uch
emphasis cannot be laid upon the recommendation that, in appreciating
music, the first task is to train the ear to a wide range of
listening. These differences in style are often apparent just as a
pattern of design--to be seen from the following examples:

[Music: Homophonic Style. Irish Folk-Song]

[Music: Polyphonic Style. BACH: Fugue in C Minor]

[Footnote 32: The statement might be qualified by saying that, since
Beethoven, instrumental style has become a happy mixture of homophony
for the chief melodies and polyphony for the supporting harmonic
basis. Stress is laid in the above text on the polyphonic aspect
merely to emphasize the matter under discussion.]

[Footnote 33: Notable names are Leonin and Perotin, both organists of
Notre Dame at Paris.]

[Footnote 34: Although this is not the place to set forth all the
details of this development, in the interest of historical justice we
should not think of Bach without gratefully acknowledging the
remarkable work of such pioneers as the Dutchman, Sweelinck
(1562-1621), organist at Amsterdam; the Italian, Frescobaldi
(1583-1644), organist at Rome, and--greatest of all, in his
stimulating influence upon Bach--the Dane, Buxtehude (1636-1707),
organist at Luebeck. Sweelinck and Frescobaldi may fairly be called the
founders of the genuine Fugue, and there is a romantic warmth in
Buxtehude's best work which makes it thoroughly modern in sentiment.]

[Footnote 35: In connection with the statement that music has
developed according to natural law, it is worth noting that the
four-part chorus early became the standard for both vocal and
instrumental groups for the simple reason that there exist two kinds
of women's voices--soprano and alto, and two of men's voices--tenor
and bass. Originally, the chief voice in the ecclesiastical chorus was
the tenor (teneo), because the tenors _sustained_ the melody. Below
them were the basses (bassus, low); above the tenors came the altos
(altus, high) and still higher the sopranos (sopra, above).]

In the latter example it is evident that there is an interweaving of
_three_ distinct melodic lines.

The polyphonic instrumental works of Bach and his contemporaries were
called by such names as Preludes, Fugues, Canons, Inventions, Toccatas
and Fantasies; but since a complete account of all these forms would
lead too far afield, we shall confine ourselves to a description of
the Canon, the Invention and the Fugue. A Canon (from th