There is no variety of notes referable to the gamut in the beating of the drum, yet if it be performed in musical time, it is agreeable to our ears; and therefore this pleasurable sensation must be owing to the repetition of the divisions of the sounds at certain intervals of time, or musical bars. Whether these times or bars are distinguished by a pause, or by an emphasis, or accent, certain it is, that this distinction is perpetually repeated; otherwise the ear could not determine instantly, whether the successions of sound were in common or in triple time. In common time there is a division between every two crotchets, or other notes of equivalent time; though the bar in written music is put after every fourth crotchet, or notes equivalent in time; in triple time the division or bar is after every three crotchets, or notes equivalent; so that in common time the repetition recurs more frequently than in triple time. The grave or heroic verses of the Greek and Latin poets are written in common time; the French heroic verses, and Mr. Anstie's humorous verses in his Bath Guide, are written in the same time as the Greek and Latin verses, but are one bar shorter. The English grave or heroic verses are measured by triple time, as Mr. Pope's translation of Homer.
But besides these little circles of musical time, there are the greater returning periods, and the still more distant choruses, which, like the rhimes at the ends of verses, owe their beauty to repetition; that is, to the facility and distinctness with which we perceive sounds, which we expect to perceive, or have perceived before; or in the language of this work, to the greater ease and energy with which our organ is excited by the combined sensorial powers of association and irritation, than by the latter singly.
A certain uniformity or repetition of parts enters the very composition of harmony. Thus two octaves nearest to each other in the scale commence their vibrations together after every second vibration of the higher one. And where the first, third, and fifth compose a chord the vibrations concur or coincide frequently, though less to than in the two octaves. It is probable that these chords bear some analogy to a mixture of three alternate colours in the sun's spectrum separated by a prism.