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Our music has sprung from the patient, incessant, and progressive penetration into the law of resonance, that is to say, from the successive exploitation of the octave , the fifth and the fourth (ninth to twelfth century), the third (thirteenth to sixteenth century), the seventh (seventeenth and eighteenth century), the major ninth , the augmented fifth , and the perfect eleventh (nineteenth and twentieth centuries) . . . . this evolution . . . . constitutes, at the same time, the only true justification of the musical art.
The Evolution of Music, Alfredo Casella, quoted in Miller, Horace Alden (1930). New Harmonic Devices, p.96. | ||
