inspiring Classic Mambo Suite. It is, as a matter of fact, said that G’g Rash himself was led to his discovery by considering the question:
“How can many different races, experiencing totally different emotions in totally different ways, agree on the importance of a single musical composition by Hrrshtk? How can all share a single emotional experience?”
His researches delved deeply into the Hrrshtk compositions, and a tentative theory based on the Most Common Harmonic, now shown to have been totally mistaken, led to the T85 discoveries.
The Hrrshtk notes, however, found long afterward, provide the real answer.
Among a pile of sketches and musical fragments was found a long list—or, rather, a series of lists. In the form of a Galactic Dictionary, the paper is divided into many columns, each headed with the name of a different planet.
Rather than describe this document, we are printing an excerpt from it herewith:
| DENEB III | TERRA | MARS | FOMALHAUT II | SIRIUS VII |
| Love | Anger | Hunger | Sadness | Madness |
| Hate | Joy | F’rit | Prayer | Love |
| Prayer | Madness | Sadness | Full | Joy |
| Vilb | NPE | Non-F’rit | Golk | NPE |
In completed form, the document contains over one hundred and fifty separate listings for race, and over six hundred separate emotional or subject headings. In some places (like the Terra and Sirius listing for Vilb, above), the text is marked NPE, and this has been taken to mean No Precise Equivalent. For instance, such a marking appears after the Denebian shhr for both Terra and Mars, although Sirius has the listing grk and Fomalhaut plarat in the desert.
Hrrshtk may be hailed, therefore, as the discoverer of the Doctrine of Emotional Equivalency, later promulgated in a different form by Space Patrol Psychiatrist Rodney Garman. Further, the document alluded to above explains a phrase in Hrrshtk’s noted letter to Dibble Young, which has puzzled commentators since its first appearance.
Hrrshtk is here alluding to the composition of his Revolutionary Ode, which all Terra knows as the most perfect expression of true love to be found in music:
“It’s a Revolutionary Ode to me, my friend—but not to you. As we say here, one man’s mood is another man’s passion.”
*
SEPTEMBER 1: On this date in the year 9909, Treth Schmaltar died on his home planet of Wellington V. All the Galaxy knows his famous Symphonic Storm Suite; less known, but equally interesting, is the history and development of its solo instrument.
The natives of Wellington V feed on airborne plankton, which is carried by the vibrations of sound or speech. This was a little-known fact for many years, but did account for the joy with which the first explorers on Wellington V were greeted. Their speech created waves that fed the natives.
When eating, the natives emit a strange humming noise, due to the action of the peculiar glottis. These facts drove the first settlers, like Treth Schmaltar, to the invention of a new instrument.
This was a large drumlike construction with a small hole in its side through which airborne plankton could enter. Inside the drum, a Wellingtonian crouched. When the drum was beaten, the air vibrations drove plankton into the native’s mouth, and he ate and hummed.
(A mechanical device has since replaced the native. This is, of course, due to the terrific expense of importing both natives and plankton to other planets than Wellington V for concerts.)
Thus, a peculiarity of native life led not only to the Symphonic Storm Suite, but to such lovely compositions as Schmaltar’s Hum-Drum Sonata.
*
SEPTEMBER 30: The victimization of the swanlike inhabitants of Harsh XII, perhaps the most pitiful musical scandal of the ages, was begun by Ferd Pill, born on this date in 8181. Pill, who died penitent in a neuterary of the Benedictine Order, is said to have conceived his idea after perusing some early Terran legends about the swan.
He never represented himself as the composer, but always as the agent or representative of a Harsh XII inhabitant. In the short space of three years, he sold over two hundred songs, none of great length but all, as musicians agree to this day, of a startling and almost un-Hnau-like beauty.
When a clerk in the records department of Pill’s publishers discovered that Pill, having listed himself as the heir of each of the Harsh XII composers, was in fact collecting their money, an investigation began.
That the composers were in fact dead was easily discovered. That Pill was their murderer was the next matter that came to light.
In an agony of self-abasement, Pill confessed his crime. “The Harshians don’t sing at all,” he said. “They don’t make a sound. But—like the legendary swan of old Terra—they do deliver themselves of one song in dying. I murdered them in order to record these songs, and then sold the recordings.”
Pill’s subsequent escape from the prison in which he was confined, and his trip to the sanctuary of the neuterary, were said to have been arranged by the grateful widow of one of the murdered Harshians, who had been enabled by her mate’s death to remarry with a younger and handsomer Harshian.
*
DECEMBER 5: Today marks the birthday of Timmis Calk, a science teacher of Lavoris II.
Calk is almost forgotten today, but his magnificent Student Orchestra created a storm both of approval and protest when it was first seen in 9734. Critics on both sides of what rapidly became a Galaxywide controversy were forced, however, to acknowledge the magnificent playing of the Student Orchestra and its great technical attainments.
Its story begins with Calk himself and his sweetheart, a lovely being named Silla.
Though Calk’s love for Silla was true and profound, Silla did not return his affectionate feelings. She was an anti-scientist, a musician. The sects were split on Lavoris II to such an extent that marriage between Calk and his beloved would have meant crossing the class lines—something which Silla, a music-lover, was unwilling to contemplate.
Calk therefore determined to prove to her that a scientist could be just as artistic as any musician. Months of hard work followed, until finally he was ready.
He engaged the great Drick Hall for his first concert—and the program consisted entirely of classical works of great difficulty. Beethoven’s Ninth Symphony opened the program, and Fenk’s Reversed Ode closed it. Calk had no time for the plaudits of critics and audience; he went searching for Silla.
But he was too late. She had heard his concert—and had immediately accepted the marriage proposal of a childhood sweetheart.
Calk nearly
