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While the arbitrary influence of various theories of music, and the great variety of musical instruments have developed very different [[strikethrough]] sch [[/strikethrough]] schools of culture music in the Orient and the Occident, these schools have all been preceded by a stage when the voice was the sole means of musical expression. Prof. Fillmore in this paper has [[strikethrough]] not [[/strikethrough]] been dealing ^[[with this early stage and not]] with the scales of any school, or with culture music of any kind, he has been searching for the line followed "when savage man makes music spontaniously." And in closing his paper he says;

"In the light of all this experience I feel justified in stating once more, and most emphatically, the conclusion at which I have arrived, namely, that whe[[space]]n  savage man makes music spontaniously he obeys the universal law of all activity and follows the line of least resistance, and that in every instance this line is found to be a chord line, a harmonic line. Folk-melody, so far as now appears, is always and every where harmonic melody, however, ^[[dim]] the perception of harmonic relations, and however untrained and inexperienced as regards music the untaught savage may be.

^[["]] The first harmonies to be displayed are naturally the simplest - those of the tonic and its chord. The more complex relations are gradually evolved as a result of the growth of experience. But in every stage of its development, the harmonic sense is the shaping and determining factor in the production of folk-melody.

^[["]] The evidence of the essential unity of all music, from the most  [[strikethrough]] pr [[/strikethrough]] primitive to the most advanced, is cumulative. T[[space]]he Navaho howls his song to the war gods directly along the line of the major chord; Beethoven makes the first theme of his great "Eroica" symphony out of precisely the same material. The Tigua makes his "Dance of the Wheel" out of a major chord and its relative minor; Wagner makes Lohengrin sing