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CHAPTER XXXIX.[1]
ON THE METAPHYSICS OF MUSIC.
The outcome, or result, of my exposition of the peculiar significance of this wonderful art, which is given in the passage of the first volume referred to below, and which will here be present to the mind of the reader, was, that there is indeed no resemblance between its productions and the world as idea, i.e., the world of nature, but yet there must be a distinct parallelism, which was then also proved. I have yet to add some fuller particulars with regard to this parallelism, which are worthy of attention.
The four voices, or parts, of all harmony, the bass, the tenor, the alto, and the soprana, or the fundamental note, the third, the fifth, and the octave, correspond to the four grades in the series of existences, the mineral kingdom, the vegetable kingdom, the brute kingdom, and man. This receives an additional and striking confirmation in the fundamental rule of music, that the bass must be at a much greater distance below the three upper parts than they have between themselves; so that it must never approach nearer to them than at the most within an octave of them, and generally remains still further below them. Hence, then, the correct triad has its place in the third octave from the fundamental note. Accordingly the effect of extended harmony, in which the bass is widely separated from the other parts, is much more powerful and beautiful than that of close harmony, in which it is moved up nearer to them, and which is only introduced on account of the
1 This chapter is connected with § 52 of the first volume.
- ↑ 1
