[Footnote 12: An historical account of this development as far
as it is ascertainable may be found in the fifth chapter of Pratt’s
History of Music.]
[Footnote 13: Consult the article on the Round inGrove’s Dic-
tionary.]
[Footnote 14: A rather crude English adaptation of the Latin
term “Punctus contra punctum” which refers to the notes as
punct[=u]s (plural) or dots which were pricked with a stylus
into the medieval manuscripts. In this phrase the emphasis is
on thecontra, signifying a combination ofdifferentmelodies and
rhythms, and calling attention to that higher importance which,
everywhere in art, is caused by contrasted elements.]
[Footnote 15: For an interesting account of this tripartite activ-
ity see Naumann’sHistory of Music.]
[Footnote 16: See the facsimile of the original manuscript of
“Sumer is icumen in” cited in the first volume of theOxford
History of Music, pp. 326-332.]
We can now begin to realize the importance of polyphonic music.
In fact, it is not too much to assert thatsystematic repetitionin
some form or other (several aspects of which we shall describe
in due season) is the most important constructive principle in
music, necessitated by the very nature of the material. This
statement can be corroborated by a glance at almost any page
of music considered merely as apattern, quite regardless how
the notes sound. We observe at once that some portions of the
page look much or exactly like other portions. Frequently whole
movements or long parts of a work are based entirely upon some
terse and characteristic motive. Famous examples of this prac-
tise are the first movement of Beethoven’sFifth Symphony in C
minorwhich, with certain subsidiary themes to afford contrast,
is entirely based on the motive:
[Music]
the Finale of Wagner’s operaThe Valkyrie (see Supplement,
Example No. 3) the chief motive of which
[Music]
is presented in every phase of modulatory and rhythmic devel-
opment, and the middle portion of theReconnaissance from
Schumann’sCarnaval(see Supplement, Example No. 4.)