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certain number of these instruments in London
to which I have listened with peculiar pleasure,
without knowing why, until quite lately it occurred
to me that it may arise from the absence of the
defect of temperament, which is inevitable in the
piano, the ordinary church organ, and other similar
instruments. By listening carefully to these
particular street organs, I have satisfied myself that
their peculiar sweetness is due to that diatonic
accuracy which is the charming characteristic of
fine singing and violin performance. Subsequent
inquiry has confirmed this hypothesis. Scientific
musicians will easily understand how this
perfection of pitch is attainable in a barrel organ,
where all the pieces are played in the same key,
and the modulations are few or slight; but a little
further explanation may be necessary to render my
vindication of the much-abused grinding organ
intelligible to all.
Everybody now knows that modern music is
based on the diatonic scale major or minor, and that
the intervals between the successive notes of that
scale are not equal; that some are called
semitones, and others whole tones. Musical teaching
often stops here, in spite of Helmholtz, Ellis, and
Tyndall, and leaves the pupil to suppose that
all the whole tones are equal, and all semitones
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