What is the meaning of the word harmony

«Disharmony» redirects here. For the episode of Angel, see Disharmony (Angel).

In music, harmony is the process by which individual sounds are joined or composed into whole units or compositions.^[1] Often, the term harmony refers to simultaneously occurring frequencies, pitches (tones, notes), or chords.^[2] However, harmony is generally understood to involve both vertical harmony (chords) and horizontal harmony (melody).^[3]

Harmony is a perceptual property of music, and, along with melody, one of the building blocks of Western music. Its perception is based on consonance, a concept whose definition has changed various times throughout Western music. In a physiological approach, consonance is a continuous variable. Consonant pitch relationships are described as sounding more pleasant, euphonious, and beautiful than dissonant relationships which sound unpleasant, discordant, or rough.^[4]

The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them.^[5]

Counterpoint, which refers to the relationship between melodic lines, and polyphony, which refers to the simultaneous sounding of separate independent voices, are therefore sometimes distinguished from harmony.^[6]

In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with «tensions». A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass.

Typically, in the classical common practice period a dissonant chord (chord with tension) «resolves» to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between consonance and dissonance. Simply put, this occurs when there is a balance between «tense» and «relaxed» moments. Dissonance is an important part of harmony when dissonance can be resolved and contribute to the composition of music as a whole. A misplayed note or any sound that is judged to detract from the whole composition can be described as disharmonious rather than dissonant.^[1]

Etymology and definitions[edit]

The term harmony derives from the Greek ἁρμονία harmonia, meaning «joint, agreement, concord»,^[7][8] from the verb ἁρμόζω harmozō, «(Ι) fit together, join».^[9] Aristoxenus wrote a work entitled Elements of Harmony, which is thought the first work in European history written on the subject of harmony.^[10] In this book, Aristoxenus refers to previous experiments conducted by Pythagoreans to determine the relationship between small integer ratios and consonant notes (e.g., 1:2 describes an octave relationship, which is a doubling of frequency). While identifying as a Pythagorean, Aristoxenus claims that numerical ratios are not the ultimate determinant of harmony; instead, he claims that the listener’s ear determines harmony.^[11]

Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use. Ambiguities tend to arise from either aesthetic considerations (for example the view that only pleasing concords may be harmonious) or from the point of view of musical texture (distinguishing between harmonic (simultaneously sounding pitches) and «contrapuntal» (successively sounding tones).^[12] According to A. Whittall:

While the entire history of music theory appears to depend on just such a distinction between harmony and counterpoint, it is no less evident that developments in the nature of musical composition down the centuries have presumed the interdependence – at times amounting to integration, at other times a source of sustained tension – between the vertical and horizontal dimensions of musical space.^{[12][page needed]}

The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory. This is usually accounted for by the replacement of horizontal (or contrapuntal) composition, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation. According to Carl Dahlhaus:

It was not that counterpoint was supplanted by harmony (Bach’s tonal counterpoint is surely no less polyphonic than Palestrina’s modal writing) but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the («vertical») structure of chords but also their («horizontal») movement. Like music as a whole, harmony is a process.^{[13][12][page needed]}

Descriptions and definitions of harmony and harmonic practice often show bias towards European (or Western) musical traditions, although many cultures practice vertical harmony.^[14] In addition, South Asian art music (Hindustani and Carnatic music) is frequently cited as placing little emphasis on what is perceived in western practice as conventional harmony; the underlying harmonic foundation for most South Asian music is the drone, a held open fifth interval (or fourth interval) that does not alter in pitch throughout the course of a composition.^[15] Pitch simultaneity in particular is rarely a major consideration. Nevertheless, many other considerations of pitch are relevant to the music, its theory and its structure, such as the complex system of Ragas, which combines both melodic and modal considerations and codifications within it.^[16]

So, intricate pitch combinations that sound simultaneously do occur in Indian classical music – but they are rarely studied as teleological harmonic or contrapuntal progressions – as with notated Western music. This contrasting emphasis (with regard to Indian music in particular) manifests itself in the different methods of performance adopted: in Indian Music improvisation takes a major role in the structural framework of a piece,^[17] whereas in Western Music improvisation has been uncommon since the end of the 19th century.^[18] Where it does occur in Western music (or has in the past), the improvisation either embellishes pre-notated music or draws from musical models previously established in notated compositions, and therefore uses familiar harmonic schemes.^[19]

Emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias. The Grove Dictionary of Music and Musicians (Oxford University Press) identifies this clearly:

In Western culture the musics that are most dependent on improvisation, such as jazz, have traditionally been regarded as inferior to art music, in which pre-composition is considered paramount. The conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation.^[20]

Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, which permitted the study and analysis by theorists and composers of individual pre-constructed works in which pitches (and to some extent rhythms) remained unchanged regardless of the nature of the performance.^[12]

Historical rules[edit]

Early Western religious music often features parallel perfect intervals; these intervals would preserve the clarity of the original plainsong. These works were created and performed in cathedrals, and made use of the resonant modes of their respective cathedrals to create harmonies. As polyphony developed, however, the use of parallel intervals was slowly replaced by the English style of consonance that used thirds and sixths.^[when?] The English style was considered to have a sweeter sound, and was better suited to polyphony in that it offered greater linear flexibility in part-writing.

Types[edit]

Carl Dahlhaus (1990) distinguishes between coordinate and subordinate harmony. Subordinate harmony is the hierarchical tonality or tonal harmony well known today. Coordinate harmony is the older Medieval and Renaissance tonalité ancienne, «The term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a ‘progression’ with a second chord, and a second with a third. But the former chord progression is independent of the later one and vice versa.» Coordinate harmony follows direct (adjacent) relationships rather than indirect as in subordinate. Interval cycles create symmetrical harmonies, which have been extensively used by the composers Alban Berg, George Perle, Arnold Schoenberg, Béla Bartók, and Edgard Varèse’s Density 21.5.

Close harmony and open harmony use close position and open position chords, respectively. See: Voicing (music) and Close and open harmony.

Other types of harmony are based upon the intervals of the chords used in that harmony. Most chords in western music are based on «tertian» harmony, or chords built with the interval of thirds. In the chord C Major7, C–E is a major third; E–G is a minor third; and G to B is a major third. Other types of harmony consist of quartal and quintal harmony.

A unison is considered a harmonic interval, just like a fifth or a third, but is unique in that it is two identical notes produced together. The unison, as a component of harmony, is important, especially in orchestration.^[21] In pop music, unison singing is usually called doubling, a technique The Beatles used in many of their earlier recordings. As a type of harmony, singing in unison or playing the same notes, often using different musical instruments, at the same time is commonly called monophonic harmonization.

Intervals[edit]

An interval is the relationship between two separate musical pitches. For example, in the melody «Twinkle Twinkle Little Star», between the first two notes (the first «twinkle») and the second two notes (the second «twinkle») is the interval of a fifth. What this means is that if the first two notes were the pitch C, the second two notes would be the pitch G—four scale notes, or seven chromatic notes (a perfect fifth), above it.

The following are common intervals:

Root	Major third	Minor third	Fifth
C	E	E♭	G
D♭	F	F♭	A♭
D	F♯	F	A
E♭	G	G♭	B♭
E	G♯	G	B
F	A	A♭	C
F♯	A♯	A	C♯
G	B	B♭	D
A♭	C	C♭	E♭
A	C♯	C	E
B♭	D	D♭	F
B	D♯	D	F♯

Therefore, the combination of notes with their specific intervals—a chord—creates harmony.^[22] For example, in a C chord, there are three notes: C, E, and G. The note C is the root. The notes E and G provide harmony, and in a G7 (G dominant 7th) chord, the root G with each subsequent note (in this case B, D and F) provide the harmony.^[22]

In the musical scale, there are twelve pitches. Each pitch is referred to as a «degree» of the scale. The names A, B, C, D, E, F, and G are insignificant.^[23] The intervals, however, are not. Here is an example:

1°	2°	3°	4°	5°	6°	7°	8°
C	D	E	F	G	A	B	C
D	E	F♯	G	A	B	C♯	D

As can be seen, no note will always be the same scale degree. The tonic, or first-degree note, can be any of the 12 notes (pitch classes) of the chromatic scale. All the other notes fall into place. For example, when C is the tonic, the fourth degree or subdominant is F. When D is the tonic, the fourth degree is G. While the note names remain constant, they may refer to different scale degrees, implying different intervals with respect to the tonic. The great power of this fact is that any musical work can be played or sung in any key. It is the same piece of music, as long as the intervals are the same—thus transposing the melody into the corresponding key. When the intervals surpass the perfect Octave (12 semitones), these intervals are called compound intervals, which include particularly the 9th, 11th, and 13th Intervals—widely used in jazz and blues Music.^[24]

Compound Intervals are formed and named as follows:

• 2nd + Octave = 9th
• 3rd + Octave = 10th
• 4th + Octave = 11th
• 5th + Octave = 12th
• 6th + Octave = 13th
• 7th + Octave = 14th

These numbers don’t «add» together because intervals are numbered inclusive of the root note (e.g. one tone up is a 2nd), so the root is counted twice by adding them. Apart from this categorization, intervals can also be divided into consonant and dissonant. As explained in the following paragraphs, consonant intervals produce a sensation of relaxation and dissonant intervals a sensation of tension. In tonal music, the term consonant also means «brings resolution» (to some degree at least, whereas dissonance «requires resolution»).^{[citation needed]}

The consonant intervals are considered the perfect unison, octave, fifth, fourth and major and minor third and sixth, and their compound forms. An interval is referred to as «perfect» when the harmonic relationship is found in the natural overtone series (namely, the unison 1:1, octave 2:1, fifth 3:2, and fourth 4:3). The other basic intervals (second, third, sixth, and seventh) are called «imperfect» because the harmonic relationships are not found mathematically exact in the overtone series. In classical music the perfect fourth above the bass may be considered dissonant when its function is contrapuntal. Other intervals, the second and the seventh (and their compound forms) are considered Dissonant and require resolution (of the produced tension) and usually preparation (depending on the music style^[25]).

The effect of dissonance is perceived relatively within musical context: for example, a major seventh interval alone (i.e., C up to B) may be perceived as dissonant, but the same interval as part of a major seventh chord may sound relatively consonant. A tritone (the interval of the fourth step to the seventh step of the major scale, i.e., F to B) sounds very dissonant alone, but less so within the context of a dominant seventh chord (G7 or D♭7 in that example).^[26]

Chords and tension[edit]

In the Western tradition, in music after the seventeenth century, harmony is manipulated using chords, which are combinations of pitch classes. In tertian harmony, so named after the interval of a third, the members of chords are found and named by stacking intervals of the third, starting with the «root», then the «third» above the root, and the «fifth» above the root (which is a third above the third), etc. (Chord members are named after their interval above the root.) Dyads, the simplest chords, contain only two members (see power chords).

A chord with three members is called a triad because it has three members, not because it is necessarily built in thirds (see Quartal and quintal harmony for chords built with other intervals). Depending on the size of the intervals being stacked, different qualities of chords are formed. In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. To keep the nomenclature as simple as possible, some defaults are accepted (not tabulated here). For example, the chord members C, E, and G, form a C Major triad, called by default simply a C chord. In an A♭ chord (pronounced A-flat), the members are A♭, C, and E♭.

In many types of music, notably baroque, romantic, modern and jazz, chords are often augmented with «tensions». A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. Following the tertian practice of building chords by stacking thirds, the simplest first tension is added to a triad by stacking, on top of the existing root, third, and fifth, another third above the fifth, adding a new, potentially dissonant member a seventh away from the root (called the «seventh» of the chord) producing a four-note chord called a «seventh chord».

Depending on the widths of the individual thirds stacked to build the chord, the interval between the root and the seventh of the chord may be major, minor, or diminished. (The interval of an augmented seventh reproduces the root, and is therefore left out of the chordal nomenclature.) The nomenclature allows that, by default, «C7» indicates a chord with a root, third, fifth, and seventh spelled C, E, G, and B♭. Other types of seventh chords must be named more explicitly, such as «C Major 7» (spelled C, E, G, B), «C augmented 7» (here the word augmented applies to the fifth, not the seventh, spelled C, E, G♯, B♭), etc. (For a more complete exposition of nomenclature see Chord (music).)

Continuing to stack thirds on top of a seventh chord produces extensions, and brings in the «extended tensions» or «upper tensions» (those more than an octave above the root when stacked in thirds), the ninths, elevenths, and thirteenths. This creates the chords named after them. (Except for dyads and triads, tertian chord types are named for the interval of the largest size and magnitude in use in the stack, not for the number of chord members : thus a ninth chord has five members [tonic, 3rd, 5th, 7th, 9th], not nine.) Extensions beyond the thirteenth reproduce existing chord members and are (usually) left out of the nomenclature. Complex harmonies based on extended chords are found in abundance in jazz, late-romantic music, modern orchestral works, film music, etc.

Typically, in the classical Common practice period a dissonant chord (chord with tension) resolves to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between «tense» and «relaxed» moments. For this reason, usually tension is ‘prepared’ and then ‘resolved’,^[27] where preparing tension means to place a series of consonant chords that lead smoothly to the dissonant chord. In this way the composer ensures introducing tension smoothly, without disturbing the listener. Once the piece reaches its sub-climax, the listener needs a moment of relaxation to clear up the tension, which is obtained by playing a consonant chord that resolves the tension of the previous chords. The clearing of this tension usually sounds pleasant to the listener, though this is not always the case in late-nineteenth century music, such as Tristan und Isolde by Richard Wagner.^[27]

Perception[edit]

A number of features contribute to the perception of a chord’s harmony.

Tonal fusion[edit]

Tonal fusion contributes to the perceived consonance of a chord,^[28] describing the degree to which multiple pitches are heard as a single, unitary tone.^[28] Chords which have more coinciding partials (frequency components) are perceived as more consonant, such as the octave and perfect fifth. The spectra of these intervals resemble that of a uniform tone. According to this definition, a major triad fuses better than a minor triad and a major-minor seventh chord fuses better than a major-major seventh or minor-minor seventh. These differences may not be readily apparent in tempered contexts but can explain why major triads are generally more prevalent than minor triads and major-minor sevenths are generally more prevalent than other sevenths (in spite of the dissonance of the tritone interval) in mainstream tonal music.

In organ registers, certain harmonic interval combinations and chords are activated by a single key. The sounds produced fuse into one tone with a new timbre. This tonal fusion effect is also used in synthesizers and orchestral arrangements; for instance, in Ravel’s Bolero #5 the parallel parts of flutes, horn and celesta resemble the sound of an electric organ.^[29][30]

Roughness[edit]

When adjacent harmonics in complex tones interfere with one another, they create the perception of what is known as «beating» or «roughness». These precepts are closely related to the perceived dissonance of chords.^[31] To interfere, partials must lie within a critical bandwidth, which is a measure of the ear’s ability to separate different frequencies.^[32] Critical bandwidth lies between 2 and 3 semitones at high frequencies and becomes larger at lower frequencies.^[33] The roughest interval in the chromatic scale is the minor second and its inversion, the major seventh. For typical spectral envelopes in the central range, the second roughest interval is the major second and minor seventh, followed by the tritone, the minor third (major sixth), the major third (minor sixth) and the perfect fourth (fifth).^[34]

Familiarity[edit]

Familiarity also contributes to the perceived harmony of an interval. Chords that have often been heard in musical contexts tend to sound more consonant. This principle explains the gradual historical increase in harmonic complexity of Western music. For example, around 1600 unprepared seventh chords gradually became familiar and were therefore gradually perceived as more consonant.^[35]

Individual characteristics such as age and musical experience also have an effect on harmony perception.^[36][37]

Neural correlates of harmony[edit]

The inferior colliculus is a mid-brain structure which is the first site of binaural auditory integration, processing auditory information from the left and right ears.^[38] Frequency following responses (FFRs) recorded from the mid-brain exhibit peaks in activity which correspond to the frequency components of a tonal stimulus.^[37] The extent to which FFRs accurately represent the harmonic information of a chord is called neural salience, and this value is correlated with behavioral ratings of the perceived pleasantness of chords.^[37]

In response to harmonic intervals, cortical activity also distinguishes chords by their consonance, responding more robustly to chords with greater consonance.^[28]

Consonance and dissonance in balance[edit]

The creation and destruction of harmonic and ‘statistical’ tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consistent and ‘regular’ throughout is, for me, equivalent to watching a movie with only ‘good guys’ in it, or eating cottage cheese.

— Frank Zappa, The Real Frank Zappa Book, page 181, Frank Zappa and Peter Occhiogrosso, 1990

See also[edit]

References[edit]

Footnotes[edit]

Citations[edit]

• Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality, p. 141. Princeton University Press. ISBN 0-691-09135-8.
• van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. ISBN 0-19-316121-4.
• Nettles, Barrie & Graf, Richard (1997). The Chord Scale Theory and Jazz Harmony. Advance Music, ISBN 3-89221-056-X

Further reading[edit]

• Prout, Ebenezer, Harmony, its Theory and Practice (1889, revised 1903)

External links[edit]

• Chord Geometry – Graphical Analysis of Harmony Tool

If you speak English, it’s more than likely that you’ve heard the word harmony now and again. Maybe you’ve heard it in the context of music, or perhaps you’ve listened to it in the context of a personal relationship with a friend or loved one. 

Harmony is an incredibly important word, and it has several different definitions, making it incredibly important to understand so as to avoid any confusion about what you or another person is saying.

With that in mind, today’s word of the day is harmony. By the end of this short guide, you’ll have a solid understanding of the word harmony, its definitions, its etymology, and how to use it. Let’s get started. 

What Is the Meaning of the Word Harmony?

Harmony, pronounced ˈhɑrməni, is a fairly simple word, and its definitions are not very complex, but there are several different definitions to keep track of. Here is a quick list of the definitions of the word harmony: 

• The combination of multiple simultaneous sounding musical notes to make a pleasant sound together
• A scenario that is suitable and peaceable, where everyone is in agreement
• A pleasant combination of individual parts that has great synchronization, cohesiveness, and unity

These definitions have their differences, but they also have one key similarity: unity and cohesiveness. 

Musical harmony is an incredibly important aspect of music. It is quite a complex subject, and it takes years to master it, but in short, it is the intentional and pleasing combination of notes to make a pleasant sound. This can take the form of chords, counterpoint melodies, and other types of musical consonance as opposed to dissonance. 

Harmony is often called the vertical dimension of music. Melody and harmony form an inseparable partnership that is fundamental to all the music we know and love. 

Next, we have harmony between people. In the context of relationships, harmony is when everyone is at peace with one another. There is a sense of congruity in the group, there isn’t any disagreement, and everyone is working together well. 

Then there is harmony in a more general sense. This version of harmony simply indicates that several things are working together well to make a unified finished product. One could say that an artist uses various colors in harmony, or that several pieces of a machine work together in harmony. 

Common Collocations for the Word Harmony

A collocation is a pairing of two words that happens more often than it normally would by chance. They are colloquialisms that English speakers all use. Here are a few collocations for the word harmony. 

• Beautiful harmony
• Close harmony
• Four-part harmony
• Perfect harmony
• Domestic harmony

One Other Possible Meaning

You may also hear the word harmony as a name for a girl. In recent years, the name Harmony has become more popular in English-speaking countries. 

Other Forms of the Word

There are different forms of the word harmony, including the adjectives “harmonic” and “harmonious.”

Where Did the Word Harmony Come From?

To help bring more clarity to the definition of harmony, let’s look at the history of how it came to be or its etymology.

The word harmony is like many other words in the English language in that it finds its roots in Greek. Its oldest ancestor is the Greek harmos, which is the Greek word for “joint.” 

This Greek word later became the root for the Latin harmonia, meaning “joining, or concord.” Harmonia took the idea of a joint and created a word specifically for the joining together of two things. 

Harmonia then made its way into Old French, and it didn’t change its spelling or meaning at all. It only changed in pronunciation. 

From there, the word finally made its way into Middle English, spelled “harmony.” The definition would evolve slightly over time, but the core idea remains the same: the joining together of multiple things.  

What Are Some Examples of the Word Harmony in a Sentence?

Seeing a word in context can help bring more clarity to its definition and how you can use it in your own life. Here are some example sentences that use the word harmony:

• There is nothing like going to the symphony and witnessing the expressive, beautiful harmonies and melodies of the musical instruments live and in person. 
• It’s crazy that you can look at a piece of music and understand all the harmonies at play. 
• Harmony is one of the most foundational elements in the structure of music. 
• The harmony of the universe is simply baffling, to the point where I don’t know if I believe it all happened by chance. 
• Throughout the Gospels, Jesus preached a message of love and harmony with one’s neighbors. 
• This particular painting lacks harmony. The color palette seems a bit jumbled and not well thought out. 
• Sure there are elements of American English and British English that have some harmony, but sometimes it feels like they’re two different languages altogether.
• If we could establish some form of harmonious relations between the two countries, the world would be a safer place. 

What Are the Synonyms of the Word Harmony?

Here are some synonyms of the word harmony that you might find in a thesaurus or English dictionary.

• Chord 
• Consonance 
• Composition
• Conformity
• Cooperation
• Friendship
• Relationship
• Unanimity
• Goodwill
• Rapport
• Tranquility
• Integration 
• Togetherness
• Unity
• Consistency

What Are its Antonyms?

And here are some antonyms for the word harmony.

• Disagreement
• Discord
• Imbalance
• Clash
• Fighting
• Disharmony
• Cacophony
• Dissonance

The Word Harmony

Now you know everything you need to know about the word harmony, its definition, its history, and how to use it. Use it confidently in your writing and your conversation. And if you need a refresher on this word, come back to this article for the information you need. 

Sources

HARMONY | Cambridge English Dictionary 

HARMONY | Meaning & Definition for UK English | Lexico

Harmony | Introduction to Music Theory and Composition 

Last Updated:
11 Apr 2023
— Updated example sentences

English[edit]

Etymology[edit]

First attested in 1602. From Middle English armonye, from Old French harmonie/armonie, from Latin harmonia, from Ancient Greek ἁρμονία (harmonía, “joint, union, agreement, concord of sounds”), either from or cognate with ἁρμόζω (harmózō, “I fit together”), from Proto-Indo-European *h₂er- (“to join, fit, fix together”).

Pronunciation[edit]

• (General American) IPA^(key): /ˈhɑɹ.mə.ni/
• (Received Pronunciation) IPA^(key): /ˈhɑː.mə.ni/
• Homophone: hominy (god-guard merger and weak vowel merger)

Noun[edit]

harmony (countable and uncountable, plural harmonies)

1. Agreement or accord.
   • December 4 2010, Evan Thomas, «Why It’s Time to Worry», in Newsweekk

     America’s social harmony has depended at least to some degree on economic growth. It is easier to get along when everyone, more or less, is getting ahead.

2. A pleasing combination of elements, or arrangement of sounds.
3. (music) The academic study of chords.
4. (music) Two or more notes played simultaneously to produce a chord.
5. (music) The relationship between two distinct musical pitches (musical pitches being frequencies of vibration which produce audible sound) played simultaneously.

   • 2012 December 21, Hermann Hesse, Gertrude: A Novel‎^[1], Farrar, Straus and Giroux, →ISBN, →OCLC:

     I did not know anything more about music,only about finger exercises, difficult tasks, contradictions in the theory of harmony, and tedious piano lessons from a sarcastic teacher who saw in my  […]

6. A literary work which brings together or arranges systematically parallel passages of historians respecting the same events, and shows their agreement or consistency.

   a harmony of the Gospels

Derived terms[edit]

[edit]

Translations[edit]

Further reading[edit]

• harmony in Webster’s Revised Unabridged Dictionary, G. & C. Merriam, 1913
• “harmony”, in The Century Dictionary […], New York, N.Y.: The Century Co., 1911, →OCLC.