity rays. Slide the table under the strings so that the upper end of the sheet is flush against the permanent metal bridge The line to be divided is represented by the string length from the metal bridge (the horizontal 0/0 axis) to the intersection with the diagonal (the 1/1 identity ray). The string may lie over any vertical line of the table, because the rays are proportionately spaced at any point; but the nearer the monochord string to the right edge of the table, the more exact the obtained results, because of the greater absolute distance from one ray to the next.

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