[Sidenote: _The principle of Unity._]

In the case of the Creole melody the listener is helped to a quick
appreciation of its form by the distinct physiognomy which rhythm has
stamped upon it; and it is by noting such a characteristic that the
memory can best be aided in its work of identification. It is not
necessary for a listener to follow all the processes of a composer in
order to enjoy his music, but if he cultivates the habit of following
the principal themes through a work of the higher class he will not
only enjoy the pleasures of memory but will frequently get a glimpse
into the composer's purposes which will stimulate his imagination and
mightily increase his enjoyment. There is nothing can guide him more
surely to a recognition of the principle of unity, which makes a
symphony to be an organic whole instead of a group of pieces which are
only externally related. The greatest exemplar of this principle is
Beethoven; and his music is the best in which to study it for the
reason that he so frequently employs material signs for the spiritual
bond. So forcibly has this been impressed upon me at times that I am
almost willing to believe that a keen analytical student of his music
might arrange his greater works into groups of such as were in process
of composition at the same time without reference to his personal
history. Take the principal theme of the C minor Symphony for example:

[Music illustration]

[Sidenote: _A rhythmical motive pursued._]

This simple, but marvellously pregnant, motive is not only the kernel
of the first movement, it is the fundamental thought of the whole