Rhythm enters into melody to differentiate and emphasize. By means of accent and time-value, the different tones are weighted and their relative value fixed. The heavy tones assert their will with a more insistent energy; the long tones upon which we linger make a deeper and more lasting impression; while the light and short tones in contrast become points of mere passing and transition. If, moreover, we include the element of tempo, then all the temporal feelings are introduced into melody--the excitement of rapid motion, the calmness of the slow; the agony of delay, of waiting and postponement, with the triumph and relief when the expected note arrives at last. Finally, the effects of shading must be added, the contrasts between piano and forte--loudness that brings the tones so near that they may seem threatening in their insistence; softness that makes them seem far away and dreamlike. Following the large idea introduced by Schopenhauer, which was enriched by the minuter studies of Lotze, Wundt, and Lipps, we may sum the foregoing analysis in the statement that music expresses the abstract aspects of action, its ease or difficulty, its advance or retrocession, its home coming or its wandering, its hesitation or its surety, its conflicts and its contrasts, its force or its weakness, its swiftness or slowness, its abruptness or smoothness, its excitement or repose, its success or failure, its seriousness or play. Then, in addition, as we shall see, all modes of emotion that are congruous with this abstract form may by association be poured into its mold, so that the content of music becomes not a mere form of life, but life itself. It is, of course, obvious that our analysis has confined itself to the barest elements of the musical experience. Our music to-day, with its many-voiced harmonies, with its procession of chords instead of single tones, with its modulation into related keys, has an infinite wealth and complexity defying description. A large part of the astonishing effect of music is derived from the fact that in a brief space we seem to hear and absorb so much: the careers of multitudinous lives compressed into an instant. Yet the meaning of the complex whole can be understood, I think, from such an analysis of the simple structure as has been given.