1

[128]

Such a problem is propounded in the effect of contemporaneous tones or tines which follow each other in Harmony or Melody.

In his astonishing work upon sensation of sound Helmholtz has attempted to show the difference which Consonance and Dissonance has for our ear. He has showed that the harmonics of tones whose vibrating numbers stand in a simple relation to each other make no or only such beats which are not felt disagreably as a disagreeable roughness, nor

2

are unbearable as the flickering of light, nor through a confusion of sound place the soul in a painful uncertainty. He has extended this solution of the old pythagoric problem also to the construction of the scale, and even to melody, whilst he points out the relationship of Sound as a necessary condition of the pleasant sequence of Sound.

It therein consists that the sounds following each other should possess common harmonics ringing as it were together.

A melodious affect of harmonics of a poor sound consequently

3

[129]

of simple Tone is according to him only possible because we unconsciously supply in imagination the appertaining harmonic.

We know therefore that tones resounding at the same time and of a simple vibrating relationship do not have a disagreeable affect; which is peculiar to tones of a less simple vibrating relation.

But do we understand why such tones have a pleasant affect?

Why does that quiet stream inchant my ear, in which consonant tones flow forth after each other?

What however concerns melody, no such

4

explanation will ever make it comprehensible why a certain tune in certain time fills my heart with sweet painful emotion, and why another should inflame me with deadly rage. The explanation of melody which Diderot puts in the mouth Rameaus' nephew that it is am imitation of the language of passion is not amusing like that of Haller, who thinks high and quick Tones make us cheerful, deep and slow make us sad, because we give forth in joy quick and high notes in grief slow and deep notes; but it

5

[130]

2

but it is only applicable to some extent to recitative which is no melody. the positively pleasant affect of harmony and melody, to the latter of which is associated a specific physical affect, is as unfathomable secret and it is pretty much the same thing whether we acknowledge our Ignorance in this form or whether we say between sensual impressions and the movement of the soul there governs a preestablished Harmony.

Translated from Du Bois Reymond, Leibnizische Gedanken Pamphlet 1870.