THE

HISTORY

OF

MUSIC.

(art ant" Science.)

VOL.

I.

FROM

THE

EARLIEST

RECORDS ROMAN

TO

THE

FALL

OF

THE

EMPIRE.

WITH
AND

EXPLANATIONS OF THE TEUE

OF

ANCIENT

SYSTEMS

OF

MUSIC,
FOE THE

MUSICAL

INSTKUMENTS,
OF

PHYSIOLOGICAL
WHETHER

BASIS ANCIENT
OB

SCIENCE

MUSIC,

MODERN.

W.
AUTHOR
OF

CHAPPELL,
OF OF THE BALLAD LITERATURE

FS.A.,
AND
POPULAR MUSIC

"A

HISTORY

THE

OLDEN

TIME."

CHAPPELL
SIMPKIN
"

"

Co., 50, NEW

AND

BOND

STEEET,
COURT,

W.
E.G.

MARSHALL,
lAlL
SIGHTS

STATIONERS'
RESERTED.'l \

LONDON

PKINTISRS, HKNDKHtiOK, RAIT. AND F"KTON, OENBRAL

60, OXFORD AIAU?LBBONB LANB, ST.f W.

INTRODUCTION.

It

is

now

nearly
of Music and first

century
from the Charles

since

the

two

General

Histories John
F.K.S.,

earliest

times,
Mus.

by

Sir

Hawkins
were

by

Burney,
The

Doc,
minoi

pubhshed. Busby,
were

subsequent by
as

histories

by
and

Dr.

by

Stafibrd,
not

George original, mainly,

Hogarth,
but from The Art and
are

by others,

offered

avowedly
works

derived,

either

whoUy

or

the

of their is
a

predecessors. reaUy
of
new

following
of the

History
from
as

of

the

Science

Music undertaken of been

away
as

the
an

earliest
ment, amuse-

records.

The without

study
any
to

was

intention have clear

writing
threefold.

but

the

inducements that have I

am

publish
able been this in the
men

First,
which
;

now

to

difficulties insurmountable afford the

a

hitherto that

reputed
solution classics have
to
as

secondly,
many of

will
to

clue

to

passages which

interpretation
doubtful
to
;

learned because I of that I

can

been be able

and,
the and it. many

thirdly,
whole

trust

explain

system
so

ancient any

music,
may
reasons

theoretical understand for

so

practical,
Besides

reader the

this,

give

11

INTRODUCTION.

things hitherto unexplained,that I hope to make interested book which will be usefulfor any a one in music. music is extremely The ancient most
simple;
notes
a

for the

only
even

difference
in

between

the and

musical those of of

sounded

ancient

Egypt
the

well-tuned
tones

scale

of

to-day is

introduction

minor but
.

with alternating

major, and
of
a

they differ
This
sonant, con-

by

the made
as

eighty-first part
the C intervals
to

string.
Thirds

change melody
pass

of
on

major
the

from

pianoforte.

In

the

former

imperfectionwould
not
so

commonly
two

unnoticed, but
a

in

harmony.
about
our

I will first say and historians,

few

words the

musical
a new

thus

show

of desirability

history.
Dr. 1776.

Sir John

Hawkins's
were

complete work printed in

volume
were was

and year

Burney's first volume

Dr.

the

Burney's
In
the

second

delayed published
Sir tiU John
1814
;

till 1782, and before Hawkins

so

his third and

fourth

not

1789.

last-named

year
on

died, but
now

Dr.

Burney

lived

that, many

livingmay
one.

claim to have years of his

been

his

for contemporaries among On

met

the last few

and life,

them

am

the first appearance with very

of the two

histories, they
ran Popularity

oppositefortunes.

the side of Dr. Burney. For six on altogether years of Sir John after the publication Hawkins's complpte there was but one volume of Dr. Burney'sto work afford a fair comparisonwith it ; and yet the world in favour decided of Dr. unhesitatingly Burney. The

plan

of

Sir

Jehn

Hawkins

was

too

elaborate.

INTRODUCTION.
6

Ill

It

combined

the

of biography'

musicians

and the

the
art.
was

of bibliography Sir John's

reason

music for time any

with

the

historyof
so

attempting
was no

much

because
to

at that

there
one

work satisfactory branches

"

be found

upon

of the three

at

least,not in the Englishlanguage.

In
pursuance

of this

triple design,Sir
after

John

cusses dis-

the merits after,

of author he the

author, and
them in

of book logical chronoand

book, just as
order from

might
shelves He

take

of his extensive adds

an

valuable each the

musical

library.
it is too

of analysis
some

work, but
most

slightto

embrace

of

important points.
of
a

His

history thus
;
same

becomes

very

character desultory the

art

and

it involves

much and the authors

same

because repetition, branches of the

subjects
treated
on

are

by
and

of very

different
as

dates.

The

plan is as
reference,
than

fatal to thus

condensation Sir John has

to

continuityof subject ;
book of for rather history,

supplieda

stores containing
one

of materials and

consecutive It
was

whole. well-digested for him have that

further

unfortunate

only one
issued

volume when

of. his rival's work the

should
so

been

comparison was
had found music the that
;

instituted. over-hastily could

my

Sir John ancient he had

he

not

understand

Greek
not

and Greek

impression is,that
would therefore contented of the
pre-

learnt

language,which
He

account sufficiently

for it.
"an at
not

himself several
"

with

giving

impartial state*
different
been coined

opinions that
word
"

times
when

have

The

statement

"

had

Sir John

wrote.

IV

INTRODUCTION.

vailed
a

among

the

moderns." the

In

this,whether
the

from

desire to demonstrate from

of obscurity trouble

subject,
the
not

or

to unwillingness

himself he

with

translation

of technical he

words

which

might

fullyunderstand, general readers.

and
use,
even

wrote

for quite unintelligibly technical

By passing over
were

words,

others which raised grave

not
as

limited
to

to technical

he

doubts

the

of sufficiency words
;

his
no

scholarship.He
one

anghcised Greek
scholar been coidd admitted he

and

but

Greek
not

understand
into the added
were

them,

because

they had

English
notes to

language. Sometimes, indeed, explainthese words,

For intelligible.
"

but

the

notes

not

always
a
"

example, having
he for
in

formed
to

new

adjective, hemioHan,"
is but another
name

subscribes

it

:
"

This

as sesquialtera,

Andreas

Ornithoparcusasserts
the But would the end is said

his

lib. ii., on Micrologus,

"

authority of
who
not
was

Aulus

Gellius."

(I.,86, 4to.)
The world of writer
proper
name

Andreas know that

1 Ornithoparcus

he

was

German

of the fifteenth
to

century, whose

have the

been

Vogelsang.
Aulus

And

wherefore,

relyupon
of the word? found written
to

of authority

Gellius,a Roman
a

second It is in every,

for the meaning of centviry,

Greek

simple enough
or

in

and itself, treatise upon deemed

is to be music
sary neces-

nearlyevery,
"

by
add

a
"

Greek. hemiolian

If Sir John
to

it

the

English language,
to be
"

he should

have

its meaning explained Then he would have

in the gible intellinot

so.

ratio of 3 to 2."
;

been
"

but

to

describe it

by

"

is sesquialtera

INTRODUCTION.

In the
as
"

same

obscure
one

stylehe string simply

"

defines stretched
"

monochord
over
"

consistingof magades
"
"

two

; ;

these
"

are

bridges;
;" and
"

again,
he

of

diastems

meaning
of

intervals
as

gives

such

charmingly long words,

"

sesquidecima17."

instead septima ratio," It is true "this that Sir

the ratio of 18 to had

John

for ample authority

styleof writing.
translators
;

It had

been works

adopted by
upon music

most

of the Latin words been them

one

of Greek
one

into the have

and
ai'e

it has
sure

great advantage, that

which right,

to

be
or

might

not

the

case

if he

they had attempted

There
was,

to render

into

another

language.
the

however,
must

objectionto
the

plan
"

the

reader

first better
terms

understand

subject,and
the

perhaps
of the that did

be

acquainted with
than prove informed the
to

meaning

Greek
not

writer. be would the

Unluckily
case

always
so

indeed, readers

well

an naturally prefer

text. original

English
numberless into the the

musicians
new

were

not

prepared
J. W. this

for

the

words

which

Sir John

incorporated
CaUcott,

language. One of them. Dr. turned celebrated glee-wiiter,

ridicule both
you

style of
catch,
:
"

composition into
of which he wrote

by

mischievous and

the words
Sir John
it

the music
? Hist'ry

1st Voice.

Have Some

Hawkins'

folks think

quite a myst'ry.
brain
"

2nd

Voice.

Music
How

filled his wondrous

d'ye like him

I've

Is it plainV
must

3rd

Voice.

Both
That

read,

and

agree

Burney's Hist'rypleases me.

When

the the

third

singerhas

sung

his

part, the

VI

INTRODUCTION.

three order like

'

take

up
"

the Sir
"

:"

(1),
1
"

in the following croas-readings John Hawkins (2), How d'ye ;

"

"

Barney's His(3), Burney's Hiat'ry, his Hist'ry ! Burn t'ry the last sounding like burn his Hist'ry ! of fatal to the success This pieceof waggery was
" "
"

him

"

work

upon

which

the

labour

of many

years

had

been

expended.
In
1853

Its merits

remained

in the background

until within

the second Sir John

two

half of the Hawkins's

present

century.
Music
octavo notes
was

History of posthxunous
edition three

republishedin
the
a

closely printed large

of curtailments. of
a

volumes, with

addition few

by

the

author, and
had the

Dr.

Burney

triumph

second but the

of his first volume

during
of his

his life ;

remaining volumes
and
are

have history

never

been,
are

not

to be, republished. likely to

There

to them, great objections

which

I shall

presently
noticed
as

refer,because
a

I cannot

find that
;

others

have

twentieth

part of them

but, in the meantime,

to

his first volume. Dr. Greek

Burney's system
music
so
was

of

writing
with that upon

upon

ancient John

identical
as

of Sir the

Hawkins,
to

far

reliance
was

moderns standing under-

have

done it.

all that Therefore the

one

towards possible
was subject

the than

not

further

advanced Dr.

by

by

the

other, although
least
an accountable un-

Burney

had

the

advantage in being at
It
may,
at

writer. intelligible

first, appear
of

that, among
men

the

numbers
to

learned the

who

made

the

attempt

understand

INTRODUCTION.

Vll

Greek have

system during so

many

ages,

no

one

should it will
our

that succeeded, especially considering be

hereafter modern

shown, even
But this

to the

to be quarter-tone,

system of music.

So

simplea
had
in
"

result

seems

ludicrous.
for the

generalfailure
Greek
"

is to be accounted twisted
so
"

by

the

fact,that the Romans

of

round

meanings
a

the

words
tone

nary extraordidiatonic
"

that perhaps fashion,

and

are

the
two

only

two

which So

remain

nearlyidentical
the unlearn all that of

in

the

languages.
student had
as

that, to unriddle

ject, subhe

the had been

first to
to

taught
then

the

meanings
treatise

musical the

terms,
Greek
nor

and

to

begin again,trustingonJy
Latin would

authors. any

No modern

avail,
musical

would had

language
Church. Romans The

in which the

terras

been Western

derived

through
was

Latin,

or

through the
technical limited Dr. he had

misuse

of Greek
no

language by

by

means

to music.

education Btirney's been

a

was

sure

to include

Greek,
He Greek
were

having

pupil at Shrewsbury
treatises
in two
on

School.

copies of
imder

the his

music

by
he

authors

hand,

volumes, which
But should
as

printed only
consider because of Greek when He he had
music

century
been
from

before. he

did

not

it necessary

that

study them,

examined the Latin

to his

knowledge
Boethius,

treatise of
at

he took therefore books

his

degree in
the
in

music works
case

the of

university.
the Greeks

employed
of reference
on

only as
The

of need. upon which

treatise

music

by Boethius,

Vm

INTRODUCTION.

Dr.

Bumey

has proved relied,

most

unfortunate
of various

inheritance for modern

countries because but
no

Europe.
to

Scholars learn

have

flown

it to

ancient

music,
;

it is written
one
was

in
ever

Latin, instead

of in Greek

of them unable

did, or could, learn from

that which took up he did music

it.
not

Boethius himself
as
a

to teach
;

understand branch of

and

he

simply
had
no

arithmetic. of music scale

;

Boethius he could
at two

knowledge practical
tell whether the and bottom.
a

not

even
or

Greek BewUdered

began by
the

the

top

at
nete

words,

he did not "highest"), that they referred to length in discovering succeed that therefore the of string highest string ; and which the lowest sound, is the one yields (inlength) bottom be consequentlyat the of the and must

hypate ("lowest"

and

"

"

musical should

scale.
not

And

yet it is inexcusable
at
so

that

he

have

arrived

elementarya piece of
several extracts and from

information, because
the treatise is
one
on

he makes

music

by Nicomachus,
two

Nicomachus
words. The

who

fullyexplains the following pages.

reader
in
one

will find the of the

given by Nicomachus explanation

(Seep. 36.) Having dispensedwith the only sound grammars the Greek of Greek music, by rejectiag treatises. began. At p. 17 of Dr. Burney's difficulties soon
his first volume
"

he says

:
"

The

concerning perplexity
and I

the

scale is

subjectthat required
upon

more
"

time

meditation than
was

was

able to bestow leave it tillI had the

it ;"

(I)

however,
some

very

unwilling to
Greek

discovered,
the

by
few

rule, how indisputable

to determine
a

question,as
in this

fragments left of

music, by

mistake

particular,

INTRODUCTION.

IX

would
At

be

as

much

injured as
has been

poem,

by reading
me,

it backwards. of the

an length,

infallible rule

presented itself to regarded for

whose
so

in the works ages been

as

great Euclid, who

many

the

lator legiscode."

of mathematicians, and

writingshave
to

their

Even

this

polished compliment
utter

Euclid Euclid's

will not

Dr. Bumey's palliate which

of neglect in

treatise,

is the first complete one necessary of all for

point of date, and

If he would before he
"

the most but

to

beginners.

have

opened

the pages have been

of Euclid

began

write,he would

sparedall his
found
a

time and

meditation

:" he would

have

diagram which
of the of scale

the sufficiently distinguishes from After the the

bottom

top, without
was

even

the

trouble

reading.
learnt page

all,it

from

that

diagram that

he

scale,although he refers his readers

which another

to the

of text As

accompaniesit. specimen
of Dr.
a
"

Burney's method chapter of

the 37

of

he writing history,
to

devotes

pages

discuss

the

question,
music
"
"

Whether
in

ancients He there
"

had

or counterpoint,

parts.""
aU the
con,
"

collects all the of the

opinions
pro

and and

conjectures
sums

moderns, both

and

up

as

the constituted
nor

judge. Unhappily, neither

the

the disputants the

judge
of
even

had

first ascertained word

correct

meaning
did
not

the think

Greek

harmonia.
to

Bumey
Greek Dr. his and
"

it necessary in the

include

definitions of harmonia

chapter.
at second-hand

Burney

had

for deriving strong preference authors

;

knowledge
the
p. 108 reason

of the Greek
was

because evidently
second edition aU my

it saved

him

to

145

of

the

after-quotations are
otherwise

edition

of vol. i.,from

which

unless

derived, specified.

INTRODUCTION.

the trouble Greek He and books

of

the contractions used in deciphering printed during the preceding century.

notes
even

read

Meibomius's his views

upon
too

the Greek

authors,

adopted

indiscriminately ; so

that when

Meibomius is

Meibomius
any

also. Burney stumbles trips, therefore usually a good authority, his

on particular lapses

part are

noticed

in the

following pages. Burney

second
one more

was,

indeed,

bold without

man

to

undertake
some

and

third volumes

the

help of
for him. old

capablethan
his
too

himself

to read

He

had

proved -in
could third

first volume for him

that
to

English

was printing

much

what and the

he do among volumes the

;

and decipher, manuscripts? The second

of his Middle therefore in

historywere Ages,
down it could

to to

embrace

period of
century

the

teenth six-

only be sought
looked overgenerally

for in

or manuscripts,

earlyprinted books.
been
so

Burney's deficiencies
that volume I
must

have

recall the

reader

to

his

first

(p.235

of the first edition and both In be

p. 241

of the the he

second).
states

I examined doubt.
to

to give him editions,

benefit of any the

the first line

on

p. 241

text

"after

the

Psalmes

before

whyche only
"

instead it is prefyred," few lines

of

"prefyxed;" and,
as

below,

we

read
us

follows: the Hebrew Psalm

"

The

same

expounder

informs in the

that

word,

Nehiloth, used

title to

v.,

beretrages." by interpretation, signifyeth, is plainlyprinted last word Heretages in

"
"

The the

original.

All this is from

an

English Bible printed.

INTRODUCTION.

XI

in H

1549/

in

the
more

usual

black

letter.
a

The

capital
letter little their end of
a

is indeed in
an r

nearlylike
and print, the

in black
x

than like

modern
;

small

is

that milkmaids but, considering black down letter,

"eems

had the

ballads

printedin

to

the seventeenth

century,it
have from been

strange that Dr.

it. decipher
as opinion

not Burney sho].ild

able to
an

The

reader

may

this form

to

the value of Dr. when he there

was

from manuscripts, Bumey's readings

no

Sir
no

John

Hawkins
to

from

whom
as

could

copy, and

Twining
have

help him,
that, in

in

bis firstvolume.
of

I have

followed necessarily found

more

some

Burney's steps,and
his

scripts, manu-

guessingis even

than objectionable

beretrages."There he makes harmless nonsense, inverts the sense but in manuscriptshe frequently would be amusing, if of the author. A comparison also provoking to observe the shallowness it were not who of the man has so long and the assurance to impose his blunders been allowed upon us under the name of history. When Dr. Burney proceeded to Oxford, armed
"

with

letters of introduction
was

from

Dr.

Johnson, every

attention afforded make

shown

to

him.

He

dined his

him, every facility was allowed to well,he was fashion,from

he any of the

after transcripts, the

manuscriptsin

and libraries, authors

to

publishedhis history.
It In

judgments
1869

upon

their

in his

I had

also occasion
of Edmund Tin-

go to Oxford.
Prologues,fol. 1549. Daye and William

wa^

"

It iathe

first edition

dale's

Printed Seres.

Becke's

Bible,which

includes

by

John

Xll

INTRODUCTION.

for the purpose

of

a manuscript treatise collating

on

music, written
of in

in the fourteenth

century, by Theinred
of which then is included
some

Dover,
the

the

only known

copy

Bodleian

Library.
bound

observed
are

short rules for old

singingdescant, which
are.

written

in

English, and

up

with At able

Theinred's my

treatise. Mr.
in

(Bodley,No.
one

842, fol. of the

48.)
very

request

George Parker,
the
as

assistants for
sent
me

Bodleian

copied those library,

to

rules

and,

they

related

church

music, I

Mr.

Parker's Choir.

transcriptto
I made

the

musical

The periodical, of
a

only the
wrote
me

additions
be
a

tion modernizathe side of

of the the old It had

to language,

printed by
the rules

text, and
then

few that

lines of introduction. had

once

escaped
not

been read

published by Burney
his

for,after having
The

work, I did
the

often refer to it. versions

difference

between Where should

"

two

is,however, remarkable.
the text
are

the direction^ in rise

" "

that the voice

belowyn
and
be

("above "),Dr. Burney writes below "); and (Burney language for
"

abown"

where do
so

it is

"levyd" ("leaved"
says
to

he so), curious

it is make

"

"permitted" to denyd." If any reader

or a

should
two

comparison between
one

such but

versions opposite
to invest

from

has

twopence

in the and

he manuscript, purchaseof The

to compare

Choir

of the 9th of

April,1870,
that of

Mr. of

Parker's

with transcript volume.

Burney,at
these de London

p. 434

his second the

"

Burney

states

rules to be
"
"

Ricardi compositio
ancestor

Cutell

haps per"

an

of the famous

Captain Cuttle

but

INTRODUCTION.

XIU

the the

manuscript attributes "copying,"instead

Theinred's

to him

of the treatise

only the operatio, "composition." So,

;

again,with

although Bumey
states

quotes only the first line of the Latin, he

"

it

Instead of de Quoniam musicorum incorrectly. his cantibus frequens est distinctio," the last word should be dissensio." Well might he complain of "the barbarism and obscurity of the Latin," as he read it (p.397) ; but this is only another proofof his unfortunate incompetence. If Dr. Bumey had been able to contribute a few examples of ancient music, and to present them in an form, he would have done something intelligible he could only copy specimens towards history ; but from others. The study of ancient music," says
" "

he, iti his Preface,

an

"

is

now

become
a

the business
"

of

more antiquary

than

of

musician
an

and It

he, at

would least, have been

as

not

claim to be

antiquary.
of upon his

might
that

well if his
as a

sense

in deficiency

respecthad
read;
but

acted

check whose

flippant judgments
he could
not

of old

musicians he which

works

then upon

would

have
as

lost occasions
a

for

smartness, in his

he relied

great attraction
Fellow

writing.
Dr.

Although
of the

Burney

was

admitted exhibit

as

he Royal Society, either in musical

does not
or

fications great qualiAt

"

in acoustical science.
says
:
"

p.

445

of his first

volume, he

The and

pound com-

interval,for instance, of the

8th

4th,

Pythathough undoubtedly concord, they" (the goreans) such." Dr. Burney "would not admit as
"

h 2

XIV

INTB0DUCTI02Sr.

is here

peculiarly unhappy in his correction of the Pythagoreans. Eeader, try-the Burney concord;
strike

C, G, F,

on

the

pianoforte. Now

take

away

the lower what

term

C, and substitute

F for the base.

That

is

other

people call concord, and the first they discord. Burney is demonstrably wrong,
no

because the root

such

sound This

as

our

can

ever

arise from the of

of C

is

proved in unequivocally
the basis of the arise
to

followingchapter tipon
music. sounds No concord
can

science
any

between
one

two

if they cannot
a

be traced

root.

To cultivate
tastes

and lively style

able to follow the fashion-

of the

day
for
a

were

Dr.

Burney 's two

music.
as

ideas direct in

of the desiderata model

was

of history J. J.

His

his admired clever and

Rousseau,

evinced

Rousseau's

but shallow and unjust caustic, and upon Italian music. The badours Trou-

writings upon
of
1 taHan

musicians

Provence, and
are

music, especially
themes

opera, and

Rousseau's

all but exclusive

to

of

praise ;
an

he raises them

greater prominence
not
a

by

undue

disparagement,if
of
some as

sweeping
countries.

condemnation,

the

music
a

of direct

other

Burney
he

is, in

cases,

from plagiarist with

to

Rousseau;
exceeds
and

but,
his
very

often

happens

imitators,
very
not

smart
to

original.In order clever.Dr. Burney

of and
an

appear

does

scruple

misstate

the words

author
to

in order to make

jokes at

thought to correct I have given so many him. proofsof his habit of to Popular Music in my Introduction perversion of the Olden Time, that,althoughthose quotations are
his expense,

be

INTRODUCTION.

"^' sufficient evidence of space.

were

limited of the

to

one

subject, they afford

further
two

fact, without

devotion historians

our Unfortunately, unable to judge of the

equally

age of other
were

and earlymanuscripts, took the

neither

the

one

nor

the

of precaution

from enquiring Thus

those who inverted curious

in

skilled in
course

they have
in
a

the

sometimes

manner.

An

paleography. and of history, importantmanu

thirteenth
one

written script,

the

first half
to

of the

century, is postponed
the second fourteenth be A
were

the

and fifteenth,
as

of

half of the fifteenth is antedated

of the

century.
if it

new

would history

therefore the
is

necessary,

only

to

re-work times

old
now

but materials,

the whole evidence. that

face of those

changed by
Music it
we was

new

It is unfortunate should
not

Dr.

Burney's History
his

of

have
an

been

tested adequately

before

adopted as
have been
are

authority ; for,since
often treated
out to

death,
upon This

too

lectures

music is the

which
most

simply cut
be made for

of his work. the who affait. fails in

melancholy part of
may
a

Every
some

allowance of the music.

man

very The

numerous

requirements for
ancient languages, those

histories of

various

and

modem,

the 'obsolete technicalities within obsolete the notation in which

the languages, is

ancient

music

written,

ment, chronologyof manuscripts and their decipherof a grounding in .general well the necessity as
in

as

science,the particular

wide

extent

of

general

ntiasteryof the subjectto draw reading reqxiired, the unremunerativo sound conclusions,and, finally,

XVI

INTRODUCTION.

character

of

the
,

amusemefit,
afford find

.or some

the

task,
;

as

the
it

chance
would

may

be, will
difficiilt to

excuses

but

be

any

for

one

who

seeks,
for

by

perversionof
as

texts, to

gain

undue

credit authors. is

himself

of

to ability superior

their who

Histories devote time

of music
to

requireone
the

willingto
have the been task made well

for the earlier porthem, especially tions.

once

But, when

foundations

securely laid, the

are

grea,t diffiqultiesof
then abler
men,

overcome,

and

who

have may

studies special

upon

branches, particular
of

step in and raise the generalstandard

Hitherto of the
at
we

knowledge.
to

have

lost those
start

advantages for- want

I
"

secure

basis to

upon.

hope

have
to

last succeeded
an

in that number how

fundamental of

part, and
in

submit of it. chain. the

ample

good

authorities continuous

proof
is the first Their

Henceforth

simpleand
our

Commencing
or

from

modern

end,

note

long

white
was

keys

of the

pianoforte.
the

arrangement
Modern Greeks.
D, E, F, to tone

copied from
derived organs in

keys

of organs. the
b,
c,

Europe
The
G, form
us

white the

keys
"

from originally question,our a,

"

Common

Greek The be

scale, conveyed
intervals of

through the
same

organ.

and

semitone

will hereafter in every and Greek

proved
their

to

be

the precisely

"diatonic"

scale. organs ing carry-

Next, the Greeks

from ancient the go in back

Romans

derived of

Egypt.
extant

In evidence

and this, of the

proof even
to
an

to the very

action

work

on

key, we Pneumatics, written

the birth of

Greek

in

the

third

century before

INTRODUCTION.

XVll

Christ, by Heron
new

of Alexandria. organ,
as a one

It includes
to

then

kind
a

of

pneumatic
as

be set in action the

by

windmill,
called

well

full

of description been barber

organ

which hydraulic,

had

recently
of Alexandria, After

invented

by Ctesibius,the Egyptian
and the

reputed
of the
to

teacher

of Heron. the

Heron's translating with the assistance

to test

of description
a

I made, latter,

friend, a

working
the

model

sufficient organ,
answers

of principle Heron's
a

hydraulic
it

according
the

du-ections, and

perfectly. By
that of of his invention

little

consideration, I
the
one

find

and especial object,

tage advan-

is,that

it

prevents the possibility

so as

overblowing the
much pressure wUl

instrument be

to

injure
it

it. the

If too

appliedto
the

the

bellows,
before

surplusair
the

escape

through
so

water

reaches remain With of the of

wind-chest, and

instrument

wUl

uninjured.
this

information, we

go back organ,

to

the hke wind

history
those -chest. I find
'*

ordinarypneumatic
bellows oracle referred

blown the

to-day, by

into directly
to

Through an
evidence
were

by Herodotus,
"

that the ancient

same

Greek
as

pairsof
which
we

bellows
see

the precisely in

those
on

picted dethe

Egyptian
of

smithies

the

in paintings

tombs,
them.
are

one

which

is here

copied to
"

illustrate bellows
as
"

Next, that those identical

to
as

of pairs

be

seen

sculpturedupon
century of
our

Roman
era.

organs

late stood

the fourth upon the

The them

blower nately alter-

bellows, and
his

exhausted

by throwing

weight

first upon

one

leg)

XVIU

INTRODUCTION.

and upon

then the

upon

the,other.
was

Therefore the

the pressure of the But

man,

wind-chest
the organ
was

weight
small. be

whether

largeor

in the

not regulated, only by making the receiver of a size in proportion of a pound, to the instrument, but even to the nicety fore, weight of water applied; thereby the proportionate at once, the advantagesof the Egyptian barber s improvement become evident. After in translating Heron, I found no difficulty the description of a double-acting hydraulicorgan, as given by Vitruvius about 20 years B.C., although his description has been reputed to be unintelligible.

hydraulicorgan

the pressure

could

Neither

Sir John the

Hawkins

nor

Dr. of

Burney

would

attempt it,and Gwilt, and

Then
a

translations

ton, Newarchitects,

others,are
another
an

turningto

really unintelligible. I found, through subject,

that computation, Egyptian musical scale

quotationupon
the precisely three Greek This

astronomical in the
as

the number
was

of notes
same

in the

Greek, including

the

scales,diatonic, enharmonic, and

had quotation been open upon
to all

chromatic.

ceding pre-

readers its is

of the Greek

authors

music, but
evidence

importancehad
in altogether
no

passed unnoticed.
accordance writer with alludes Greek works of my
to

The

expectation,
any

because between

Greek

difference

the

Egyptian and
best Greek

systems of music,
upon the science of written
doubtedly un-

although the
the soil of the

music, saving the Problems

on

Aristotle, were

Egypt,
teachers

and of

the

Egyptians were
science
to

musical

the

INTRODUCTION.

XIX

Greeks.

It

of eftectually disposes Greek the writers

claims

set

up

by

late comparatively
as

for their and

men countrychromatic

of originators

enharmonic

scales. Then
next to

the

Ghaldaeans, or

learned
an

men

of

Babylon, and
comment

again I find,through
as

astronomical the motion of

which,

usual, supposes

the and

planets to
thus
to

be

regulated by
musical the

musical

intervals,
that the

make the

harmony, everlasting
same as

Chaldseans

had

intervals of

Fourth,
that

Fifth, and
means

Octave,
may

Egyptians.
musical

By

we

the identify between whom

as

systems of the
were

two

great ^nations
with

which

the Hebrews had

situated, and

they

munications. frequentcom-

Next,
Hebrews. There
not

to

the musical have

system of the
at
a

should

been

loss,

through
I could flourished and who
"

understanding the
have referred the
empu-es
"

Hebrew

language.
writers and who

but

to

Jewish

under
wrote

of Greece
",s

Rome,
and

in Greek have of

such

PhUo

Judaeus
no

Josephus
of any

and

said that

they make
Also that

mention
not

differences

system, although they

music. the

frequently in-

refer to instruments
are

m'usical

named

in the

Book and

of

Daniel, if Jewish,
there
ate

like Greek, wonderfxilly unmistakable here my Greek learned for

that

lyres
coins.
of

of But the

formfe

ilpon Jewish

Dr. friefid, of the

to

Ginsburg, one
Old his

committee and

revision
me

Testament,
thority, au-

assists me, that in the Book

enables
names
are

state, upon
musical

the

of the
not

instruments from

of Daniel

derived

Hebrew

XX

INTKODUCTION.

roots

and, further,that he has found

of the So
at
use

in proofs organ

the the that of

Talmud Jews.
we

of the
we

hydrauHc
may

by

henceforth

conclude fairly the

A,

have

last arrived

at
our

musical

system
g.

ancient Then ancients

Asia, and that it is

the

B, c, D, e, f,

interesting question arises, "Did

1
"
"

the

practise harmony
at

Undoubtedly they
of

did"

even

the

time
a

of

buildingthe Pyramids
of

Egypt. chapteron
the end

It is not

matter

doubt, but
in

matical mathe-

certainty. This Egypt,

at

is shown

the

following
of

and

the reader
an

will

find,towards
a

of this
concert

vohime,
the

Egyptian
of first
at

caricature

quartet
which

Court

Rameses

III., in
the

the

King plays,not
had
not

fiddle,because
the
use

Egyptians lyre.
All science

arrived

of sounds

bowed the

instruments,

but) instead
to
;

of

it, he
vast

this tends of music has

show

thean

of antiquity and

the

also what for any started

open

neglected

field there musical

been

dihgent enquirerinto
with sound.
to
us an

historywho
of the in another

elementary
the take

knowledge
Now,

of principles

direction, as
words. Let

changed
the
two

meanings
last Greek
F, G, A, count

of technical
"

named,

enharmonic

and

chromatic."
d

The
e
we

enharmonic minus

scale is the and

diatonic A, b, o,
the

the Fourth the

A,

Seventh.
as

If

"

it from
our

key-note upwards,
B, c, E, F, A.

in modem the

it is scales,
tones

As

to

quarter-

of this

the two

merely added to utihze D and unemployed strings, g. Quai-ter-tones

scale, they were

INTRODUCTION.

XXI

both

were,

and

are,

of harmony, and, insusceptible

therefore, they
to

could

only

be

used
at the

as

grace-notes,
of
a

give a
as

little graceful whine the modem

end

phrase,
the best

just

player sometimes
his violin. It rests

whines, for
upon
not
an

expression, upon
that authority the

quarter-toneswere
that

essential
not

part of

the

scale, and

they
did not

were

sung

Plutarch originally. in singers and when Section

to
so

states manner,
as

that ancient

and singers, them

;

the ancient Aristotle

employ

says,

in his fifteenth melodies

ease were

problem of preferred
.

1 9, that

enharmonic
account

diatonic,on

of their
custom

and

simplicity,
taken
to

long

as

it

was

the

for

gentlemen to sing
may be for

in the certain

dithyrambic choruses, it
that the

gentlemen
enharmonic and' the without

did

not

attempt
valid Seventh

sing
for The

quarter-tonesin chorus.
the preferring

The
was

reason gentlemen's
a

one. are

ascending Fourth
easy to

minor

not

sing by
from the

ear

accompaniment,because
to that of the
a

they come
and
want

different roots

key-note,
The

support of

different

base. the

reader
on

will find this

fullyexplainedin
The minor

chapter
is
tone

the basis of the the

science.

Seventh
a

and rejected, below minor

to the

major Seventh, only half

for it'in is
so our

the octave, is substituted scales because

ear.

present

the former

imsatisfactory
ment great improveIt includes the
it

The

Greek upon

chromatic

scale

was

the Greek minor

two

enharmonic.

enharmonic the changes

scale of the A, B, c, E, F, A, but

f

quarter-tonesinto

sharpand

sharp.

XXll

INTEODUGTION.

By

these

when sharps,
a

used

instead

of the

ing correspondnumber and

naturals,it adds
of notes the
as

major scale
;

of the

same

the minor This Scotch

each of

wanting major has

it has

the Fourth been been The

Seventh. the

kind

popularly recently
tones
name

called named
a

scale, and

Or pentatonic,

"five-toned."
it

last is not

because happy designation,

tones

not of consists,

onlv, b'ut of
must

and

minor

Thirds. be
are a

If the less

be

would Greek, pentCiphonic nainor Thirds semitones

cal equivoby
the

cofiipound. The
omission it
notes
B.

caiised scale.

of the
on

two

of the of the
A, c,

posing, Supand

the be

white
c,

keys
B,

the pianoforte,

would

D,

G,

omitting F
of the order

If

transposedto
be
in

the black

keys

pianoforte,
froral
F

it

would

regular ascending
in explanations

sharp.
in

I offer
to

this

digestedform vividlybefore recapittilamake the

to

order mind

bring ihe
the

points more
The
mere

the tion Uttle of

we

of

'reader.
or

'df the

notes,

intervals,would
memory I make
tise ;
a

but

impressionon
at

the

but

by

system

Explanationwhich
"See
a

rule

employ,
we

glance the
ears

of the

-and scales, and the of

appreciatethe
Greeks. It of

of

the

Egyptians
that, out
the

the three will

is remarkable

of

specimens
find here Dr.

Greek

mUsic, which

readers than

given in a more Bumey, one hymn

form intelligible should be in

a

by

althoughthe Greek of such a scE^e. It

in
or a

major key, diatonic system hardly admits eofold oiriy be by change of key
a

thus making pieceof musifc,

on

Second

key-note,
Yet

Mese,

the

third

note

of the scale.

how

INTBODUCTION.

XXIU

natural
to to to

it

is, having
on

A, B, c, B, E, F, G,

as

scale,
thus

begin

gometimes

the
a

third

note, c, and
The
ear

changea minor it,againstthe

And
now

into laws

major key.

guided

of the time.
more cerns immediately con-

to

pointwhich

the

reader of classics than

now

the

musician, and
may

which, being
deserve
a

developed through music,

consideration from

little further The

grapher. the lexico-

of misapplication

Greek
to

words musical

by

the
;

Romans

was

by
the

no

means

limited
arts

terms

it extended has three

extract

into

various

and made Greek

sciences,and
within the

it last

affected
or

translations from

four

centuries

authors. in
as a

One
at p.

fron^Vitruviiis
of corruption

(herequoted
the
in
case

note to
;

380) will
submit,

suffice to establish
terms

the admitted

architecture

but, I
a

very

simpleand
in the

generalexample
Greek into

of

verted per-

meaning
When anti is

anti. preposition

compounded

newly

invented

in the Roman sense Englishwords, it is invariably of ;" whQe in translations from the Greek, against of the where ag^iinst would contradict the sense
" " "

author

"

aa

in all references rendered If

a

to

future
"

time
"

"

it is in the

commonly placeof.''
be
"

by

the Latin
" "

loco," or

thing be

against another, it
one

cannot

in its

place; "
at

therefore
a

of these two

must

be
to

incorrect, or,
the word there
more

best, but

secondarysense,

due

with which
a

anti is then

compounded.
notice,and

But

is

third

which translation, hitherto the into

should be brought
one

than strongly

too to

by firmlysupported

highestGreek

authorities

XXIV

INTRODUCTION.

be at anti "in
"

all doubtful.
means

It will be

seen

by

them

that

and "accompanying," "corresponding," Therefore, far from being harmony with." is in

;

it against,"

concord perfect it is

and

agreement
"

with
or

its fellow

and

not certainly

instead,"
simul-

"in

the

because place of" anjrthing, of the two is often necessary

the

taneousness

to constitute

the

harmony.
of the be
one

to his translation Meibomius, in the preface

Greek
"

authors
;

upon still he

music, admits

this
"

to

sense

but

preferspro,
"

for," which

is

perhaps doubtful, as
senses,

well

as

as primary against,"

for the

reasons. following

The
so

four

letters,
to
one

anti, cannot
another
must
"

have

three

meanings
their which

opposed

two and, consequently,

of the

three, if correct,
I submit three in

depend

upon

compounds.
all the yields
our

that

the

primary sense,
in

is nearlyexpressedby composition,
as
"

word

counter,

compounded

counterpart,
more

opposed to," but

with." anti

being necessarily responding frequently"like,"or "cor"

not

Perhaps
the

we

have

no

exact

word

to

express both

means

it Enghsh language, as ""accompanying" and "corresponding

fullyin

with;"
seems

"the
to be

fellow,"or
the
nearest.

"the In

other." the

"Counter"

excellent lexicon
as

of

Liddell

and

Scott
to

these

appear

sixth

and

seventh

meanings

anti,but

only

in

composition.

Qnam enim falsa est vocia avri"contrarias XopSoQ interpretatio ; contrariwm sonum chordas habens, chordis emittens, ohsomis, dissonus"
"

transoripsit Stephanus), cum

oandum sit

expli"consomis, conveniens, concordans,congruens," -atTieajchiaB et Suidaa illam optime explicamnt,

'

(quam

etiam

in

Thesaurum

suum

"c.

INTRODUCTION.

XXV

Two

"

fellows but

"

may
may

accompany also be

one

another

in then

cord conare

they
the

hostile,and
may

"against"one
the

another.

Or,

one

follow and
a

take

placeof
his

other,and thus become, ia

"instead in the
sense

secondary
The
"

sense,

substitute, or
anti

of" of their

him.

Romans sometimes from Latin

employed
with
an

against,"
varied the

admission Greeks.* such

that It is

use

that that
as

of the
we

only through

derive
"

corrupt meanings of Greek

in this
to to

words,
as

in

antiphonary,""antiphonal" singing,
more

well

as

many

which

wiU

'be shown

when it descends more especially history, mediaeval to have hardly any relation period, Greek
sense.

the the

Upon

the

point of antiphonary and

are

full antiphonalsinging, p. 11,

authorities and

given here

at to

beginningwith

Plato

down Aristotle,
as

Byzantine Greek.
and
seems

These

all agree of

to the consonant

correspondingsense
to

anti, which, therefore,

it has

deserve If
we
or

greater prominence than

take such
a
"

yet

received. is a
"

compound
base of
a a

as

it antibasis,

fellow

companion
to,
nor
as

second

column,''
first.

neither But

opposed
alone
to

substitute

for the

the real test of the

;

meaning

of the word

is where
out

anti stands
of my the

and, without
for

having travelled
are

path

seek

examples,there
anti
can

two
mean

in

following pages,
Interdum enim substituitur Grseei

in which

neither

mu-

pro iam.
^
"

Vareno

in

familiam

Anchiran-

tua

aoouaatio, qnam

dirucar))-

[Ibid, 10.)
basis in
.

nostronimveroconcer"yopiavvooant,

Columellae
octo.
.

solo foramiminor avri-

tatlvam. In

"

(QuintiUan vii. , cap. 2, 9. )

nnm

Posterior quae Greece dicitur

x.,

quibus similis, atque in avriKan}cetecausarum, yopia, personarum, ut Cicero, rorum comparatio est
:

colnmna,
"

PaaiQ. (Vitruvius,lib. vuJgo 15.)

cap.

10,

XXVI

INTRODUCTION.

"against"
cases

nor

"in

the

placeof."
rendered
reverse

In

both

of these
"

the translators
"

have

anti the
at

by
p. 53

in the of

of place

and they thus (loco), The first the

meaning

the authors.

quotation is

of the

where following, but the rather

use

reputed

Demetrius

Phalereus,
recommends the

Dionysius of Halicamassus,
a

of

musical
to

instrument

to

accompany

voice,in order
have

keep

it in tune, and
to

the translators without

an

changed it into advice accompaniment by their "in

of "with the the the

sing
In has

the

place of"
the been

instead second driven which

accompaniment
words

of."

instance, p. 305,
to
a

translator of

of perversion
must

of Sophocles,

he

have
as

been
if
to

fully conscious Sophocles had

create
a

(translating
6? Trepi his

w(7irepei \vpai
in y^vpas),

written

order anti

for justification Greek

rendering of
Rhetoric modus. the In
at

by
was

loco.

The

is original the Chair of

who by Polydeuces, Athens is

now

appointed to
the Roman

by
more

Emperor
Julius

Cornunder

He

generallyknown,
as

romanized reference

form
to

of his name,

Pollux.,
is to be

this second

example, it

remembered
were

that, according to
two

there authorities,
a

but that
use

horns,usuallygoats' to horjis,
were on

lyre,
only
for

and

they

oppositesides.

The been

further

of horn

in

lyre seems
neck
as as

to have

the pegs, the

name

which, having been

skin of the weU of
as koUopes,

made originally
an

from the

thick of and

ox,

retained AU

of kollaboi.
to

paintingsagree
so

two

horns who

sculptures only,as
make

do

authors,

far

as

can

trace

them,

INTRODUCTION.

XXVll

mention specific material lower

as

of the would

parts
have

of the

lyre.* Such

horn
or

been the

unsmtable
to lyre,

for the which

;

bar,

of hypolyrion, attached in

the

were strings even

instruments primitive horn would horn

for,

if

a straight,

natural
a

cumference, taper in cirwere

and down
to
a

if

largepieceof
size and

pared
be

suitable
purpose,

length,it
to

would

unfit for the

owing
I of

its

The elasticity.
rest.
was

drawing Upon
not

up

of

one

would string
am

the disarrange there

these

grounds
on

opinionthat

any As

third horn

the

lyre.
of and "opposite "against" for both rejecting
as

to anti in the

sense

to,"there
not

is sufficient

reason

because being primary translations, incorrect

to
a

they
word

are

demonstrably
used when his
"

when

the

Greek For in the

is

in reference Archelaus father Herod ii.

fiiture time.
"

instance,
room

reignedin Judea, {avri'UpdSov

"

of
avroO

tov

irarpos

Matthew
" "

22),
"

Archelaus
"

could

neither

be

his father, because opposite to against nor dead. he ruled only after Herod was Perhaps our translators might have been justified in translating Archelaus that to," or reigned "correspondingly
"

like

"

his father

Herod, since
like
"

we

admit

the rendering anti-

of anti

by

"

in the

compound word,
of

in the works theos, "godlike," and

must

Homer, of Plutarch,
are

elsewhere. be left of
our

These, however,

wholly
eminent

to

the

which questions judgment and to the

Greek scholara

decision
"

and

matured
yap
"

Tqe

Xvpae

im^a'Sm 'Ep/iijg
xal Kai Jiiyow

TO m^vsita vpHroQ Xiyerai Kcparoiv Svolv TO fiiv X'^WC

...

gipag atyigI'JaXow, voarrai ^atn. (Philostrati Imagines, i. 10 ; Am-

) phion.

XXVUl

INTRODUCTION.

It is still rightthat I should

draw

attention Greek
to
;
me

to

any

points
terms

which may

the

of investigation it appears

musical that

suggest, and
runs

musical

evidence

in

this

direction

tionably unquesThere is

it is
stiU with In upon
some

so

in musical in

compounds.
for Greek

amusement

store

scholars

the the

anti. preposition

chapter on
immutable

ancient laws

musical

science, and
form
or

those

which

should ancient

the

basis of all musical

whether science, have

to

modern

(pp. 186to
the laws

251), I
as

endeavoured in
a

to
more

explain

of nature

sounds

generally
the

manner intelligible

than This

they have, perhaps, been

is

hitherto

presented.
the

by revertingto pipe,from
can

teachingof
those laws

stringand
first learnt. take it to

of the

which
more

were

Nothing
a

be

simple,and
in writers of

be

great desideratum
should make selves them-

historythat they by
but the

understood Some and determine

we

number largest the science that

are even are

of readers. ous, reaUy curilaws which

of misconceptions I
can

think sounds

the

musical take
some

not

well

understood,if
of the
von

may
as

of the most I would als

popularworks
Die

day
den

examples.
Theorie der

instance

Lehre

Tonempjindungen
die of in Physiology has been

fur
This

physiologische Grundlage Musih, by H. Helmholtz, Professor

of Heidelberg. University widely popularized through a
at

the

work

series of lectures of Great bs' the

delivered

the

Royal Institution
other

Britain, and
Professor of

subsequentlyin
Natural

parts,
that

Philosophyin

INTRODUCTION.

XXIX

institution. 'bears the the of

The of

third

edition

of Hehnholtz's the second Professor

work of

date

1870, and
on

edition

Eight
1869.

Lectures The

Sound
are

by

Tyndall,
from antidotes

lectures still

largelyderived
include
some

Helmholtz, but
to

they

his doctrines. I cannot admit that Helmholtz's deductions from

Tonempfindungenare such as will lay a true "physiological groundwork for the theoryof music," Not as designed by the learned author. only are there reasons for differing with him as to the due employment of the scale of natural sounds, but also to his theory of harmonics to his supposed as ; as
the
causes

of

consonance

and

dissonance

as

to

his

imaginarycauses
instruments; and tones," to which
"

of difference in the tone

as

of musical

to the true

nature

of "resultant
new
name

he

has I

assignedthe might
add
to

of of

difference

tones." since

this
as

Hst

but, objections;
doctrine such of the

is physiology

defined of

"the

constitution the above

of the laws
are

nature,"

examples as

within essentially

it,and may

suffice. Helmholtz had the duly appreciated

or

If Professor
use

of the scale of natural he

sounds of
"

harmonics
"

to. I

which

assignsthe
scale of

name

overtones"
are

and

demur,

contending
a

that

they

not

over,
"

but he

simply
would

successively rising sounds

the

have

taken

primary note
harmonic

of the

whole in his

for string Tables in the

his No.

1, justas

Dr. Pole has done

of the Treatise

natural
on

notes,
the

incorporated
Sir F. A.
c

Harmony by

Rev.

XXX

INTBODUCTION.

Gore

Bart. Ouseley, No.

The

reason

for of

is obvious. No. half No.

1 is the

sound

it so preferring the whole string ;

two

2, when

it divides

itself into

halves, each
above No.
1.

simultaneously sounding the

3 is when

Octave

it divides

itself into three the

parts,each
added
note.

of the
on

three the that

sounding Octave)
the third

Twelfth
the

(a

Fifth

to

above

fundamental
whole

Mem.,

part

of the

string is
above

identical

with

two-thirds
same

of the

half

fore therestring, Twelfth

they yield the

that In of the whole order

a note, viz.,

the reader Octaves the whole in

length. to avoid explanationsembarrassing to calculations of the rising by simultaneous the Harmonic Scale,I have explainedall
as

sounds

they

lie within I

one

Octave

of the the half

string.
you

Therefore raise the

say,

"Stop

and string,
an

pitchof
part of

the remainder
a

by
you

Octave.

Stop the
of of
you

third

and string,
a

raise the the the

pitchby
a

the interval and string,

called you

Fifth.

Stop

quarter
interval

raise the

pitch by

and string, sixth

part, and
less than

Stop the fifth part of a raise it by a major Third. Stop the Stop you raise it by a minor Third.
a

Fourth.

.the seventh

part, and
a

you

raise the

pitch by

thing some-

minor

Third, it being the

interval which the

tion propordivides

of 7
the Fifth

to

6, and

the exact

of the

Scale from
a

Harmonic
you

Seventh.
raise it

Stop the eighthpart of

the still smaller and

and string,

interval

between

the

by Harmonic,, or
not

true. Seventh These

the Octave. and

seventh

eighthsounds

are

used

by

INTRODUCTIOK.

XXXI

US

in

music, but they are

interval of the

Nature's
as

primary divisions
betv?een
same

of the in the

Fourth,
has
as

and

C,
of

key
to

of C.

Nature Fourth
we

the

number below

divisions C viz., sounds

for that

for the
to

Fifth express

it,

G, but

lack words the interval minor

the two

which

divide

of the

cause, Fourth, behave but

a

having alreadya
"

Third, we
each
name

minimum
use

"

Third will

to

give to
us

of

them, unless
the former
a

technical diminished minor If

we

permit

to

minor

Third, and the latter the minimum

Third. pursue
a

the

division raise it

further,stop the

ninth

part of

stringto
part
to

by by

major
a

tone, and
tone.

stop

tenth the

raise it

minor

So

just as

stringdivides
of the

itself in nature is divided

fied (exempliart

in the ^olian smaller number diminish But

a

harp),or

by

into

and

the aliquot parts, pitchrises. holds

a

musical

intervals

Professor

Helmholtz

theorythat,when
are

string is struck, aU

these

harmonics

taneously simul-

superposed(seeHelmholtz, Tyndall's Lectures

How is it nodes
on

pp. 262-3, and

116

Sound, pp.
a

and divide

127.)
itself

that possible into all these

string can
sounds
can

by

simultaneously'?
be well sound
no

If this
as

theory be
in music. the
at

true, there
We

such

thing
our

concord

might as

playwith
an

elbows

upon
or

and pianoforte,
once,
as

Octave of
a

notes,

more,

lay the finger upon

seems

ticular par-

key.
been arrived that
"

This
at

conclusion singular
use

to have
;

through the
a

of

Resonator
ear
"

getting for-

like

shell held to the

it mightbe

XXXU

INTRODUCTION.

sound : or else, by instead of repeating, a producing, mistakingreverberation for the simultaneous emission tainly of many from one notes string. The changes are cer-

rapidafter
to to

the

primary sound.
I heard

I have

listened

-them, perhaps a thousand try

to follow the scale
as

times, in'years gone

it and rising,

by,
.to

test

the

judgment
upon
me

of my

ear

by trying to

touch

the

final note

the

pianoforte. There experiments.

were

many

sharers with old I

in those

Some very

of the'

grand pianofortes yieldedharmonics

any

freely.

appealto

musician, but practical

to

those

accustomed and

pianofortes ; also
succeed in this others.

to especially to pianoforte

manufacturers

all tuners, whether

one

it is not another.

putable indis-

that harmonics it is Helmholtz's him into

numerous
error

Surely
has led should

respectwhich
If the
turn

reader
to

Regnault's sound conveyed through gas Experiments upon pipes at Ivry,printedin the appendix to Professor TyndaU's Lectures (p. 329, edit. 1869). I quote a few words. In very long conduits, to hear well the it is necessary to employ a baritone (voice) ;
still have any

doubt,

let him

"

"

"

fundamental

sounds succeed

are

heard

before

the

harmonics,
of

which
If
more

then

each other in the order be

pitch."

evidence

required,turn

to

Professor

TyndaU's Fifth Lecture (pp. 202-3) for an account of Kundt's dust experiments. He strewed the light of lycopodium within a glass tube, and the formation
of the nodes could be
seen,

and

how It

they

were

all

changed with any change that a column impossible

of note.

is,of
a

course,
can

of air within

pipe

INTRODUCTION.

XXXUl

divide

itself

into four, five,and simultaneously the nodes of the those four

must

six

parts, because
with those

interfere

of the

and five,

of the five will be of the six. It is

altogetherdifferent

firom those

in a string. The little paper as precisely impossible jockeys that are saddled by experimentalists upon the nodes thrown off the moment are string is changed, and note they prove that the no longer exist in the same places. These
a are

of

the nodes nodes which

the in

junctionpointsof opposite directions.

the

uniform Each

vibrations node in is

act rest

kept

at

by

equalityof

tension

those

opposite
"

directions.

Next, Professor
addition
"

Helmholtz
"

asserts

that call

it is the

of such

overtones tones

(which I
same

harmonics)
ables en-

to

fundamental
us

of the

which pitch, of
a

to
a

the distinguish

sound of

clarionet

from both."

that

of

and the sound flute, This

at

violin from

(Tyndall, p. 127.)
It falls to harmonics How would the

is,indeed, a strange theory.

once

groimd

by

the

fact that
are

the
!

of the flute and the learned

of the violin
account

the

same

Professor

for the

great

differences of tone

produced in
be surely,
no

harmoniums
aware

of many

stops?
Tones

He

cannot,
emit certain has

that the

springs

of harmoniums when

harmonics, but only Resultant

notes
are

two

sounded harmonics

together.
without
even

Helmholtz

written them

upon

having studied
know
one triangular,

for he sufficiently,
are

cannot

that, if there
square, in breadth

three

organ
a

pipes, one parallelogram

of

and

the third

of two

to

one

of sides to breadth

ends,

XXXIV

INTRODUCTION.

of different qualities they will pro(iuce aU have the

as same

tone, and

yet

harmonics.
consonance

Next,
the

to

and
two

dissonance. is

Surely
and

meaning

of those
names,

words derived

pressed exsufficiently

in their

from

consono

dissono, and
I have

yet Helmholtz

misunderstands
at p. 225.

them.

them fully explained

221, and the

After my that
more
a

theory

of Helmholtz been
sent

follows,at p.
I printer,

sheet had

to the

observed been

an

tion, explanaconcisely quotation re-quoted

237, but
Herschel's

mine, anticipating

had

expressed by given by
Sir should Mr.

Sir

John

Herschel, in

J. H.

Griesbach.

I have
at

John, through Mr.

have had
as

Griesbach,

p.

covered noticed
to

myself with
the passage
Tones.

Sir John

if I aegis,

in sufficient time. The unsoundness

Next,

Resultant

of Helmholtz's
at

shown theory is,I think, sufficiently In

to

my

pp.

247-8. Tones

his

change
Tones He

of the he
was

name

of

Resultant

Difference

misled the

by

his

imperfectexperiments.
a

employed

Syren,
numerous one

nondescript instrument, through which puffs of air are simultaneously emitted,

each
a

puff through
becomes
a

hole.

He

forgot that
of

each

puff then
therefore,
heard the

separate column

air, and,
he

separate instrument.
sound of

Although
not
case

one

the other, thus neutrahzing

causing intervals
time
to

silence,he did
This
was

allow of the

self himtwo

think.

the

over again,as illustrated at tuning-forks The condensations lectures. of Tyndall's coincided with of sound issued by the one

p. 258

of

the the

waves rare-

INTRODUCTION.

XXXV

factions of the other the of particles air the

while the therefore, other

one

urged
them

forward, the
two

drove

backward, and,
neutralized this may be the

having equal forces,each

The

other.
in

experiment
any
one,

to
as

prove it
was

put

by practice
and hold

by

me

repeatedly in days long

into vibration
turn

ago.

Take

two

of equal size tuning-forks

set them ear,
;

tune perfect
one

together;
the it ;
to

at

an

angle to
close of the

and

the

other

slowly round
the tone the
two

sometimes

each held

will diminish

other,
are

and, if

equidistantand
should

forks

exactlyequal,they
You
two

neutralize

one

another. hold the

can

may

to a looking-glass perhaps require

but exactly equidistant, them.

another is

person

hold but this the

Partial neutralization is

easUy attained,
lost in

completeneutrahzation
from rough experiment,

in hardly practicable

the time

finding
of the struck shall
to

distance,and requisite
The
two

the short duration

must not

vibrations.

forks

be
one

because together, begin on the half

it is necessary vibration of the

that

the

other, in order

neutralize its sound.

I
am

persuaded that
vsrritten under and that

the

Tonempjindungen
pressure
amount

is

hasty book,

the the

of manifold of fame and

engagements,

which has attended popularity Therefore not fullyanticipated.

was some

its

production was
value of time

the

too

in its composition, considered and largely experiments, such as those necessary very
were

upon has

harmonics,
been
so

omitted.

But, since
may

success

widely attained, it

be

hoped

that

XXXVl
,

INTRODUCTION.

the author
of his bear Chi

will find time

to

revise the next

edition he will

popular book, and,

an

in

doing
for

so, that
men

in mind
va

admirable

motto

of

science,

sano,

va

piano.
one

I will note

more

error,

not

only because
to

an

importantone,
stands

but
means

because

in it Professor It
seems

Hehnholtz
me

by

no

alone.

the upon

invariable musical
as

of practice

mathematicians the Fourth

4 to 3.

who above

write the

to mark scales,

note keyas

in the

of proportion
5 to

3, and
Thus

the

Sixth

in

the

proportion of

they

ascribe

concordant
When
a

to proportions

two

discords. itself

string divides
in the

three,four, and five

and of five vibrations the whole

into successively equal parts,making three, four,

same

time

as

one

vibration

the notes length, produced are the Twelfth which arises from the (orOctave and Fifth) three parts the Fifteenth (a double Octave) from
"

the four above This

to

parts
"

and

the Seventeenth

(a Major Third
the who five wUl

the may

Double be

Octave) by
217

from
one

parts.
refer but
ear
:

verified
at

any of

the

scale

p.

this

book]
to

it in the

may
a

also

be,

satisfactorily proved
4 to 3

the

moment.

Suppose the
C is stUl marked
"

scale to be that of C
as
"

F above

i.e., as

tions 4 vibra-

of F to 3 of C
5 to 8.

and

A, the sixth above

true

C,
as

as

This

will

only be

if you

play F
of F.

the

base, for F is the requiredTwelfth

two

below

C, and the
If
we

concords such
a

belong only to
base
as

the
two

key

take

C,

one

or

octaves

below
too

the

nominal

our key-note,

is too long or string

short,

INTRODUCTION.

XXXVU

and
true

we

change our
3 and to

concords

into discords.

The

only
G.

4 to

5 to 3 in the
;

key

of

C, are

the Fourth
to

of C down The
reason

and

the

Sixth

of E

down

of the

of misapprehension
not

old mathematicians Scale. them

may

is that

they knew places.

the Harmonfc did order

not

They
to

calculated proper

intervals,but
The

limit
a

their be
are

of

scale

not
ours

changed. Although not Each so. really

Greek been old Tetrachords borrowed

called has two

or

Octave

Scales,

roots, derived
I

from show
more

two

Fourths, which

to have to

from

Egypt.
the

We

owe

those

gentlemen of suspected.
range

Pyramids

than

has been
In
a

hitherto

the

wide exceediagly music

of

which subjects desired

to

historyof
I

I have entails,

often

consult

to hear others, especially

to objections to

any

conclusions

might
To

be

inclined

draw, and
of

times some-

to avail
as

myself of

the sanction

great

names

authorities.
are

these in
not

gentlemen acknowledgments
situ,but there
been
ai-e

usuallymade
have

other Some

which obligations authors have of rather

a

expressed.
I
out

in preference, their
errors

which

largely cipate, partibefore,

in

having

pointed
have

than

after, their
to to
a

books

appeared

print. having
own

I confess
too

objection against particular

My perculi.''
them often been I
was

often

sing Plaustrum

proofswould

have

corrected indifferently
can

if

wholly by myself, for

what

hardly read intended,and

from
am

critically, knowing
"

errors overlooking typographical

"

worn

sight.

I have

upaet my

apple-cart" I

done

for !"

XXXVm

INTRODUCTION.

had

also the

dread

of

from

Greek,

since

trippingin my translations studies ended my antiquated

had the kind W. Aldis assistance

in the year of
a

1823, but I have

learned of

very

friend, Mr.

Wright,
the the the first hard
note

M.A.,
most

Bursar

TrinityCollege,CaiDabridge. He
over

looked obligingly

the

proofsof
most

eight chapters,which
Greek
on

contain

of

passages

and

kindly

contributed

p, 30, which translation

am

bears

his initials ; he

also examined

my I

of Heron's
to
on

Hydraulic Organ. Lastly,

J. P.

indebted Lecturer

the

Eev.

Mahaflfy, f.t.cd.,
the

and
of

Ancient

History in

University
the

revised Dublin, for having carefully

proofsj

after all sheets To of p. Mr. the

except the last had

am

been

printedoff.
for the
at
use

Mahaify I Egyptian
and which
to

further

indebted which

caricature forms

appears

my his

399,

the

to frontispiece

Prolegomena
This

Ancient mind
casts

History,8vo.
my

1871.

calls to

very from

to great obligations

Mr.

Murray
would

for

the
on

woodcuts Ancient

in

Sir

Gardner It have musical

recourse

Wilkinson's have
an

works

Egypt.
me

been

scarcelypossiblefor
of ancient

to

given
to

adequate representation of Egypt,

Gardner

the

instruments Sir
more

without for

Wilkinsdn's
than

works,
all the

they

contain

examples
drawn

other theless, Never-

publications splendid upon

I have and
am

Egypt together.
from other

sometimes
to

sources,

indebted

Lepsius's Denkmaler

for

the establishing the ancient

of harmony practice among three Egyptians. When pipers are

certain

INTRODUCTION.

XXXIX

playing together witli pipes

we
are can

of

different
notes

lengths, they

almost

establish

the

which

playing.
I have had the
upon

advantage
Dr.

of

consultingother
among

learned
I may T.

friends

special subjects ;

them

mention gratefully Dr. Samuel Dr.

Ginsburg, Professor
F.11.S., and cases,

Chenery,

Birch, LL.D.,'Sir Charles Pole,

Mr.
my

Wheatstoiie,
H.

F.R.S.,

J. old

Griesbach, besides, in numberless

Mr.
B. A.

friend
at

G.
M.

A.

Macfarren, Professor
His criticisms led
me

of been
new

Harmony
of

the

have into

great
of

value, and

have for he

often is

trains of the

thought ;
of my

one unquestionably

most

scientific of eminent
one
more

musicians

in

Europe.
be held have

Still, no
sible responI

learned

friends is to I may
on

for any
can

that opinions endeavours I had

no

expressed.
to

only plead
that

my

part

arrive at

truth, and

theory to pre-conceived
had the effect of I have be the of

support,which
the

might
As

have

warping
any

judgment.
tell,not

to

whether may read

added

remarks original
cannot

which

value, I really
of modern reminded

having
"

works I been dictum

writers of

Too sufficiently. that nuUum

often have
est

the truth

jam

quod

non

sit dictum be my
own

that what I supposed to by finding prius," fore, had been anticipated by others. Theremake I
may
no

I find it safer to
more

claim. been

It is aU

the

probable
I have that from the

that

have
any

anticipated,
Still,
useful

because I

started book

without may be

crotchets.
a

hope

found

sifting

of true

false doctrtne.

xl

INTRODUCTION.

I have tioti

been
the

induced

to

write this of
a

long introducIt is to for jjook of

to

by

recommendation
some

friend. the
one care

givean
those
numerous

epitome of
who may

main

pointsof only
not

feel interest who

in

the

and subjects, aU.

may

enter

upon
reason.

Space can My
intention
to have

be

given to

it for the included volume.

following
Hebrew While

was

to have
a

Music, and

made

thicker

labouringat
advance Judseus
to

that

and when, through not subject, Hebrew the

the understanding
further and these

language,I
wrote

could

not

than

with Septuagint, in

Philo

Josephus, who
a

ing Greek, add-

few

extracts

from

Greek

authors,
on

my
case,

learned and

friend,Dr.
offered
was

Ginsburg took pity

undertake
that such
an

my

to

part of the offer,

history. I
for

exceedinglyglad of
in the best

even relating, everything

ought to
exceed
was

be done

to the Bible, indirectly, But the possible way. to

subjectgrew
the

in his hands limits of the after added

such

an

extent

as

to

proposed
many
one

volume. had

This been

discovered

only

sheets
more

printed off.
own

I then

sheet to my
with of starred Hebrew

work, which
and Dr.
a

therefore

appears

pages, Music The

to

Ginsburg's History
second volume.
to me, to

will form

recommendation

make

an

attempt
years ago

explainGreek
the late of many

music, proceededmany
eminent intellectual
at gatherings

from
at
one

historian,George Grote,
his

house,

first in Row.

Eccleston It
was
no

and Street, doubt

afterwards in Savile
my

owing to

havingshown

INTRODUCTION.

xli which
1838

for disposition
cause

any

work Between

would and had

advance

the

of
to

music. every
two

1840,

in

addition and

day
their

duties, I

collected

in published, Airs
an

quarto volumes, the National

and history, had
two

EngHsh
and
"

with active the

projected
societies

taken

out part in carrying

the

Percy,for
and

pubUcation of
prose of
as our

old

ballads,lyric
the the

poetry, and
manners

such

would

exemplify
;

customs

forefathers the

and

Musical of

Antiquarian Society,for
The
two

pubhcation
service
me

earlyEnglish music.
eleven The time. latter

societies flourished did

together for
their eminent but with like

years,

and

good

in

brought
whose

around

many

musicians, from
thus

discussions small

I could

and profit, the

improved my
and

acquaintance
The

of the art principles advantagesof association my

of the science.

with first-rate musicians brother

to to

enabled subsequently the

many

youngest

direct

Monday Popular Concerts, and

unknown musical those
many

bring forward highest order

now

gems
concerts.

of the

for the been

patrons of
for

Thus, he has
at
one

working
of

years

end

of

the

chain, to advance
cultivation
at the

the

knowledge

and

to

improve the
on

music, while

I have

still laboured
to

other, to establish the basis,and

the

unite

the
I

scientificwith

knowledge practical
science
to

of the art.
so

hope
form think

to

have
no

presentedthe
one

in
a

simplea
wQl little

that

who
to

intends

be

musician

it too

much

digest.
be
seen

How

greatlya

science wiU little volume.

help will

in many

parts of this

xlii Grote's mine

INTRODUCTION.

Mr. exceeded

enthusiasm
;

for the

Greeks

somewhat

and, althoughmy
now,

recollection of the I did

not

language was
that, even
art

fresher than

suppose

if I should science
;

succeed, a knowledge of Greek

and

would

greatlyadvance
the favoured with

those

of the

moderns

therefore,I received
But when of the the

proposalrather
the twelfth
an

lukewarmly.
and last volume

History of Greece, with

took of

from inscription
to

illustrious

author, in deference
the the
me

his

first Greek

recommendation, I long-antecedent step forward, by buying the works

writers
upon

music. wait

StUl, it appeared to
until I
to

that the devote

years

Greeks

could

might
them
;

be able to and thus

attention uninterrupted

passed on.
was

It upon Greek
recent
a

therefore music

not

improbablethat
have been accident of of

my

attempts
to the

Greek

might
an

deferred

Kalends, but for

comparatively
to

date, in consequence

attemptingtoo youthful
This for confined
me

jump

with

gun
me

in hand.
more

the

house, gave
were

time from

and reading,

the

books In

then

taken

the shelves. I had

so

the

intervening years
to add

enlargedthe
had I
so re-

collection of National anecdotes the entire

EnglishAirs, and
airs in

many
wrote

in illustration of

them, that

work, arranged the

chronological
of the

order, and
Olden in his far of
as

changed the

title to

Popular Music

Time.

I had also assisted M.

de Coussemaker
nova

de Scriptores

Musica

veterum,

series, so
dozen

having prepared for publication some mediaeval manuscripts,copied from the

British

INTRODUCTION.

xliii retired

Museum from

or

the

Bodleian

Library. Having

music in 1861, I had time to give to publishing enthusiastic correspondent who would imdertake an so prise. enterdesirable, an though pecuniarily unprofitable, M. de Coussemaker's the Abb^ predecessor, the libraries of England. Gerbert, had not examined While thus engaged I had taken note of the odd of Greek words in manuscriptsof the Middle uses Ages written in Latin. Therefore, while reading the
out

Greek such

authors

on

music, I continued
terms
as

to

copy
countered. en-

definitions of musical I

I then

as

to

of success began without expectation the music of the Greeks, owing understanding number of abler
men

to

the I

whom

it had

baffled

but
a

thought the definitions might be of musical terms glossary projected by My

clue, and
became
soon

useful my

for

friend

Dr. Rimbault.
to afford the

little glossary seemed, made evident

me

however,
in

interested the Roman

the

subject. It
the

that

of perversion of

Greek

musical

terms

had of

been

one

great difficulties in the

no means

way the

enquirers (although by
I could I found then that understand the had

previous for only one), Eventually,

the

system.
and

theoretical been

of the Greeks
or

borrowed

practical system entire from Egypt

mixed intimately of the most cisive de-

from Music

Asia. and

Astronomy
the about

were

so

togetherby

that ancients, music

some

passages

were

gathered from
reference

of the planetary descriptions system, in to the supposedharmony of the spheres.

xliv

INTRODUCTION.

Astronomy was
of

included

in the ancient
arts

definition
over

music, which
the Muses of
an

comprisedall
were

and

sciences

which the

Whether supposed to preside. Greek

cannot

result have

woiild but

Egyptian originfor I gratified my late friend,

one

music tell
mence com-

I have the

great regret
"

that
two

I did not

enquiry a

year

or

earlier, so
the

as

to

have

pubhshed

this volume

during
it have
was

life of the

illustrious historian

by
with

whom

suggested so

many
have

years

ago.

It would the

him presented

to me gratified solution of the 'riddle,

in memory Music
arts.

of earlier has
a

days.
to rank

just claim

highestamong
many

the ages

It held that

position undisputedfor
The

in all civilized countries. reformers

"

over-zeal of would-becenturies of all

in the

sixteenth and seventeenth

in the mob

zeal which

culminated

destruction the

cathedral
"

organs threw

by

the

during
over

wealth Commonof

the first cloud

the

cultivation

music In

in the

England.
desire for radical
"

of the change, some zealots objectedto alternate, or antiphonal," ing, singthe psalms are wherein chanted by one half of the choir in response
verses.

to

the

other,each
did way been

taking up
care

alternate

Ignoring church
know that this of
was an

history, they
ancient
or

not

to.

Jewish

of chanting

the Psalms

David,

that it had

introduced

into the Christian with

Church

in the fourth

century,and
it the western

such

unequivocal approvalon
the eastern

all sides that

to

spreadimmediatelyfrom

IISrTRODUCTXON.

xlv it
one

branch.

The

Puritans the

termed from

"tossiag and
side to the that with

bandying about
the very the that

Psalms

other like tennis balls."

To them "is

not it signified
"

meaning
words
can

of

"

Psalm
a

to

be

sung

accompaniment
no

of

musical
a

instrument," and
Psalm if unsung. music about
"

constitute the words

"

They
but between

would

have

read, without
them A

bandied yet they inconsistently the minister of and then the

people.
the each

Babel-like the
to

confusion

tongues
voice pace,

took

place of
man

chant, and orderly, time-keeping

make of his
own

strove

distinguishable by
one

its difference

rapid rate of drawl. utterance, another at the most lengthened-out The Puritans strenuously objectedto all music :
at most

pitch and

the

they complainedthat it was and frivolity, and that it

all sports, down. which world and

companion of mirth incited to dancing and

the
to put unequivocally their judgment,only to
"

they

desired

The

ought,in

be sorrowful

full of lamentations for mercies.

not

even

pressing ex-

thankfulness

In the words
"

of

Prynne, one
dancers, but
whose music

of their sect, the

mourners,

peopleshould be not is Lachrymce; whose tune

sin
;

is

sighsfor

who
"

know
to
mourn

no

other

Cinque-pacebut this to heaven all day long for their iniquities ; to

like

go

mourning
in secret
own
"

doves, to chatter like

may
;

cranes

for their that

"

and should

others' sins." Some take

care

think and

others be
were

of themselves lifewould

it

might

questioned
to be its

whether
one

be desirable if such

melancholyemployment.
d
2

xlvi

INTRODUCTION.

The
now

cloud but

which

these

men

left upon

music

is

even

slowly and
not

passing gradually away.

removed
from
one

It is

to

be

hoped that,when

side of the upon

it may intellect, other. Music is

stop

to

settle down

any

incomparablythe
creation
an

mo^

of original intellect.
no

arts

it is the pure the

of human

Music

is

of perfection has
a

art, for it has

more

evil

tendency.
influence

Music upon the

far

greaterand
than any of

immediate
art.

the mind

other

And

yet, since

melancholyadvent
delicate
can

gloom over puritan

has the
to

England,
that other of
art

the cultivation the than soothe

more

of the eye organ, claim

far exceeded
ear.

What

music

induce

cheerfulness, to
the

alike the mind far

excited,the
;
as

overburdened, and
the power emotion of

overworked
the

and
even

to have

raising
quially collo-

so spirits

to warlike

? While
are

imitation

enters

into largely Fine

aU those which
a

termed of Nature
a

Arts, and
moods

perfect representation
a

in her best

is

in great perfection

imitation painting, It is but it is in any

a

of Nature
as an

is

hardly admissible
in

in music. that pieces To

accessory

descriptive
and
to

way from
a

permissible. infancyto
new

bring up
music is be
taste

child

hear

cultivate The music

new

is to add
one

pleasureto
dies away.

its life.

which

never

Indeed,
afford

may

cultivated

to

any

extent, and

at every stage of cultivation. pleasures ning Beginwith the simplest sounds, one at a time, the ear

is

graduallyled

on

to

the

appreciationof
most

many

simultaneous

movements

in the

delicate

and

INTRODUCTION.

xlvii of sound. the often The infant of

even

intricate combinations

is

to perhaps invariably susceptible

powers

of Nature music, but this gift

is too

put aside
nished dimifor

and

is so neglecteduntil susceptibility that

much
bad
ears

complaints are
bad
not
ears are

made

of

music. the this there

These

recoverable,if generally

has neglect

been

too

long
certain

continued.

Upon
But

point T
are

can

speak vrith
in

knowledge.

cases

which, through long neglect, ceptibility susaway, and

does music
men

pass

then, in after life,

even

becomes
are

or tantalizing,

irksome. their

Such

to

be

pitied. Too
or

often of it

dispositions
nerves

become unable the

morose, to bear

we

read

shattered

music,

to which
;

ought to
a

have

been

greatest comfort
of

also, of perhaps,
did increase of the Bethlem
to

statistical the

increase

insanity. It

largelyin

days
whose
was

of the

first descendants

Puritans, for
or

special requirementsNew
built.
to

Bedlam

Music the

is

now

found
to

be

so

great

solace

insane,

as

be Let
as

almost the

universally
irritable with
man

adopted
console

in their

treatment.

himself

with

music,

did

Achilles

his

lyre. Many
love of persons music of but
now

wonder

at

the

enthusiastic

the

simpler kind
will find like

expressed by
of expressions of his time combined modems.
now

Shakespeare;
admiration and
to

they

in other These
own

great writers, both

men

before it. deceive

must

cannot
or

all have of the

their be

age

that

There less

truth

in it.

is Susceptibility is

only

because

cultivation

diminished, and

too

xlviii

INTRODUCTION.

long delayed. The most brilliant examples of de-^ from music heard those who velopment are among the cradle. Haydn, Mozart, and Beethoven, were the the first of an all sons of musicians organist,
"

second of
a

of
tenor

violin teacher

and

composer,

the

third

singer.
of ancient that
a

The is
so

consent

nations be

in favour but
a

of music

universal
to

it would

questionof
cite
one

time

coUect from

thousand

proofs.
De Animce

I wUl

passage because ancient

Plutarch's upon
a

Procreatione^

it bears

supposed difficulty.In
see as

and sculptures

paintingwe
four

tions representamented heavilyorna-

of musical

instruments, such

with lyres, other fanciful would found

only
been of

or

five

and strings,
poses, pur-

instruments, which, for musical

have useless.

These

are

usually
and the
to their

in the hands

gods and

goddesses;
them

has indulgedhis fancy as or sculptor painter forms and

frames, because
Thus Plutarch
most
as

he intended
"

only as

emblerns.

says of

"

Theologiansof
instruments in

earlytimes, the
the their
to
no

ancient

philosophers, sented reprethey supposed them

because

gods
not

holding musical
because but pipe,
a

hands,

indeed the

play the lyreor

work
more

theyjudged
harmony England
a

to appropriate

god

than

and

music." first step to the advance be the of of repeal the of music Act of made in

The

should
'

that unwise

Parliament,
license music. of

25th

George
for

Second, which

necessary Under the

the

public performance
and

plea of preventing thefts

robberies.

INTKaDUCTION.

xlix

every

room

or

garden Why
do

"

kept for dancing,musick,

of the
men

or

other be

publick entertainment
should

like

kind,

must

licensed."

be

restrained

from

singinganything that they are

Other countries The
cannot not

permitted to speak \
sary. necesprecaution

find such

and people require social gatherings, go

to
a

always
for their The
a

distant

licensed be

house, and
allowed
him
as

pay have did.

admission. fiddler effect

race

They again,and
of of the

should
to

to

pay has

they
to

Act

been

only

engender persuade
to

who public-housepoliticians, that

so

themselves the
can

they
that

alone every

are

fitted

govern

country,
now

spouting
lowers, fol-

demagogue
disturbance would deserve

draw for

train of excitable and grievance, The Government that Act

rather
to

anxious the about of the

boding
which would had the

State. the

bring
well

repeal of
If

country.
it

music there

faculty of engendering demagogues,

have If been
one
a

would

storin

about

long ago.
ministers of the
to

would

further

stimulate

be

little less

shabby
of Music
a

in their
"

treatment

Royal
the the

Academy
would be

which, with
useful
"

proper

assistance,
than

far

more

institution would

Royal Academy of Arts hearty acknowledgments of

now

he

deserve

all lovers of
a

music, both
a

and

hereafter. have
a a

Only
Beethoven year
to

few

can

buy
for
an

picture, shilling.

but
A
as

all may

at home
so

paltry "500
the

useful is
a

institution
a

Royal Academy

of Music A

stigma and
such
as

to England. disgrace

church, single

St.

INTRODUCTION.

Andrews,
amount

Wells

Street,spends at least double Indeed, the

than it
now

that

upon

its music.

art

deserves receives. author of

more altogether

consideration
wears
"

Time Maritana

still

on,

and
on,

although the
old Time!" of those such who

sings

Turn young

is rather

the desire of the feel his advances. my fiiends

or

than

begin to
no one

In order, to

that proAdde

of

patrons shall incur the risk of having an

volume in of this

unfinished embrace index.

a

work, each

history will
have its

period complete

and itself,

Although I have reasonable expectationof carryingit to the end, the productionof the whole The music promises occupationfor several years. of the Middle and Ages will form my next subject, it is one for which have already been preparations
made. It has the hitherto rivalled
accounts

Greek abound

music in
errors.
a new

in

and obscurity,

present

My

friend

Dr. Rimbault

proposes

to write to

historyof
mine, and
will

modem

music, uniformly as
may

size with off. He

commencing where I exhibit,by extracts, the

will be which has
can
a

leave of

progress

modem

harmony, which
and it is
one or

boon

to the

musical and
one

world,
who

only a musician,
to,
out.
a

possesses,

access

very

of largelibrary

early authors

carry

WM.
1st

CHAPPELL.

Jime, 1874. Lodob, Oatlands

or, to the
care

Steafpobd

Park, StJEREY Son,

of my Bond

B.

Ohappell,

at

50,

New

Street, London.

GLOSSARIAL

AND

EXPLANATORY

INDEX.

{Oreek

and

Latin

words

in

italics,and

grec

for

Greek

v.)

A,

B,

C,

D,

E,
and

F,
of the

G
the

(The
Greek

modem),
Diatonic
of the

form

the

intervals xvi.

of

the

ancient

Egyptian,
A,

scale,
Greek is

B, 0, E, F, A,
the the Greek Common

intervals

Common
or

Genus,
of five

123,

and

of like

Enharmonic

scale,
the two

which added

pentaplimic,

notes,

Genus,
xx.

quarter-tones

being

non-essential

grace-notes,
A,

B, C, E, F, A,
the Greek for note

and

A,

B,

sharp,
the

E,
first xxi.

sharp,

A,
for

form minor
a

the

intervals and
or

of the
a

Chromatic unavowed

scale, major

suited

modes,

second five

keys,
Fourth in

Essentially
minor unless

pentapJionic,
were

scale,
shunned

xxii.

The the 238.

ear,

and ages,

Seventh

omitted them

because

by

all

prepared

for

by

harmony,
Academy
of

xxi., 177,
Music to

(The
our

Royal),

the

miserable xlix. in

pittance

for

its

support

discreditable Accents Accents kinds

in

Government,

Poetry

as

guides
The for

for

bars

music,
discussions

166.

(Greek),
;

166''.

numerous

about, stress,
the
stress
or

380. hard

Of and

three soft for

for

pitch,
381. The

quantity,
acute,
and the

and grave,

for and the

breathing,

circumflex,
now

only
to

pitch
in

in

ancient

Greek,

without modem 381". The of

given
to

them

modern

Europe,
among

including
musical

Greece,
Of

381 earlier

385*. date

Accents than the

included

signs,
383.
a

Alexandrian
because Accentus Greek both

grammarians,
a

circumflex the

necessarily
381'.
a

long,

rise

and

fall of ad

voice,
cantns,

(Accent),
pros

compounded
383.

and

translation

of

the

ode,

AcetaMla,
Achilles

tiny cymbals, taking

as a

292,

293.

music

lesson, 307.
Theon the of

Adrastus, -lEnAN,
.lEoLlAN the

quoted

by
on

Smyrna,

105. of wind the

Platonist,

musical The fact aiid

meaning
of the

syllabe, i'JK acting

modems upon
to

Harp,
known

xxxi.,
to

186.

strings
St.

of

harps
236. jEolian after

the

ancients,

among

Dunstan,

Mode,
Plato's

our

A, B, C, D,
was

E, F, G,
with
a

in

Pindar's

time,

101,
103.

but

in

and

time

minor

minor

Seventh,

lii
Alcibiades he

GLOSSARIAL

AND

EXPLANATOEY

INDEX.

get the it
a

example

of

discontinuing the beauty

of his

use

of the

because flute, A flute

thought
on

the disfigured for

mouth,

394*.

designedas
Albxasbeidbs
Alexandeias 383.

remedy the Egyptian monaulos, or shepherd's pipe, 272, the originatorsof Greek not Grammarians, accents, 159,
famed

this,394*.

Alexandrians,
267, 277.
Alford

by

the

Greeks

as

musicians.

Harp,

311.

Pipes,

(Dean),misconstruction
without his Greek musical

of

passage

in Plato
are

Aloga, Alypius,
of Notes

ratio,appliedto intervals Quintilianus, 131.

which

to music, 145". relating 148'*. to foreign a scale, from that 184.

notation, 115, 184, diflters somewhat

Each

Aristides of
a

by

capital letters,172,

His scales transposed Hypo-Lydian mode, 161. by Claudius Ptolemy, 168, 179. He includes marks of musical accents notation,381^ among of Herodotus), encouraged Greek visitors Amasis, King of Egypt (the Amos 76. to Egypt, 47, but later than the date of St. Ambrose, ,398*. Ambrosian Mtrsic, so called, Its meaning is according to the use of Milan," 398*. without mutation, or change, of mode or ATnetabole, scale,104. of the 18th dynasty. Lyres of 17 strings before the Amosis, first Pharaoh

hymn

in the

Fourth

lower

"

birth Amphion

of Moses,

49'.
to

(Fame of),due
music, 32, 49.
had
a

which recitations,

were

included

in the

general

word,
Anacreon 296.

A Lesbian Lydian Magadis, 14, 255. lyre,or Barbitos, 301. Heal music first to Lydian Pektis, lyric poetry, but not to epic,385*. all simple and ii. The Music Ancient intelligible, systems of ancient and Greece xix. The intervals alike,xviii., Egypt, Babylon, Judsea of our A, B, C, D, E, F, G, in them aU, xx. Anghones, the lower parts of the curved sides of the lyre,306. Artti (The Greek discussed,xxiii. to xxvii.,11, 53, 305", 306. preposition) base of second and minor the a column, xxv"". Antibasis, octave below, xxiv"., 12. an string, Antkhordos, a concordant xxv". comparison, Antikategona, from Jewish and Singing, introduced Antiphonal Syrian customs, 10. Greek Not Greek, 11. antiphonal is our congregationalsinging, when the sounds octave below an corresponding men sing,naturally, women and children,11. Antiphthongos, a sound an octave below, 13. an accompaniment an octave below, 13. Antipmimos, corresponding a strophe, 13. Antistrophe, A xxvii. Antitheos, god-like,

Antitheton, the corresponding sound

Apis Apollo 108. Tablets for

an

octave

below,

13.

(Hymn
His

Apollodorus,

Egyptian dates, 33". (Nomes to),107. (Paeans,or choral songs to), with the Python described,265. Osiris as Apollo, 302. fight 28, 39", 278, 279.
to),174, 178.

Apotome,
Apuleius,

the
on

Its proportions,202. largersegment of a tone, 202. flutes in the worship of Serapis,275.

GLOSSARIAL

AND

EXPLANATORY

INDEX.

liii

Apycni,
for

the the

extremes

of

the
nete.

two

Greek

systems,

lowest, and
144''.

hyperbolmon, or
A
man

synemmenon,

viz.,prosXwmhanome.noH for the highest tongue

there
was no

sound,
Arabian end Abatus
was

Pipes, proverbiallylong.
called
au

of whose

Arabian in the De

piper,268.
Oxford edition

(Greek hymns Aecadius, of Autioch,

of), 156.

Accentihm, 383, 384, 384". Archilochus, Terpander, 12, 33, 34, 35. Archimedes (The hydraulic organ wrongly attributed to), 365. Archytas, the Pythagorean, 77, 80, 126, 128, 207. of an organ, 354. Arcula, the wind-chest Akgos (Reputed foundation of), by an Egyptian, 59, 94. Aristides QuiNTiLiANUs, 31, 36=, 50, 52, 75, 79% 83", 83'', 84", 85", 88, 92, Too 101, 104", 118, 130 to 134, 1.37",184, 185, 277, 295, 296, 297. date ascribed this who adds to his who to a author, early scale, gamma
later than misunderstands

Plato, and

the

"mixed

"

Greek

scales.

See

130 to

134.

Aristophanes,
Aristophanes His Aristotle.

305", 385".
of

grammar, Enharmonic Cicero

Byzantium, 384", 385*.

not

the

inventor

of Greek

accents, 383, 384.

melodies

preferred to
390*. On

diatonic

because
11 to

easier 13.

to

sing,xxi.
the Dorian the

copied from, 4,
Music of The the the note

Antiphon,

On

octave, 46.
minor Third On note

heavens, 76''. Stateliness

omitted
on

mode, 81, 110.

above

the

86, 87, 176.

107. Takes Octaves

key-note, 81. On On Melos, 88. Melopceia, 90.

(jrenera, 126.

Hyposeveu-sti-inged lyrewas Mese, the key-note, 85,

On Greek axiA

of

the

Nmnes,

of different

Harmonia

EnlMrmonia,

Concordant sounds more only in magadizing, 142". pleasing than singlenotes, and the sweetest of concords is the octave, Vibration of high notes, 190. Doctrine 146". Passing discords,148. On of superparticularratios, 206. pipes used for lamentatLons,262''. Definition of The Phoiniio and Atropos lyres for playing octaves, 298. 390*". On Rhetoric, 390*, a harp, 307. those who relied on the judgment of the ear, 30". Aristoxenians,

127.

Aristoxenus,
Ards and

4, 5, 16, 56, 80, 92, 100, 109, 118, 119, 123, 125, 126, 127, 128, 129, 131, 300, 383, 385. Thesis, in music
the up the beat
reverse

and in

down

beat

in

dancing
two

the
stitute con-

up-spring the stronger,but

a

music, 164.

The

Artemon,

tripod lyre attributed to Pythagoras, 299. xlvi. to xlviii. music is the highest,xliv., Arts, why The Ascauks bagpipe {askaulos),rather (Latin),a bagpiper, 351".
on

pons, the

or

foot, in verse,

89.

Roman

than

Greek of

instrument, 280.
an

Askoi

(Greek), bellows
Musical Otlier System
a

organ,

inade

of

hides, 351".

Asor, the Hebrew

Assyrian 282. Assyrian

numeral, ten, 291. Instruments,

vAll appear
same as

Harp,

392*, Dulcimer, 291, 'Trumpet,

on

examples
of music

in the volume 3.

Hebrew

Music.

Astronomy,

Athanasius

Egyptian, vations xix, xUii.,xliv. The first obserattributed to the Egyptian Hermes, or Thoth, 31''. Bishop of Alexandria, his styleof chanting, .397*, 398*. (Saint),
branch of ancient

music,

liv

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Athen^us, 13, 56, 69", 74, lOP, 110, 148, 149, 159, 167, 253, 255'', ,2551,256", 261, 272, 273, 275, 276, 278, 279, 282, 294, 296"; 298', 299, 301",SOP, 301", 306", 308, 309, 311, 311", 311", 311", 326, 329, 365,
400*".

(Minerva, Greek worship of),2, 55 ; reputed identitywith Neth, the Egyptian goddess, noticed by Plato, 58. Athens (Poundatiou of),attributed to the Egyptian Oecrops, 58. Atropos, a lyre of the magadizing kind, 298. Augustine (Saiiit), Bishop of Hippo, 293, 375, 396", 397*", 397**, 397* ". for pipe and Aulas, a generalname flute,267 ; made of various woods, metals, reeds,bones, "c., 267. AuLUS Gellius, Nodes Atticae,iv.,394*".
AthInS of Babylon. Chaldseans, or learned men Bacohius, Senr.,85*, 94", 101, 102", 114". asi:a%ihs (from ashoi,hides) unnoticed Bagpipe, although having a Greek name, Greek Nero vowed 280. The to writers, by Emperor compete in the public games, with the bagpipers (utricularii) 361. Barbitos,a many -stringedLesbian Lyre, 255, 296 ; possibly identical with and the Barmos Barwmitos, but Euphorion speaks of the BarSmos arid the Barbitos 296". separately, in poetry, 164 to bar music, 164 Bars in music How equal to measures to 166. Bartholinus De the TiUis lowest 262*. Veterum, 256'', of tetrachords, strings Babylon. See

Barypyhwi,
Bassoon,
and
a

but

only

in the

Chromatic

or

Enharmonic base

scale, 145, in Note.

to
"

the hautboy, 261. reed, Played upon with a double stopped," or folded back, 262. cross-bar of the lyre,to which the strings were Batera, lower attached, and where they were tuned, 306. xi". Becke (Edmund), Bible of 154^, Scholia of tJie Iliad, 384''. Bekker (Im.),Anecdota Orceca,381", 382. Bbllbrmann (Dr. F.). Collated earlymanuscripts of the Greek hymns, the tube

167, 178, 181".

374. (Ancient,of Organs) blown by standing upon, xvii.,370, .373, A of buUs' used 376. instead of hides, condensing syringe for the hydraulic organ, 328. bellows Bbbecynthian pipes (named from Berecynthus in Phrygia), had small Bellows Made

tubes, but
Bernouilli

deep-toned,and with horns at 276. pipes played with reeds, like clarionets,
on

the

end, 276.

Probably

236. strings, Birch 61, 66. (Dr. Samuel), xxxix., SS'', Thanks 403*. Bishop to, (Mr.). ancient musical Blanchinus instruments, 283". on ifor their music in ancient Blind living (The) taught the BocCHORis Bodleian

vibrations

of

Egjrpt,320, 321.
into

imprecates Menes
Library, 4, 21.
100. Inadmissible His

for the luxuries

he introduced

Egypt, 69.

xii.,xliii.
date for Psammetichus about difficulties

BoECKH,

Inscriptionwm,37".
modes,

Proslambcmomenos,

104.

I.,33''. His Corpus Character of music, 81. Other mistakes, 116*, 116".

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Iv

vii. BoETHitrs,

Misunderstood

the 178.

Greek On

scale,viii.
of the The

His

treatise, 6-10,
understood MisGreek of

31,

36, 41.
324.

73, 115, 120,

Mete

harmony

spheres, 251.

and

323. liypate,
on

great

confounder

music,
BoMBAED
from

His Middle

treatise

arithmetic, 391*".

Ages, a long base pipe,probably deriving its name Bombos, 262. and the name of a long pipe with Bomboa, the base part of a scale, deep As the name notes, used at funerals,262. or signifies humming double like it with the buzzing," was a reed, probably played upon bassoon, 262. Bombyx, a, pipe which, from its name, was perhaps thought to bear an external resemblance to a silkworm, 268. It was of reed, long, made have had reed it perhaps a flossyone, must a mouthpiece; required much breath, and was exertion, 268, 269. only blown with considerable the reed, and the supposed bombyx here at p. 269. Pliny describes reeds for made of Single pipes bombyx, 276. for Harp, 316. Boimi, the Egyptian name
the Greek
" "
"

of the

British

Museum,
the

xliii.

290. Abyssinian traveller, Egyptian Hai-ps,314, 315, 316. (Mr.). Thanks to, 403*. Bkyennius (Manuel), 12. His account of the lyre,30. Copies from Introattributed ductio Hojnnonica, now to On erroneously EuoHd, 30". Scales differ only in pitch, 116", 177. Melos, 88. of a Triton's BiikanS (Latin),a horn, originallymade (Greek), Buccina of horn 284. metal, shell,283, afterwards a straight

Bruob,

Brycbson

BuNSEN

(0. C. J.),28", 60", 61, 61", 68, 69, 290*. BoEETTE (P. J.), 34% 147', 157, 159, 160, 177, 178, 184. ii., BuENEY popularity,ii., (Dr.),History of Music, i.,dates of publication, Greek treatises v i., first volume unstudied, vii., reprinted, consequences, still less old manuin reading old books, x., and scripts, viii., ix.,unskilled the his to correct Pythagoreans, xiii., history xii.,attempt in dates of manuscripts, xv. too inadequately tested, xv., mistakes of Greek Odd an Egyptian urn, 19. On the difficulty comment on of invention the referred to Apollolyre music, 23, Nile story of the of Meibomius, 96''. Makes dorus incorrectly, 39", 40. Copies a mistake about' Harmonia, Greek the two systems into one, 98, 99. Mistake dicted ContraHis ill-advised system of timing Greek hymns, 159-165. 154. tolerable base that could be 172. Greek no Thought laws, by the His added to the first Greek hymn, but two here contributed, 160. 165". Hecuba of the Quotes from of lines Euripides, Burette, timing notation the table of musical Did not observe by Aristides 178, 184. Musical a instrument, from sarcophagus, 269. Quintilianus, 185.
Mistakes about the Photinx The and the

Monaulos,

275.

Also

about

the

Tromha

Marina,
an

283.

Sistrum, 288.
a

Copies
the

imaginary
of the

without psaltery,

Fabulous tripod lyre,299. sounding body, 307. Mistakes

a

character

Egyptian people
Could
not

from

false text

of Ammia;nus organ,

Marcellinus, 317.
now

understand His

the

hydraulic

3.32,

375.
Busby

333 et seq. fullyexplained, of Was descriptions not acquainted with Heron's 376. Mask, i.,330, 331", (Dr.),History of

translation

of Julian's organs,

epigram,
378.

Ivi

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Bwxus, boxwood (Greek pyxos), any 256. be, and were, so called,
Oaccini

flutes

or

pipes made

of the

wood

might

240". (Scaleattributed to the time of), the unmusical Roman (C), chanting, 398*. orator, on Calamus, not only a reed and a reed pipe, but also a metal organ pipe, 376. Oallcott and Burney's Histories (Dr. John Wall), hia catch upon Hawkins of Music, V. Calliope (Hymn to), 168. Oambysbs. Conquest of Egypt e.g. 525, as a starting point for retrogression in Egyptian chronology, 33". Canalis,the air-channel under the pipes of an organ, 354. because Ocmonici,a name given to Pythagorean musicians they measured rule 80. a {hanon), stringsby Oantus, chanting,or inflections of the voice, with or without correct musical and not necessarily intervals, singing,396*. Capblla (Martianus),74. by pipers over the cheeks, and its use, 279, 280. Gapistrum, a bandage worn Antoninus life of Capitolinus, Pius, 177. used the gmgras, small pipe blown with double Cabians or reed, like the hautboy, in their wailings. 261. Carioatuee of an Egyptian royal quartet concert, 399*, 400*.
C^SAB
a

Cabnbian Cakte

Games

(Musical contests
Thanks

at), 32.

(Richard). Cassiodobus, 5, 6, 258, 367, 377, 378, 392*, 393*. Castanets made of nutshells, cockles, and (Greek Krenibala,), oyster shells, And down later of metal, 293. the limpets from the rooks, beating 294. they made a noise like castanets," Hawkins and Burney's History of Music, v. Catch upon and oats ; M. Fetis's mistake, 26". Catgut De Die NaiaM, 401*. Censobinus musical intervals ChaldjEANS as (The) used the same Egyptians, xix. Other Chaldseans besides the Octave, Fifth, and Fourth, 3, 41".
' '

to, 403*.

learned, 41''.
Ohalumeau. ChampollioSi Chanting Chappell Chabactbr and See
on

Clarionet.

Egypt, 319, .370^. Church Greek of the Christian 396*. originally rhapsodizing, xli. Monday Concerts, Popular (S.Arthur), in Greek modes, all dependent upon the words, high pitch,
99.

metres,
a

Chdys,
Chbneby Chilmead

from its shell back, 29, 295. lyre so named T. ). Thanks to, xxxix. (Professor editor Oxford of Aratus, 156. (Edward), of Gaudentius inventors organs, to Meibom, of the 281. free Use

Presented

his

prepared
and in

edition

157.
reed
canes

Chinese,
some

the

used
or

in reeds

all of

harmoniums, great
size for

modern

organ

pipes,331. Chladni Acoustics,236. on xii. Choir (The), Musical Periodical, Choragium,

the from conduoting-rod the

key

to the slider of

an

organ,

355.

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Ivii
For

Ghorauloi,pipes of the choruses, 267Chords (Greek), means

146".

clarionet

order, the
a

same

as

Pythauloi, 265.
a

not

only
of the

string,but
to

also

musical

sound, 28=",
attached

Chordotonos,the
and where

lower

bar

lyre
306.

which

the

stringswere

they were tuned, Chorikoi,pipes for accompanying choral dances, 267. Chroai, shades of difference in scales, 121, 127, 128, 129.
Chroma

Chromatic, 128 ; division of, 129. hemidlion,or sesquialteral soft Chromatic, 128 ; division of, 129. or Chroma tonaion, the ordinary Chromatic, 128, 129. Cheomatic Scale (Greek), derived from Egypt, xviii. Consists of a major scale without Fourth Fourth or Seventh, and of a minor scale without How formed the lyre, 122. or on Seventh, xxii,121. Chronolosy (A choice of),for the reader, 61". Church Scales not Greek, 17. are Definition 4. On music in parts, 152. of concetUvs, 152. On Cicero, xxv'',
Chroma

malak6n,

celestial

sounds, 251.

Intus

canere,

and

foris

canere

cithariske,366. AspeTidii CiTTEBN, Clarion,

Clarionet
an

Careless

treatment

of Cicero

explained, 365. by his editors,

386*,386*t,388*", 388* ', 388* ". Pipe player for pitch to orators, 395*. the carved head once thought peculiarto the old English cittern, found an Egyptian lute,or nefer, 321. upon
an

octave

trumpet, 266,
nature

284. of
a

(The)
octave
one

is of the than

lower

other above

stopped pipe, and Only two pipes,242.

another, Nos.
first The 242.
or

therefore harmonics 9 of the

sounds
can

be

produced,
scale, 242.
Charles

Twelfth The

3 and

harmonic

peculiar harmonics
F.R.S.,
while

brought
of
a

into

notice

by

Sir the ago, b6ll

Wheatstone,
A

clarionet few

represents
centuries The harsh
on

Shawm,
264. end 264. of
a

Schalm, Schalmuse, straighttube

clarionet
name

Chalumeau

the

hautboy
A

is conical, 264. makes

is

useless, 264.
the

stiff reed of

tone,

The

clarionet

diminutive

"clarion,"

account

of its power,

266.

Claudian,
Clemens Commas of

268", 330, 331.

Alexandrinus,
in music, the

293, 309.

Pythagorean
a

Komyna the
a

and

its ratio, 202.

comma, to

Comma

Didymus,

sometimes

entitled and in

syntonic
tone

being
81), 204.

the The

diOferenoe

between

major
comma

minor

(80

great importance
Common
as

of this minor of

harmony,
123.

204.
or

Genus the

(The), a
Lesser

scale without

Fourth

Seventh, 123,
It
was

same

Enharmonic
or

Olympus, 52,
of the

Conjunct

System

Greeks,
made

95.
to

the
a

hymnal
at

system, 30, 93, 94, 95, 178.

at
a

Additions

it

by

tetrachord

time, 92.
Fourths
reason,
and

Consecutive

Fifths

not

allowed

by

the

Greeks

(and with

good
key),
Consonance

in aU

cases,

because

they

make

consecutive

changes theory,

of

146.

(Cause of),xxxiv.,
Herschel's 106.
true

221.'

Hehnholtz's

incorrect

225.

Sir John Copernicus,

theory, 237.

Iviii
CoKKBT

GLOSSABIAL

AND

EXPLANATORY

INDEX,

(The old),formerly

of

horn, is

now

of

metal, and

called

Corno

hautboy, aa the bassoon is the base, 261. 337. the hydraulic organ, why so called, of Plato, 143, 144. Cousin indifferent translation (Victor), CoussBMAKEE 373. (Chev. de), xUi.,368, Crotala Egyptian, used by the Greeks (Greek Krotala),clappers,originally and Komans in the worship of Cybele, flew apart by a hinge or spring Made on opening the hand, and clapped together by shutting it,293. at the ends, to be knocked of split reed or wood, with heads or maces called of the noise account stork The on crotalistria, together,293.
it is the tenor to Inglese; the of Cortma, air-compreaser the of its beak, 293. the two bones strikingtogether the of son an Egyptian barber, and, therefore, Alexandria, xviii. His date also a barber, inventor of the hydraulic organ, xvii., o f Teaches the 328. 328. elasticity air, proved, 326, Cyeele (Worship of),with flutes and with Krotala or clappers,293. Greek of three The sizes, called Kymbala, Cymbals, Etruscan, 263. round and some Lekidoi, and Oxybaphoi, some oval; the Oxybaphoi named after little vinegar saucers, 292, 293. Eoman cymbals, largeand the least called Used valves Acetahda, or vinegar cups, 293. as small, in hydraulic organs, 353. The instruments of the Arabs, 293. war because "Cymbals are compared," says St. Augustine, "to our lips, Roman Faun with cymbals, they sound by touching one another,"293. made

by
of

the bird

in

Ctesibius

from

an

ancient

statue, 404*.

D'Albmbbrt Daniel Danjou

236. acoustics, The musical (Book of).

on

instruments

have

Greek

names,

xix.,259.

(M.), 368, 369.

after the laurel, musical had instruments made of laurel Daphne, named wood, aa the Pandoura, at her Festivals, 74. Demetbhts Phalbrbds (A work wrongly attributed to),xx vi. See Dionysius of HaUcarnaasus,
,

after Adonis, Gingras pipe named de 64. Description VEgypte, 62'', Diapason ("through aU"), the Octave, 46, 79. Diapente, interval of a Fifth,32, 46. 136". Diaphonia, discord,11'. Euclid's definition, Diaschisma, the approximate half of a Umma, 204. v. Diastems, intervals, Diatesaaron, or interval of a Fourth, 31, 32, 46. Dbmoclidbs.

The

261.

Diatonic,

derivation

of

the

word,

129".

It

meana

"on

the

stretch

throughout," being the most tightlydrawn up of ancient scales, 131". intervals the of Scales tones Diatonic and (Greek), semitones the as on from A to G, xvi. white keys of a pianoforte Diatonon Jwmalon, 201. Diviaion malakdn 128. Diatonon (soft), of, 129. 210. Diatonon 128, 129, (atrained tight), syntonon for sometimes used the but one highest string Diatonos, (thelichanos or the of any tetrachord in the diatonic scale, paraTiete) 97, 98. DiAZBUCTio Greek Tone, the disjunctivemajor tone between two tetra chorda in a scale, 81, 82, 129, 193.

6L0SSAEIAL

AND

EXPLANATORY

INDEX.

lix

Diazeuxia,disjunction. See the syatem at p. 97. of the Disjunct System, Diezeugmenon, the tetrachord the key-note, 97. DiDBON, Annates 368, 369, 373. Areh4ologiques, and Enharmonic DiDYMUS, 8, 68, 123", 128. His Chromatic
best that could of

which

is next

above

Greek

scales the 204.

be, 197.
the

His

true

quarter-tone, 203.

Comma,

Thirds, 205. major and minor 207. out superparticularratios, Largely quoted by Claudius the Wrote treatise on a Ptolemy and by Porphyry, 207". differences between and Scale 207. of, Aristoxenians, Pythagoreans compared with Ptolemy's, 208, 209. Diesis, originally a limma, or semitone, 79. Later a third or a quarter of
Correction

ditone, 204.

True

He

first carried

tone

in the Chromatic diesis has the

or

Enharmonic of

scales,79.

The

modem than

monic Enharthe
true

ratio

125-128, which

is less

Didymus, for Resultant tones, 247. Tones, a misnomer DiODORCS SicuLDS, 3P, 39", 40, 41, 48, 60, 62, 68, 94^ 318. Diogenes Labbtius, 48''. Diogenes, the tragicpoet, 300. Dion Cassius, 3. Dion Chrysostom, 318. DiONYSius of Halicarnassus,xxvi. On the advantages of having a lyre the phrasing of a composition, to accompany the voice, 53, 84. On
Difference

quarter-toneof

203.

172.
On DiONYsius the

On

the

extent

of the

fluctuations

of the

voice

in discourse, 385.

DlONYSlDS
Dionysus 189. Dioxia

pitch for orations, 396, 396". (Two of the hymns attributed to), 173. of Thrace, the grammarian, 381", 382 in note, 384. (Bacchus), his birth the proper subject of dithyrambic poetry,
' '

stringsof the lyre ; the (di'oxeian),meaning through the acute interval of a Fifth,46, 78. Name changed to diapentewhen there were
five

"

Discords Disjunct

stringsin the treble, 83. (Ancient),11*, 136", 147,

System the of the

148.
or greater'

Greeks,
in the

the

two-octave

system,
Verses
on

97.

Called DiTHYR^i-MBic birth

Perfect Choruses

System by

Claudius Enharmonic

Ptolemy, 79".
scale, xxi.
the

of
or

Ditones,
were,

Dominant Donaldson Donaldson 251.

Dionysus, 189. Thirds, how to tune so as to hear how discordant they corrected How by Didymus, 204, 205. 119, 148. they were of a key the Greek Hypo, 24. (Dr. J. W.), TUatre of tlie Greeks, 166". (The late Professor,of Edinburgh), his acoustical experiments,
ancient

DoncKC,
Dorian

reed, and a reed pipe, also a metal organ pipe, 376. associated with words firm, and manly, Mode, originally severe, minor with afterwards the key of D than minor a nothing more fit for tenor 107. Seventh, 99, 103, 112. a voice, Only HypoDorian included Dorian as transposed by Claudius Dorian, 109.
a

Ptolemy, 113. DoRLiKs reputed to

be of

303. Egyptian origin,

Ix
E

GLOSSARIAL

AND

EXPLANATORY

INDEX.

sharp,a

deairable addition
cultivated The
ear

to

our

scale, 220.
xlvi.

Its Bad music

216*. ratio,
ears

Eak

less (Tlje),

than has

the eye,

for music

able, recover-

xlvi.
laws of the

the eye, 205. times, 177. of the eye while that Octaves, 234, 250, seven Range sounds,. exceeds haardly one Octave, 250. 16. Ecclesiastical Scales with improper Greek names, the sounding board and body of the lyre,306. JScheion, Egypt, opened to the Greeks 7th century, B.C., 33. Different estimates of chronology, 61". The three empires, 69. Egyptians copied nothing from Greeks, 49. An Egyptian barber the teacher of science to two celebrated Greeks, Philon of Byzantium and Herqn of Alexandria, 3rd 58, 59. century B.C.; 328. Egyptians reputed founders of Greek cities, and free under their learned, own Egyptians people kings, great inventive, scientiiic, skilful, industrious, sportive,and mirthful ; more humane than Assyrians and civilized, more 317, 318. Romans, because Two additional ceremonies points in Egyptian religious imported into 289, 290. Christianity, Egyptian year of 365 days, 48. Egyptian Greek matic, Music. The three scales. Diatonic,Enharmonic, and Chroborrowed from Egypt, xviii., in parts 51. The practiceof music lutes had each 399. Octaves two on Egyptian unequivocal, 65, 274, string,3, 49, 50. An Egyptian dirge generally sung in Greece, 59. have h^d some tones extra seminqtes, and must Egyptian flutes had many to play in various modes, 268. Very ancient base-flute blown Names found in hieroglyphics,Sebi, or at the side, 65, 274. Seba, side-blown flute blown the at flute ; Maim, pipe or end, 67. Bowni, a harp ; Ta Bowni, "The, Harp," 316. Nefer, a lute, plural,Nefru, Side-blown flutes used in the worship qf Serapis, 275. 61. Horns, ing Vibrattrumpets, and speaking-trumpets, 282. The Sistrmn, 286-290. rods pulled to produce Harmonics, 291. Large and small drums, to be clapped timbrels,or tambourines, and clappers,or short maces 292. Rhythmical music, 66. together (see also Grotala), Elymos, a pipe, probably a small Phrygian pipe, played with a double double A of boxwood with horn pipe, said to be made reed, 278. of used in 278. Cybele, ends, worship for musical
a

guided to true More organizedthan delicately

in all ages

against the

stringedinstrument, 279. of Music so once popular as to have usurped the general name {harmonia), 127. Enhaemonic Scale (Greek) derived from Egypt, xviii. Consists of a minor Fourth without or Seventh, and of two scale, quarter-tones which Elymoa,
a

Miharmonia,

Preferred by only to be used as grace notes, xx,, 125, 147. becaxise choruses to xxi. for Attributed sing, to gentlemen easy Olympus the Phrygian by Aristoxenus, according to Plutarch,123. Examples, 134. Its attraction consisted in the omission of notes not and therefore it was the string, fitted for natural derived from more
were

singing,125.
Enneachordon,
a

Epigoneion, an by Epigonos, 68, 149,

311.

instrument, 279. nine-stringed introduced Egyptian harp with forty strings,

310. The
name

to
""

the

Greeks

transferred

to

psaltery,149,

GLOSSARIAL

AND

"

EXPLANATORY

INDEX.

Ixi

of his skill Epiqonos, account harp from Alexandria, 311.

a

in music, 149. Introduced the

Brought
Chromatic

his

forty-stringed
scale and tuted insti-

chorus, 311.

ratios the unit above another number, 206. Epimorioi,superparticular Epistomia, the stops of an organ, 354. Epkynaphe, the system of three conjoined tetraohords, 94. the ratio of 4 to 3, and the musical interval of a Fourth, 389. Epitritos, Eratosthenes, 68. His chronology,69. Scales, 128, 207. Etruscan'Lyre 298. Etruscan 267, with double reeds, (A peculiar), pipes, An emblematic instruments 262. Etruscan are harp, 300. Among little jingling cymbals lyres, tambourines, both with and without attached to them, the Pan's pipe, or Syrinx, and the harp,263. Curved 282. origin, trumpets and horns reputed to be of Etruscan
"

Euclid's but

treatise

on

music, ix.
On

Not

author

of the IntroductU)

ffarmonka,
On lation, modu-

of the Sectio

Canonis, 30", 46, 50, 51, 85", 85", 92, 93.

music in
one

of the key, 104". On compass On 110. Common scale, Hypo-Dorian or Octaves, 114, 117- Mathematical proportionsof scales, 115. Common Divides 127from Enharmonia, Genus, 123. DistinguishesHannonia of Definitions tetraohords into thirty, On 131. 129. Symsyntonon, pJionia and Diaphonia, 136". Of pyknoi, barypyhnoi, oxypyknoi, and within the Octave, mesopyknoi, 144''. Transposition to any semitone

103", 103''. voice, 109.

human

On

the

179".

The

base

of

scale,262. Amen,"
54. The of the

EULER,

236. vowels of

Muouae, the
now a

"Seculorum,
v

spellingilvooae
letter
u.

is

mistake, the
to Harmonia

being only
the
name

the old form

EaphoHon, 256, 296", 301.

EupoLis gave of

Harmoge,

137".

Euripides, EuSBBius, Eustathius,

F"tis

40, 89, 165", 296. Chronicle, 177.

Commentary
cats and

on

the Iliad, 385". Error have about been

catgut,26". 56. flute, Supposed by him to Deficient in knowledge 57". scale, (F. J.), on
Greek but ventured

KUhara,
57"

29".

tian Egyp-

in the modern
;

Chromatic stood misunderor

of harmonics,
not

also

Harmonia,
to

138, 139.

Did

understand

Greek

Hebrew,

Josephus, Aristoxenus, Juba, and all Greeks, Descartes, Leibnitz, Sir Isaac 140, 311''. His fancied triumph over and His curious errors singularcourage, Newton, and others, 140.
correct 141 to 143, 150. Corrects
to

Athenseus, 274".
of the
a

FiiTHS, the
not
cause

nearest

equal division
the

Fifth, 207reason

Consecutive

Fifths

permitted by
consecutive

Greeks,

scientific which the

being
will
not

that

they

ear changes of key, Octaves, 203. sharper than seven the which FlPPLB, the sharp edge of the notch, against to in a flageolet, produce or directed in an old English flute,

bear, 146.
breath is

Twelve

perfectFifths

the sound,

271. Fine Arts

(The), more
to

or

less imitative, but

music
use

not

so, xlvi.

Finger-boards Flageolet

violins (The or lutes, guitars,

of),44.

of the), 271(Principle
e

Ixii
Flutes

GLOSSARIAL

AND

EXPLANATORY

INDEX.

of two

kinds, blown

at the Greek

end

and

at the

side ; the

side-blown

flute is in

Egyptian, in

England, and the at the end, like the Their and tone produced without Egyptian : see frontispiece p. 63. the air to the lipsby blowing against a sharp edge or notch to cause of fashion in Athens Flute driven Alcibiades, out 274. vibrate,270, by who A flute free the beauty of his mouth, 394*. thought it disfigured from that objection, 394. Flute F^tis's One in the Museuru at Florence, 56. (Egyptian),65, 274. curious error 58. about, 57". Used for three kinds of scale, FoRKEL misled Dr. the author of the Nile to as by Bumey story of the lyre,39". Fourth in the (The) in a scale,rejected by Egyptians and by Greeks Enharmonic and Chromatic With scales, xx. good reason, xxi. Shunned Consecutive Fourths not by susceptibleears in all ages, 125, 238. allowed, by the ancients,146-151. kinds The two of Fourth, the one a concord and the other a discord, 192. A puzzle to old writers on The nearest to equal divisions of a Fourth, 207. harmony, 192, 193. From the key-note to the Fourth above is from one key to another, The due positionof Fourths, 238. 237. Franz (Dr. J.),of Berlin, 10", 15", 40". Frets to Egyptian musical instruments, 44. Fundnlvs, the piston of a condensingsyringe for the hydraulic organ, 352.
Galen Galilei Galileo
on

Plagiaulos,formerly called ''German" Flutes blown "Swiss flute in Germany, 273, 270. and the flageolet, also Soft flute,or English flute,
"

pipes for funerals, 262". (Vincenzo),Dialogo della

(The great mathematician
or

Mimca and in

imiica, 156. astronomer), 73.

a

Gamma,
Gehenna Gbrbert Gerhard German

the

base

note

included

late Greek

scale,130.

Gaudentius,
not

12, 19, 35^ 73, 114, 148", 163, 179.

included in the creed of the heathen, 167.

for themselves, 17, 18. Gingrae, tiny pipe played with the double reed like the hautboy ; an in the British 261. Egyptian example of the instrument Museum, and Name derived from used for Adonis, lamentations for Gingres, Adonis, 261. Ginsburg (Dr. C. D.), xix.,xxxix.,xl. Glaucus ancient poets and musicians, 35. on the reed or tongue of a pipe, 266. Glossa or glotta, Glossohomeion, or glossohomon, a shallow little box with a sliding top to hold the reeds or tongues with which pipes of the clarionet or hautboy kind were played upon, 266, 267. the reed or tongue was the mouthpiece of a pipe in which Glottis, inserted,
a

de Musica xliii. vetemm, (Abbot), Scriptores Greek 56. a on (Ed.) vase, musical historians have complicated Greek music

266". Goats' GoODisoN

"

Horns

to Greek

lyres,xxvi.,xxvii.
Thanks

(Charles).
written

to, 403.
for

Grammata,

lettered characters, to represent notes

music,

185.

GLOSSAllIAL
,

AND

EXPLANATORY

INDEX.

Ixiii

Greeks, a compaaa of two transposableOctaves, 97. / Greek Accents. See Accents (Greek). Greek Hymns" To Nemesis, to Kalliope, 168, 170. To ApoEo, 173, 174. 179, reallyin a major key, xxii.,176. The oiily trustworthy remains o' Greek to Kalliope, 162. music, 158. Their historical interest, Hymn for a ten-stringedlyre,162. In the major key a Third below, rather than of the music, 162, 163. minor, 170. Dr. Bumeys writing way Greek emblematic mind 167at of a hynms tranquil music, ease, Greeting the Gods with hymns and odes, and banqueting with them,
167.
Greek have music
not to

XrKBATER

Systbm

of the

restricted short

to

one

note

for The

each musical

syllable,172.
notation

May
172. Greek

long

notes

Probable
Musical

date

of the

vowels, 172. hymns, 177, 178.

semaaui,

of,

Notation,
See

called

nemeia, and

sometimes

gram-

maia,
Greek

168, 172.

Alypius

and

Abistides

Quintilianus.
on

Octaves

explained,114, US',117.
all minor, the which Greek Third
no

Exemplified

the

octave

lyre,
But the

112, 113.
Greek Scales

perfect major scale among

of the

them,
176.

115. Or
on

beginning on Third below,

ears

is Nature's

key makes key-note

All the

major,

for all minors, 170. scales derived from

Greek

resisted

laws, 177.

Egypt,
The

50, 51.
Greek

gods 108. The 109. off, pitch high, way The movable in Greeks in 117. music, do, or ut, singing, inapt pupils 303. Sang in minor keys, with the minor Seventh, 25. GiJebk System Music of altogetherthe basis of our own, 1, and borrowed from puted Egypt, xviii. Identified by Plato and Pythagoras, 50. Its re4, 23, 24, a mere difficulty, myth, ii. Dr. Burney's mistake of turning two systems into one, 98. Greek Words 379, 380. misapplied by Romans, vii., ^xiii.,
Sinoing
to the

gods a great

long

strain upon the lungs, 107. of all principal modes very

Greek Greenhill

Worship

of Athene,

55.

(W. a. ). Error about the date of Didymus, 207". (J.G.),excellent edition of Heron's Pneumatika, 333. Octaves Greookian in called, are Greek Modes, or Tones, as now and Dorian music unknown ^115. mode, Gregorian Hypo-Dorian Its meaning is "according to the use the time of St. Gregory, 398.
Greenwood

the in of

Rome,"
Griesbach Geote GuHL GuiDO

398. 403.*

(J.H.), xxxiv.,xxxix.,237", 244, 248, 250, xUv. the historian, xlii., xl., (George),
Koner's 9. Das Leben der Griechen his age und RBmer

and

(1864), 364".
21.

d'Aeezzo,

Behind

in musical

knowledge,

(Emperor), 177. (Rev. Dr. W.), his chronology, 61". substituted for Harmonia by Eupolis, 137"Harmoge (Greek), a name Harmonia from harmozdn, "to fit together,"80. (Greek), ix., 15. Derived both and the and descent of Means ascent music, including harmony intervals the voice by musical out of which melody springs,15, 78, Definitions The title for a time 137". 136. usurped of, by the 79', of Harmonia one system, Enharmonia, 15, 16, 127. Perhaps the name
Hales

Hadrian

Ixiv

GLOSSARIAL

AND

EXPLANATORY

INDEX.

may she

have

been the

given to
science

the

supposed
to the

wife

of Cadmus
as

to

express husband

that

is Greeks, just taught them the alphabet, 80. Harmonic Fourth (The) produced by an eleventh part of a string,217. A thirty-thirdpart sharper than Its ratio is Fourth, 216", 220. our instead 11 to 8 to the key-note, 216". Sometimes used in Switzerland of the ordinary Fourth, 195. Used the ancient Greeks, occasionally by And It is Nature's 197. formerly upon trumpets, horns, "c., 195. division and of the minor between E and A bold 202. as Third, G, 238^ expressivemelodic progression, Harmonic Scaie cessive (The), or scale of natural sounds arising from the sucdivisions of all sounds which thus a aliquot string,showing arise from entire string, Its importance root one or 217, 218, xxix. to xxxi. the basis of and with the as science, compared present scale, 218 to 221. Taught by the wind ftpon an .^olian harp and by a horn, 186. Also by a trumpet without keys or valves, 241. The six-octave' 234. Harmonic scale developed only in the last.century, 235. scale, Discovered in 1673 by two graduates at Oxford, and this the origin of all science,as affording the first measurements, 235, 236. Experiments with a pianofortetuned All flights to the scale for the writer, 238". of genius in composers intuitions and be tested are can of, by, the

taught

of music

her

said to have

Harmonic Harmonic

scale,236, 237.

part of a string,and Nature's division of Now used in Switzerland, up to the Octave, xxxi., 207. 195. A note natural the horn, 195. Used on occasionally by ancient flatter 202. A than mhior Greeks, 197, 201, our sixty-fourthpart Seventh, 216''. Is a perfect Fifth to E sharp, 217, and a note much wanted for melody, 238. Harmonici, or Harmomkoi, Pythagorean musicians so called themselves, Others 80. called them Ccmonici,or KoMonikoi, from using the Kanon intervals to measure 74. strings, upon Harmonics. Enrichment of tone caused by them, 225. Not simultaneous, but consecutive, xxxi. to xxxiii., Harmonics of flute, 214, 230 to 232. The violin,hautboy, and pianoforte the same, xxxiii.,233. tapering of harmoniums do emit not 233. The springs harmonics, xxxiii., mixture Till latelymore stops of organs are to represent them, 241. than as containing the thought of as a trouble to pianoforte makers of music, 193. in 1673 how essence Discovery at Oxford to produce 235. A necessary them at will, 236. Are produced study for composers, of the lungs from pipes,279, 280. Tempered scales with some exertion
the Fourth make false

Seventh,

the

seventh

harmonics,
whole

241.

The

number

of

any

harmonic

tells its

proportion to the
Harmonike which had been

218, 223. string,

name

(Greek),another
created

for

harmonia,
harmonia

to

avoid

the

confusion

between

and

enJiarmonia,16, 127,
This 246.

137.
Harmoniums makes have them 233. harmonics, xxxiii,, substitutes for unsatisfactory organs,
no

audible

deficiency
They
xx.,

emit

resultant Harmony Proofs

tones, 245.
old
as

(The practice of) as

of the Greek and

Roman

pyramids practice,147 to

the

of 153.

Egypt,
Names

274.

of able

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Ixv

men

who

discussed mistake

that
as

question
to the

in

or

before

the

last century, Wherein

153. lies 77.

Dr. the

Bumey's
charm of

Greek

word, 154", 154''.

of the intermixed be foretold

harmony,
technical Good

224.

Reputed harmony
effects may

spheres, 76,
with without

Hahmony

(in the discords,237the

sense), concords
or

occasional

bad

hearing

notes, 187.

Habps

Transition to the (Egyptian),originally bow-shaped, 65, 67, 306. sake of having short stringsin the angle, 315, triangularshape for the And Psalteries of triangularform, 307. Trigone when with of both Extant with the hands, 307. being played fingers 67. to Greece twenty-fivestrings, Harps introduced by Simicos and with a nd Duets for harp and 312. Epigonos 149, thirty-five fortystrings, Sir J. G. Wilkinson's 149. flute, description of Egyptian harps, 3X3. from The Greek in the 319. Called

Egyptian
letter

name

of

harp Bouni,
are

316.

delta, A, which Museum,

true

Harps in Trigons,found
B.C.,

the
on
a

form Greek

of the gem

British

about

500

years

and

among

Etruscan

318. antiquities, Hautboy (The) derived from Egypt, 2. Roman hautboys, 263. Formerly called Waights in England, and 260. An boy, why, Egyptian tiny hautcalled by the Greeks 261. Oingras, is in the British Museum, Hawkins (Sit Xohn), History of Mtisic,date of, and triple design,i. to iii. Greek iv. Was satirized published Rewords, v. as Anglicised unintelligible, with posthumous notes, vi. Unskilled in dates of manuscripts, Greek of 24. On the These 84. XV. modes, difficulty posed Supexplained, musical added notes to the Greek to the Te Demn by Meibom Could understand the hydraulic organ, not be ancient, 158. 332. Heron's Here 378. fullyexplained, 333. Did not know description, and xix. Hebrew System of Music same as Greek, Egyptian, Babylonian, Greek Greek musical in the Book of Daniel, and instruments lyres on Jewish in the Talmud, coins, xix. xl. The hydraulic organ mentioned
XX.

Hedylus organ,

(An epigram of)

326. instrument for
an

fixes the

date

of Ctesibius

and

of the

hydraulic

Helikon,
Helmholtz

measuring

sections

of

(ProfessorH. ), Tonempjmdungen.
to for

75. strings, Objections to Siren

not
a

certain

of his

theories, xxviii.
instrument in his

The xxxvi., 225 to 234. 248. An xxxiv., experiments,

Harmonic 237.

Scale, 219% 229, 230.

trustworthy improvement proposed to his theory of Antithesis

"

of "Difference Tones" name ObjectioBs to his new consonance, caused consonant vibrations, for Resultant Tones," they being by On the range of the The probable originof his novel idea, 248. 247. Misled his musical 250. xxxi. for Resonators, sounds, by ear
"

"

Hemiolian, the ratio of 3 Hemitonb,

Herculaneum Erato Hercules Hermes Hermes Hekmippus, 79. See

to

2, iv.

Semitone.

(Paintings of). Terpsichore with an emblematic lyre,297. 308. ten-stringed psaltery, and the lyre,49. (The Greek), xxvii.",27, 28. Hymn to, not Homer's, 28. Lyre, 29. (The Egyptian), 27, 39.
with
a

294.

Ixvi

GLOSSARIAL

AND

EXPLAXATORY

INDEX.

Herodotus,
Heb5n of organs,

xvii., 2, 29, 33", 49'", 52",59, 59^ 60, 76, 259, 303, 371. of His descriptions Alexandria, 3rd century, B.C., xvii.,326. and clarionet box for hautboy xvii., 328, 343 to 349. Of the holy water for Egyptian temples, 290. His Pneumatika "plinths "to the pipes, 365.
Of Terms sliders of consists

reeds,267.
to organs,

discoveries then Herschel

comparatively new,

374.

(SirJohn), xxxiv., 237.

Hesychius, xxiv.",12, 13, 258. 251. Hewitt (D. C), experiments upon strings, and With HiEBOOLYPHic, for "good," a lute, 61. bridge,tail-piece,
62, 63.
Hill Thanks (Thomas), 402*. to, 403*. made Hippophorboi, pipes for horse-keepers, of the bark 20. of the The

pegs,

laurel,267.
numerous

Historians.

Causes

of

failure

in

Greek

music,

requirements for musical history,xv., xvi. History of Music, i. (George), HoMEE. xxvii. AmeibomenaA, responding to, 11. Lyres, Antitheoa, god-like, four strings, Chant 26. new changed to a new string upon peg, 27. date His Phor-minx and 29. 28". of, Kitha/ris, Supposed reported visit to Egypt, 60. He mentions the hundred lar gates of Thebes, 28". Irregulines in his poems, 383. 159, Horace, 142; 149, 266, 276, 284, 296, 321, 322, 401*. HoBNs Greek to lyres originally of the antelope,oryx, 29. lyres with xxvii." goats'horns, xxvi., Horn. The number of practicable notes depends on its length. If 18 curved The three 282. notes, or inches,only lip acts as the straight, reed by tight pressure its vibrating part,282. Power due around to the bell end, 282,284, 285. A very long curved horn, 364.
HooARTH
a,

lilfOBAiD, 139.
and their scale, 381". production of vowels See or Hydraulikon. Hycl/roMlis, (hydraulic). organ IIyksos Egypt, 2, 69. (The),or Shepherds who invaded the bridge under string of Hypa^ogeMs, a movable monochord, for 190. measuring intervals, of the lyre,35, Ifypate,the longest string in the lowest two tetrachords first Counted the 36". Mistakes to its meaning as string, as 36, 97. and inms, and originating with Boethius, leading to mistakes of swmmus HuLLAH

(John),on

the

Hybeattlic

OBflAif.

322, 323.
the lyre,95. Hypaton, the lowest tetrachord upon the tetrachord the lyre,97. extreme or highest on ITyperboloBon, flat B minor with minor jEoliajt Hypera moxle, Seventh, 103. with minor JIypee-Dorian a mode, key of G minor Seventh, 103, 112, 113. transposed, or Hypbr-Iastian, Hyper-Ionian mode, A flat minor with a minor Seventh, 103.

key of B minor with a minor Seventh, 103. key of A minor with a minor Seventh, 103. HYPO-.i5EoLiAN mode, key of 0 minor with a minor Seventh, 103. Hypo-DOKIAN mode, key of A minor with a minor Seventh, the "Common" natural scale and Greek Its compass our scale,81, 103. on
Hyper-Lydian

mode,

Hyper-Phrygian

mode,

"

"

the

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Ixvii
of, 112,
a

lyre, 110". transposed,113. Seventh,

Hypo-Lydian
103.

octave

Most

used

of all modes,

110.

The

notes

Hypo-Iastian, or Hypo-Ionian mode,

key

of

flat minor

with

minor

mode, key of C sharp minor

with

minor

Seventh, 103, 112,

Seventh, 103, 112,

transposed, 113.
Hypo-Phrtgiau

mode, key
cross-bar

of B

minor

with

minor

transposed, 113. Hypolyrios, the lyre were

Iamblichus
Iambic
to which

the

lower

ends

of the

stringsof

an

early

attached,305, xxvii.

(Lifeof Pythagoras), 48, 292", 306'. lambos Dimeter, Bakclieios, irregulariambic, 163, 167. two measure or iambic, consistingof four poetic feet, and formerly called "minstrel measure" in Trimeter, or six-feet England, 163. iambic, in dialogue of Greek 165". tragedies,
Metbb.
" "

Iastian Immutable
means

Scale.

See

Ionian.
a

Index

of the Greeks, bad or change of mode key, Miqmrgatorius of Some, 106.

system

translation 104.

of

ametaboU.

It

without

Instruments Interval

of music

as

emblems the to

of Octave
to

(Every) discord, 193. 199, 200, 242.

See Juba. for

within How

divinity,xlviii. be misplaced may

to compare

so

as

to

make

add,

deduct, and

intervals, 198,

loBAS.

Ion, hymn
Ionian Isidore Italian
op

lyre,93, 94, ten-stringed

E flat minor,

101.

His

Mese

or

key-note, 161.

Scale.

103, 13P, 133, 134. Origines,258, 393. improwisatores like Greek rhapsodists,34.
Seville

Japanese 304.

music

(A report of),like
letters in Greek

the

story

of

primitive Egyptian music,

the
name,

Jehovah,
Jbwi-sh

four coins

Hebrew, supposed originof lyres upon

them, xix.

54.

with

JosBPHUs, Juba, 278, 311, Sll'. Julian (Emperor). Epigram upon translations for choice, 375, 376.
Junius

xix.,xl.,284.

the

Pneumatic

Organ, 375.

Three

(Adrian),Nomenclator,

290".

(Greek),pipes made out of reeda, like the Egyptian Movaidos ; but old in the tone produced as English flutes,or flageolets, longer pipes than the last, 272. Kalliope (Hymn to), 168. The 74. Kanon, for measuring proportions of strings, meanings of many
Kalamavioi the

word, 343, 354.

up time Thanks of
verses

Katalexis, to make
Kemp

like

dot

or

rest

in music, 167.

(Mr.), 238".
Harmonia

to. 403. 106.

Kepler,

Mundi,

Ixviii

GLOSSARIAL

AND

EXPLANATOEY

INDEX.

Keras,

horn, 276.

Kerata, homa,

often

those

at

the

sides

of

lyre,

306.

Keraulos, a horn Kemx, a horn

284. KiECHEE

pipe, 276.
made of
a

shell,used

by

Greek

Heralds

and

Criers,283,

(Alhanasius),an imaginative,untrustworthy writer,22"',158. Used for poetico-musical contests, 34, Kithara, portable lyre,29, 295. the The lower stringsplayed with 37*. fingersof the left hand, and the upper stringswith a plectrum held in the right,37*, 82. blder the for Kitliara, 29. name Kithans,
a

279. Klepsiambos, a lyre for varied styles, for the xxvi. Kollaboi,pegs lyre, KoUopes, pegs for the lyrejfirst made of dri^d
xxvi. Krembala. See See Castanets.

skin

and

afterwards

of horn,

KrotaXa.

Orotala. of h
on

the fore-arms Ktenid,,

Kondt's

experiments
the

lyre,in place of hdrhs, 306. harmonics in glasstubes, 232,

xxxli-.

LAORANtiE,
Lanobainb

mathematician, 236. \n." assistance to Meibom's (Gerard),

derived from the

celebrated

work

on

tha

Greek

musical

autht)ra,157, 185'.
Latin idioms draio in

lyre,intus
to be

thieves Latin Laubel

who

anything ; foris canere, drew in anything

on

petty thief, who would open-handed ; Aspendii citharistce,

canere,
a

illtheir way,
no use

365, 366.

treatises

Greek

music

of

to any

body,

vii.

Law

{daphne) for musical instruments, 74. A branch of laurel held by their voices while rhapsodists who had no lyre to accompany 385". the Homeric reciting poems, of stringson. the lyre,to prevent extravagant against idcreasingthe number
the

recitations,94.
Laws Lectuees
oe

Sounds.
on

See

Nature's.

Music, copiedfrom
Limma.

Bumey,

xv.

Leimma,

See

Lehidoi,cymbals, 292, 293. Lepsius's 60^ 61% 62, 64, 65, 66, 282% 320, 321. DenkmaUr, xxxviii., stringon the lyre,7,7",35, 83. Liclwnos, the fore-finger of a Fourth after two major tones are ducted deLimma (leimma),the "remnant" from it (theproportion 243 to 256),called hemitone semitone or How 194. hear to 120. Now Aristoxenians, 79, 120, one by tuning, by How it was called the Pythagorean Um/ma, 199, 202. improved into a to of 204. semitone 15 16, 196, major LiNtrs (Song of), 59, 60. curved with horn 284. a end, like the augur's staff, Lituus, a Eoman of but the sometimes for use cavalry, Usually short, exceeding four feet in length, 285.
Loceian

Mode,
if to to

or

scale, same

as

Hypo-Dorian, 110.

LoaABiTHMS,
scale

but must be subject to the Harmonic simplifycalculations, concord from 243. Therefore discord, distinguish cable inappliour present scale throughout, and so the explanation by

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Ixix
of

sections calculated Longs and short LuoiAN

on

of

stringhere
1 to

reverted

to, 243, 244.

book

logarithms long
and

for from

243". 1,200 semi-vibrations, marked originally

Bbevbs

in music

only

the

time

of

165. syllables, the invention of the

lyre,39".

Lucretius, Lute, 302, and

Lyeian Lydian This head Mode
was

258.
see

Nefer.

flute made
is very

lotus,268. Horsekeepers' flute of laurel bark, 267. the key of T sharp minor with a minor Seventh, 122. fit for boys, 99, 113. The high for a man's voice ; more

of

must have been used in it, 109. Transposed by Claudius Ptolemy, 113. 62. Lyra, the constellation, Lyre made (The). To add a new string an idiom, 8, 91. The additions all by tetrachords, 92. Four were sufiiced for recitation, strings only 26, 27. Lyre of the Greek Hermes, 29, 49. Phoenician,29. Egyptian,

voice

29, 49.
35. scales Some

Four

names

for

lyres,29.
seven

AVhen
to

increased How for

from

four

to

seven

stringsin
upon

Greece, 30. large on

the the

From

ten, 92.

tuned

originally,
The

stands, 82.
and

Recommended the

orators, 84.

two-octave The lyre, 111, 112. A tenpitch lowered by Claudius Ptolemy, 113. include the key with its dominant would and subdominant, stringedIjrre i\a Hypo anA Hyper, 111. or Comparative sizes of different kinds of 295. Remains of made of sycamore in the wood British one lyre, 297. Museum, 297. Egyptian lyre also of sycamore, Many-stringed How the lyre was The lowest held, 82, 83. lyres,118, 306. sounding 83. stringcounted as the first, lyre,255. Lyro-pJicmix,a Phoenician one-octave
same

scales with

(G. a.), xxxix., 160, 169, 170, 179, 248, 87". from Seneca), 150. on harmony (a passage borrowed with a bridge to divide the string into two Magadis, a musical instrument 2 to to play in Octaves in the ratio of 1, so as one 14, string, parts, upon instrument which Octaves 55. was played in Egyptian, 56, 106. Any included as Lydian instrument, 255. Magadis, 25S. Anacreon's
Macfabren Macbobius
a a

Of the

Psalterion

kind, 279.

Magadis aulas, a
16.

double

pipe, one

tube

to

play

an

Octave

below

the

other,

Magadizein, to play in Octaves, 15. Aristotle's Magas, the bridge of a musical instrument, v.,
Majoe Scale Greek musical of five notes xxii. the in the Greek

definitions,142".
305.

Octave, first found

Chromatic,
laws of

hymn

in

time, xxii., 176.

in the Egyptian and major scale, but against the Every major scale has two

roots, 191.

(Rev J. P. ) Thanks to, xxxviii. with relaxed Malahon, soft, tuning, 129, 131, 131". at the end, 67. the for name flute,blown a pipe, or Egyptian Mam, Maneeos (Song of), 59. the pseudo, and the true Manetho, Manetho 61% 69, 289, 290". Neither Mahusceipts. Bumey nor Hawkins judges of dates, xv.
Mahajty

Ixx

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Mabcellinus
and

lyrea corrupt text of, 317*. On enormous of 368. Rome, palaces Marsh the discovery of harmonies (ArchbishopNarcissus) communicated from a stringto Dr. Wallis, 235. Mathematicians (Error of old),and others,in marking 4 to 3, and 5 to 3, musical Sixth and in our as proportions of the Fourth scale,xxxvi. (Ammianus), hydraulic organs in
a

the

212". Measure the Medals 364.

origin,191. (A) consists of two poetic feet, equivalent to a bar in music, bar must or begin on the thesis, down-beat, 164.
cause

The

of error,

xxxvii.

Its Greek

but

struck

in honour

of successful

competitors in

organ

playing, 361

to

Cakul Mmkal, 240". (Charles), Mbibomius the Greek How on Meybaum), (Meibom or authors, x. assisted he in his work was essentially by Selden, Langbaine, ChilOn mead, and other graduates of Oxford, 156, 157. anti, xxiv. ascribes the Inlroductio Hwrmonica to takes Erroneously Euclid, 30". Misthe Conjunct System of Ion, 96", and the order of stringson the Oe"". Ascribes too remote Aristides state to 130. a lyre, Quintilianus, Mistakes He cannot 132. have read Aristotle's scales, Reasons, 130. Mebeens Problems
on

Music,
On

132.

Added
errors,

Greek 22".

musical

notes

to

the

Te

Dewm,
Mbister Melodia

158.

Kircher's

(A. L. F.), De vetervim hydraulo, 331. of (Greek), inflections,or undulations

and in

the

voice,
as

in
as

speech,
an

in

rhythm,
87.

music, 16.
descent

lower

voice

part

much

upper,

MelopOiia,ascent
89, 90.

and

of the

voice, either gradually or by intervals,

Melos, the undulation

it combines

fallingsounds, 87, 88. Perfect when Not rhythm, 88. Wailing, 89. sarily necesMelos the highest part in music, 87. of ordinary speech, 89. for octave playing, 300. MbNjEOHMos says the Pehtis was founder of the united empire of Upper and Lower Mbnbs, Egypt, 68. him for the luxuries that he introduced, 69. Bocchoris curses from having been originally Mese, the key-note of the lyre,taking its name the middle string,35, 82, 84. Compared to the sun, as being the of the musical centre system, 36, 86, 87, 176. Key-note of Greek
voice, music, and

of

rising and

hymns, 161,
Mesodmes,
or

162.

Mbsodmedes,
of the

supposed
middle

author

of

Hymn

to

Nemesis, 173,
to the

177. Meson, tetrachord

95.

strings, extending upwards

one

note, key-

Mesopyhnoi,
or

the

lowest

stringbut

in each

tetrachord

of the

Chromatic

Enharmonic

scale, 144''.
or

Metabole, Mutation
one

Modulation, 103.
into

If of

pitch{katatontm), change from

mode

or

key

another, 85.
or

from

Diatonic from

to Chromatic to

If of genus (hata genos), change Enharmonic. If of system {kata systema), If of amative the

Disjunct, or vice versa. Conjunct change Tnelopmian),change from grave to gay, or from Transpositionto any semitone within music, 103. in theatres,359. for adding sound Metal vessels

style {kata
to martial

octave, 179".

GLOSSARIAL

AND

EXPLANATOBY

INDEX.

Ixxi

Mkrologus
Milton,
Minor
XX. on

of

Omithoparcus, iv.
pronunciation of Latin, 391.
with minor Sevenths Fourth Chromatic
are or

the

Scales Minor

the

Diatonic
are

scales of the of the Minor Common scales

ancients,

scales without the

Seventh

Genus,
false to

Enharmonic, or So Their real key-note is a, major Third below, 212. Nature, 201. scale,217. See also 170 and 176. proved by the intervals of the Harmonic of G minor with minor Mixo-Lydiau Seventh, 103, 112. Mode, key Transposed, 113. which Stops of harmonics Mixture in organs are to supply the sounds are deficient in stopped pipes,241. Greeks. of the Particular metres Modes appropriated to pai-ticular
a, "

the

scale, xxii.

modes,"
was never

says
more

Plato

hence
a

than and

Dorian, Phrygian, their characteristics, 99.

supposed character, 99. The music Modes for the voice, question of pitch, 103. Differences of 101. Lydiau, 99, opinion as to
their of

Modiolus,
organ, Modulation both

the 352.

box-cylinder

"

condensing syringe

for

the

hydraulic
to

sound own (Greek), exactly like our by some common without to See flying discords, 103, HI. keys or modes,

also

Metahole.

Monaulos,
end

Greek

without

272.
Monday

Used
Popular
a

blown at the reed, of Egyptian origin, reed mouthpiece, and remarkable for sweet tone, 275, 275. (Syrians), by Apameans

pipe

made

of

Concerts,

xli. used sounds for

MoNOCHORD, 73, 75. Monotone, MONTEVERDB,

Moses Mousike.

of

one-stringedinstrument, much length which yield the various employed, literally

on

within

measuring the proportions an Octave, v.

,

never

account

of the

different

sounds

of

vowels, 27.
240. song with

Antiphonal (Trumpets of),284. See Music (Greek).

Miriam, 11,

in Note.

skilled in science, 106, 123. Mousikoi, men MuNRO (H. A. J.),Latin poem of jMtna, 337. Murray to, xxxviii. (John). Thanks Mus^us's reputed visit to Egypt, 60. Music (Greek),the only examples extant are all arts and sciences
over

three

which

the

Muses

hymns, 159. presided,xliii.

all that related young

Included Music
to

the

encyclopsediaof
and

learning, 145*.
The mental for

Included

sounds Prizes

numbers,
at Chios

16.

trainingof
from hands

Greek,
the

16.

reading music given both for accompanying with poems, and plectrum, 37*. hand one
Music the most of original all arts,xlv.

book, for
upon

rhapsodizing epic and with strings,

of art,and of greater perfection A new than any other, xlvi. influence pleasure to Ufe, and the taste The rewards of A remedy xlvi. 224. superiorcultivation, dies, never xlvii. Unwise minds and for insanity, law restricting for over-worked medium for xlviii. The fittest in music praise,188. Supposed England, from the rotation of the planets,why not heard, 76, 77. music The

Ixxii
Musical Musical

GLOSSAEIAL

AND

EXPLANATORY

INDEX.

Society, xli. The Contests, 32, 33, 34. subjects for prizes at Chios, 37*. struck for Contests and medals, still extant, which of organists, were
the

Antiquarian

'

victors, 362, 363.

Instruments takeh with their

Crowned of

with

laurel, 338.
much 253.

Musical
"

emblems

licence Asiatic

divinity,xlviii. Too forms, 252. Changes in name,

poetical Chieflyof

origin,303.
World Three
"

i'

Musical

304*. (The), periodical, rules in science, 198. 385". jSlschylus, reciting

Musicians. Myrtle

necessary

(A

branch
on

of),held-by rhapsodistswhile
of the

Mystakos,
Ndbla Nares

the emblem

lotus,301.
accounts

(The Greek), 61.

the (Latin), orifices of organ

The

various

of,301.
admit air to the

table which in the register perforations

National Nature's Nebel

English laws of

pipes,355. xlii. Airs, xli., sound, xxix., xxx., 186, 212, 213,
instrument), 61.
musical

214.

(the Hebrew
or

Nebuchadnezzar's

instruments, xix.
Octaves carved
on

259.
,

Nefer,
Nemesis

Egyptian lute, two

One with
a

each like

61, 62, 106. Nero,

the

head,

2, 43, 44, 45, 49, 50, string, a Cittern,321.

(Hymn to), 179, 181 to 183. to compete foi: victory as an organist,as a Emperor, his vow An and clarionet player,as a bagpiper, as an a dancer, 361. as actor, extant prize-medal,gained by Laurentius, the organist,in his reign,
361, 362.

Nete, the shortest NIth,

Neumes 382. Newton NicoMACHUS. the

stringof the lyre,35, 36. Counted of Egyptian goddess, the supposed Athene intended for (pmvmaia), not originally any
See Pnev/mata.

as

the last, 36.

the

definite

Greeks, 2, 58. pitch, 185,

(SirIsaac),106.
Treatise
on

music, viii., 36*, 36*, 37, 46*, 48=, 49*, 50, 73,
306".

74, 78, 83*, 83',95*, 292*

Nile Nineveh

(The), when at its height,and when lowest, 41*. of),3. (Musical instruments A. editor of F. NoBBE Cicero,not over careful, 386*. ), (0. how to produce Noble Oxford, discovered College, (William),of Merton 235. harmonics at will from a string, Strings. The Nodes act junction points of uniform vibrations which in 213. in opposite directions,xxxiii., chants So high that few a few on notes, 107, 189. NoMES, nomoi, severe could sing them, 107. not allowed, 108. Some three on Transposition therefore like the chant of the public crier,108. notes, called notes Notation (Musical) in Greek called semasia, 35*. Written Also semeia 118. written mousika, music-signs, characters, grcmvmata, attributed A to Pythagoras, 118. 185. Much very early practice, cultivated the 385*. of Notation and of Aristides Greeks, by Alypius QuintiUanus, 172, 185. for in Greek of Notes (Musical), no names beyond the general one semeia (signs), when written or down, 35, 117, 118. j/rammato (letters),

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Ixxiii
Greek
a

Octave

System

of

Music,
The
a

Egyptian, 60, 71,

Called and Octave
seven

76.

The

earliest Two

explanation by Philolaoa, 78. perfectsystem, 79^

81. Diflference between
'

Harmonia,

79.

octaves

eight stringedsystems

exhibited,

and the modem as to the position cleared The key-note, 84, 112, 113. Difficulty up, 114, 116. Ancient in Octaves called perfect system, 97. playing magadizing, Nearest to equal division of the Octave, 207. 106. It should be of instead notes of 196. eight seven, Olympus, the poet-musician,said to have relinquishedvaried recitation for Plutarch three string, attributes to him the invention 34, 147. one upon enharmonic which to of the is mythical, 51, 123 scale, 125, 126, 239. Optatianus representing the hydraulic organ with one (Publilius). Poem His addressed in each succeeding line, 368. three poems letter more Date in or to Constantine,an Altar, a Syrinx, and Organon, 366, 367. of the before Oracle Organ.
at

Greek

324

a.d., 369. the

'

371. or proplietes priest, in Greek and of organum in meanings of organon St. 3 75. 374. definition, Augustine's Latin, 327, in Egypt third OnoAN (Hydraulic, HydravMs or Hydraalikon). Invented Could be 328. not A xvii.,326, xvii.,333. overblown, century B.C., the 332. Pressure the bellows writer, xvii., on working model tried by Vitruvius's double xviii. could be regulated, acting hydraulic organ, Misleads xviii. Athenjeus's misdescriptionof, 253. others, 329. Why Its lightness of touch, 330. Water used a puzzle to lookers on, 325. -This wise of out 333. now to principle prevent overblowing, only instead of bellows, 333. Explained, use, 333. A condensing air-syringe with the water The air-compresser, bubbling, not unlike 334 to 337.

Delphi,

clever

answer

oi the

The

indefinite

an

inverted
the water

cauldron, and
to boil, 337. the

hence The

called
water

cortina, 337.
held like in
a

Error

of supposing

receiver

round

altar, and
in

air-condenser

its fire

shaped like extinguisher,337.

Why the Harleian manuscript diagrams of this organ, 338. The action of 340. valve, 341, 350. Improved 339, diagram selected, how to show slide here inverted they acted, the key, the box, and translated and The 343. Heron's freely, why, 342. description 341, Latin The description of contractions, 344. text freed from Greek A Reported improvements diagram, 350. Vitruvius enlarged, 351.
Defects in Nero's tests ConHydraulic organ on an ancient gem, 363. reign,361. And medals The soul struck, 362. of organists upon, 361, 362. Poem the 364. TertuUian, to on an by of man compared organ Pipes of great hydraulic organ by Publilius Optatianus, 366 to 368.

size, 367.
Organ in shape also difl'erin tone, xxxiii.,234. Pipes, differing of air, sound pipes,by doubling the length of the column Width lowers

Stopped
an

octave

pitch,214, 277, 402'*. below open pipes,241. (Pneumatic), Egyptian, Greek, and Roman, had Egyptian "pairs" Organ by standing upon them, xvii.,370, 372. ExempUfied, of bellows, blown of Pipes made The Emperor Julian's epigram upon, 376. 370, 373.
metal the
as

well

as

fall of the

Organs reed, 376. Empire, 377, 378.

of 123".

fell into

disuse

at Rome

after

instrumentalists, Organikoi,

Ixxiv

aLOSSARIAL

AND

EXPLANATORY

INDEX.

Organists SSI*.

crowned Medals

with struck 363.

338. laurel, and gems

Treated

reverentlyby
to

the

ancients,
the best

engraved
from

commemorate

362, organists,
Organs
of

Modern

Ettropb

derived

Egypt through Greece,

xvi.

Ornithoparcus
Orpheus. 32. OusBLEY -One Fame Fable

(Andreas), iv.
due of his to his

lyre,49.

(Rev. Sir P. A. of his experiments

a

the name included under recitations, His reputed visit to Egypt, 60. Gore, Bart.), Treatise on Homrnony, in science, 251.

of music,

xxx.,

243.

Overtones,
Oxford

misnomer

for

harmonics, xxxiii.
were

See

Harmonics.

401*. Ovid, 276, 290i:, University musical Graduates the

greatestpromoters
293. in each

of the

study

156. literature, small like Oxybwphoi, cymbals, vinegar saucers, 292, Oxypyknoi, the forefinger or highest but one strings, the Chromatic
or

of Greek

tetraohord

of

Enharmonic

scale, 144''.

Paeans,
Pandean

choral Pipe.
or

songs See

to

Apollo

or

Artemis, 108,

189.

Syrinx.

properly a stringed instrument, like the Nefer, 301. 74, lute, Improperly applied by mediaeval writers to Egyptian 258. the Pandean pipes, Paramese, near (i.e., a tone above), the Mese, or key-note of the particular for which the mode, lyre was prepared, 35, 97, 123''. Para/mte, next below Nete, the shortest string but one in either of the of the treble part of the lyre,35, 97. three tetrachords Gaudentius middle attributes a place Para/phones, intervals to which between and dissonance,but they are reallydiscords,148. consonance in either of the longest stringbut one Parhypate, next to the lowest ; i.e., of the lyre,35, 97. the lower two, or base tetrachords of the Bodleian Parker (George), Library, xii. the fore-arms, or upperpart of the sides of the lyre, Pecliees,or PecJieis, used in place of horns, 29^ 306. sometimes PeHis, the various accounts of this instrument, 300, 301. 302. Pelex, a kind of psaltery, five-note of than Pentatonic,xxii. scale, a less equivocal name Pentaphonic, Genus Greek Common had but five notes of the minor The and scale, enharmonic Greek also in minor the was a essentially pentapMnic, the two but grace-notes, 122. scale, because quarter-toneswere xx., chromatic scale was also pentaphmic, having a minor The Greek scale and a major scale of five notes, xxi. xxii. The ear taught, in all these false the the Fourth that two the minor and notes, Seventh, cases, 238. should be avoided, Pandouka,
or

Pandura,

Percy Perfect

Society, xli.
System of the minor

Greeks, a transposable scale of two octaves in a (But all minor scales are imperfect, says Nature.) of circumflex accent the the Greeks, a twisting round, or rise Perispomene, fall of the voice,therefore and corresponding necessarily long,381". key, 97.
Ph^nias,
the
a

148. Peripatetic,

Phandwa,

monochord, 74.

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Ixxv

JudjEus, xix., xl., 10*, 76. Philodemus, the Epicurean, 32. Philolaos, the Pythagorean, 46^, 77, 78, 79",80, 81, 127, 137, 138. Philon to his date,"826. A pupil of Ctesibius, of Byzantium, a correction as scientific subjects, the elasticity of from whom other he learnt, among
air, 328.
His

Philo

BelopoMka, Lyres
with

328.

Philostbatus, xxvii".
Ph(enicians,
With i. double

reeds, 261.

Phoinix Ndbla, 301. PlionaaMkcA,teachers of singing and declamation, 123^ Phoneenia, vocal sounds, as well as vowels, 53''. Phorbeion, a bandage over the cheeks of a piper,and its use, 279, 280. Phormmx, a lyre,27, 29, 30, 295. of lotus,adopted by the Greeks, 67, 273. Plwtimx, a Lybian flute made to The invention attributed Also to Osiris,275. common Syrians It the modem flute without is simply (Apameans), 275. tuningany slide above of Phrasing Pheygian the

of antelopes, 29, 256. Pipes, Many-stringed lyres of pahnwood, sometimes meaning only palmwood, 255*'horns

268. 298.

mouth-hole,

and

was

included

under

the

generalname

Plagkados, 311'*.
in Greek Mode. the

Compositions,172.
characterized Originally of E minor with
a

by

the

words, but afterwards 99, 112.

Therefore A

only
strain

key

minor

Seventh,

great
posed trans-

ordinary lungs upon by Claudius Ptolemy,

Pipes. Of
a

at its true 113.

pitch, 109.

Phkygian

feminine
on

character, for wailing,or

the

lamentation,

277. 278.

Therefore, probably
Sometimes double

hautboy,

or

double

reed

principle,

Pheynichds,
Pianofortes. organ, PiGOT

pipes,277- The Elymos, 278. quoted by Athenseus, 13. The long white keys ascending from A, copied
the Greek Diatonic

from

the

form

scale, xvi.
discovered to the most harmonics the necessary from which
a

(Thomas),
element

of Wadham musical to

College,Oxford,
science, how
the
measure

of all true

string at

will, and

produce proportions of
which the

string
of the

produced them, 235. Pinax, the registertable 354. were fitted,

Pindar, Pinna,
Pipes
an

of

an

organ,

into

ends

pipes

13, 101, 158.

organ

key,

342. The four

and

Flutes.

principles upon
The

which All

all, except
derived

the

Pan's

pipe or Syrinx, are

reed Curious Pipes
an or

made, 260, 263, 270, 273.

from

herds' shep-

oaten

pipes,260.

various

materials 280.

employed, 267Stopped pipes

column of air is of difference

plugs and stops to some (Organ), lowered in pitch by

Octave lower than open,

pipes, 269,
extra

width, 214, 277.

the

bec"(use

doubled

by

its return, 241.

Difference

length of of shape
320.

the
causes

tone, xxxiii.
Pipes
"

(Double), 55, 56", 63, 64, 277, 306,

married

Double lower

piping
used

"

when

one

was

an

Octave

pipes called than the other,

277.
Pitch

Pipe,

by

Roman

orators,

395.

Ixxvi
Pitch

GLOSSARIAL

AND

EXPLANATORY

INDEX.

of Nature's is one Octaves, 2, 4, 8, 16, 32, 64, (The only scientific), As the Sixth is now false note in a 128, 256, or 512, pp. 214, 215. of it selected for A the be to in 0, as scale, key ought never every of Pitch pitch,215. High pitch destructive to quality of tone,216. No late years raised by steel replacingiron for pianofortestrings, 18. standard

of wiU follow their men pitch for Europe, until the French defect of The French 215. Greek 216. pitch, science,19, present pitch often varied to suit the voice, 19. But cannot have differed very materiallyfrom that of fifty years ago, 109. the side, like the at flute blown Sebi of Egypt, the PlagioMhs. Any of Greece, and the Photinx of Syria and Tibia Tibia or vasea, Reason for 273. of the the and Romans, 67, obliqua greater power See lytotinx, of this flute, above. 270. briUiaijcy Plain Chant, or Plain Song, hpw derived, 162. Planets. of the Pythagoreai^, Saturn, Jupiter,Mars, the Sun, Tljte seven Venus, Mercury, and the Moon, 36''. The seveij notes of the scale with and with to coiijcide their supposed ratios of the sevei) plai^etSf

distance, 36, 37.

48. The twenty-eigljt sounds, 5,0.On identity 12, 41. IijEgsrpt, Plato, 11^, of Neth and Athene, 58. Greeks 70. Egyptian laws for njusic, Why Music of the universe, 77. ancient Diatonic had no records, 75. systen),80. On holding the Kithara, 82. On Melos, 88. Antiquity Modes of Egyptian hymns, 94. Evil of adding a established,101. lower end of the the 106. Good advice note aft to scale,lOl", 105,

singers,110.
kinds
Defective

Does

not

limit A

music

to in A

one

genus,

126, 148.

Two

of Diatonic, 128,

passage

translations, 143, 144".

in of

recommended
On Plectbum the license

education, 146.

Also

explained, 131. Music new attempt, 144. tQ praise the immortals, 189.

his

RepuhUc

(The).
in
=""

stick to twitch

the notch 55, 56.

The Pektis, 300. poets, 189. of sound Any exciting cause called,as the little so the stringspf the lyre,the slider .pfan .organ, 365, or 271. pipe or flageolet, Exemplified on the lyre, 43,

of PUnthis, the sjider

an

organ,

355.

Pliny, 268, 269%

Plutabch.

251, 365.

of Godhead, xlviii. godlike,xxvii. Musical emblems AntUfi,eos, On Olympus and Terpander, 34. Corrupt text, 34"=. Antiphon, 12. 35. On the divisions of the Egyptian Terpander, Archilochus ^fter
41. Chromatic seasons, scale,51. Shrine Olympus, 51, 123, 239. at of Pythagoreans, 75, 79. The universe Memphis, 68. Doctrine stituted conof music, 77. On Greek the principles on Melos, 88. On the On 94'=. 1040. On Greek Plato, 108, 146. people of Argos, names, music Quarter-tones,126. Definition of Harmonia, 137*. Recommends Music 147. 146. suitable for Spondaean mode, in education, viviality, conyear, 40. Musical of proportions attributed to the

Enharmonic

scale

of by wine, 147. Thirds 147. flattened harmony, tones Lyrists ! they obtained the harmonic the fore-finger strings (sensiblemen noblest of The 148. 189. Music application of 188, music, Seventh), in unknown But the only listened early times, 189. the theatre now

147.

Allays

excitement

caused

and

unsuitable quarter-tones

for

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Ixxvji
Theos, "the
as

to, 190.

Derives On

theatre from
the

theorem,

"to

look 288.

and at,'' On

189. Deity,"
an

Egyptian mstrum, 287,

403*.

the Psalmos for the Roman

instrument, 310, Octave-playing

Pitch

pipe

Pnevmiata

Gracchus, 395. for rhapsodizing or marks recitation, 185, 382. (breathings), Musical notation by pnewmata, or newmes, 382. of an hydraulicorgan, shaped like an inverted Pnigeus, the air-oompresser metal basin,or the convex of a round altar,344, 348, fire-extinguisher 353, 354. Pole Tables of natural (W., F.R.S., Mua. to, xxxix. Doc.) Thanks
harmonic

orator, Caius

notes, xxix., 243.

as 2, 4, 8 ; or PoUaplasioi,multipleratios, 3, 9, 27, p. 206. Pollux xxvi., 74, (Julius). Onomastihon, 137s 254, 268^ 268^ 269", 278,

282"

305, 310, 311^ 312^1.

PoVychordos,or many-stringed lyre,296. See examples 118, 306. 254. Polychordotatos, sounding, 146'', many PoLYDEUCBS. See Pollux (Julius). Same as PolypMhongos, or many-sounding lyre, 295. Polyclwrdon, Asiatic lyre, 296. 306. of, Examples 118, PoPB John the 22nd, 17. Popvdar Music of the Olden Time (Historyof), xiv., xlii. PoBPHYKY, 30",47",77a,77",123% 207, 266", 276', 382, in Note. PosBiDoNius quoted l?yAthenseus, 275.
Pbioeity Peoclus Pronomus musical instruments, 257. among the Pythagorean, 105.

or

the Theban flute player, 58. 12, 13, 143, 144. Proachorda, unison strings, Proslambanomenos, the lowest note in a scale,the Octave in any tetraohord, not included 97, 104, 105. Prosodiai. Peotaooeides Peynne See Accents, and of
see

below

the

note, key-

Pneumata.

CyziouSj74, 272.

(W.), xlv. A for stringed instruments a general name psaltery, 279. like the the 307. fingers, twanged by harp, Triangular or quadrilateral, The AU kinds 307. upright psaltery of ten strings,308. attributed to Egypt by Clemens Alexandrinus, 309. The (fete-shaped psaltery, A, 393, 394. a Psakitos, psalteryfor accompanying the voice,as in a psalm, or other words sung with such an accompaniment, 310. PsAMMBTiCHUS I. Opened Egypt to the Greeks, 33, 47. II. Sarcophagus of his daughter in the British Museum, PSAMMETICHUS 64.
PscUterion,

Psellus,
Ptolemy

12.

(Claudius),6, 7, 8, 24, 40^ 68, 72, 73, 75, 79% 80, 92, 93. His system and false theory making the earth a plane, 106. the Greek scales a Fourth, 110. Lowers Intervals of scales, 115, 201. tune How to them, 119. Lim/mas, or semitones, 120. Seven scales enough for all purposes, 120. Preserves scales by Archytas, Didymus, and Eratosthenes, 126, 128. Divides into sixtyparts,129. a tetrachord
astronomical On

syntonon, 131.
the

His

"

even

Diatonic Inventor

"

scale almost of the modern

true

one,

201.

Twits

Pythagoreans, 206.

scale (his dia-

./2

Ixxviii GLOSSARIAL
tonon

AND

EXPLANATORY

INDEX.

syntonon,
of

or

which tightly strung Diatonic),

that

Puritans
Hence

DidymuB, 209. (The), enemies

the the

compared with On pyknotes,402. Its defects, 210, 211. it because induced cheerfuhiess,xlv. to music
is of the eye in

greatercultivation
ear, xlvi.

England

than

of the

more

delicate organ

of a tetrathree strings when the lowest of intervals), Pyknotes (closeness ohord were closer together than the highest two, therefore ing only applyand the and Enharmonic not to to the Chromatic Diatonic, scales, 402. 144'", Pykamids (The), tombs of the kings of Egypt, 68. Octave Pythagobas, 3, 7, 24, 256. Batios, 46. In system, 32, 193. 50. The hammer 71. 48, Egypt, Twenty-eight notes, story, and His date and other fables,72 to 74, 75. 76. supposed discoveries, Musical signsfor iiotes attributed to him, 118. Intervals, 120. Limited the doctrine of the science to within an Octave, 138. A fabulous tripod lyre,299. Tuning the lyre,306^ in music, so called because they trusted in mathematical Pythagoreans Did calculations to correct the ear, 30% 106. not carry out all their 206. principles,
or Doctrines, 6, 193. Diesis, limma, 194. Tetrachord, 199. 202, 206. Apotome, 202. Comma, 203. Schisma, Superparticular ratios, Minor Sounds too 204. Ditone, 205. Third, 205. Diaschisma, 204. high and too low for our ears, 77, 244, 251. Pythian Games, 34. Fight of Apollo and the Python described, 264. like the clarionet, The pipe PytJtaulos 265, 277Pythian name, 264. See Bikims. Pyxos, boxwood.

Pythagorean

Quarterly Journal QuAKTEB-ToNBS

147.

188, in Note. of Science,

mere

of harmony, insusceptible grace-notes,

xx.,

125, 126,

Caricature of,in which the king,Kameses (Egyptian), Quartet Concert 400. first the III.,plays part, xx., 399, Editorial remissness QuiNTlLiAN (M. Eabius) copies from Cicero,4, 390. Pitch On with pipe for orators, 395, 398*. QuintiUan's works, 390.

anti,XXV". QuxNTiLiANUs (Aristides).See

Rameau,
Ramesbs
on

Aristides.

240. scale, of),xx., 399, 400. (Caricature were Beading ancientlygiven,37'. Music, a subjectfor which prizes i. for a new Reasons history, Made of Bombyx, 268. Boxes to Reeds Pipes, 262, 264, 266. for modern like boxes for had 267. Ms, dominos, sliding 266, them, Reonault's Experiments v/pon Sotmd, xxxii. the minor III.

hold

Pegula, the
Besonators

slider of

an

organ,

355. their
own

produce (Helmholtz's)
in Index.

sound, like

shell,xxxi.

See Sound BB.SULTANT

ToNES, xxxiv, 224, 225,

Much

244. in

247.

stone's

experimented upon 249. Objection to experiment,

Examples of,246. Explanation, Sir C. WheatEngland, 249.

the
name

of "Difference

Tones,"

xxxiv., 247-8.

GLOSSARIAL

AND

EXPLANATORY

INDEX.

Ixxix

Rhapsodizing

mnsica (Greek), chanting epic poetry with or without Prizes given for it in musical 34, 37, 385, 385*. contests, intervals, A written notation called and 37*. prosodiai,accents, pnewmata,

185, 383, breathings,

Rhythm

384.

(The rhythm, 163, 172.

mdos

of),89.

Rhythm

Consonance

parent of melody, 160. caused by rhythm, 224.

the

Musical Also sultant Re-

Tones, 224, 225. RiccATi, 236.

RiMBAULT Romans. 1. (Dr.),xliii., of Greek technical Corruptions Adopted only a part of the Greek the

words, vii., xxv.,

system, and
did

379, xliii.,
not

380.

understand
no

rest, 5.
or

No of

of science organ, Medals those RoSELLiNi's Rousseau

improved unprofitable art, 379.

MarceUinus

Roman

music,
Great upon the

9.

Romans of the

lovers

admirers

hydraulic
368. of

367.

Ammianus

of

for successful competitors in Nero, Trajan, Caracalla and Valentinian works on Egypt, 370. (J. J.),on music, xiv. ^A just remark
.

struck

costlyinstruments, playing, some organ

extant, 362.
about the minor

scale,

major Seventh, Music, xlix. Royal Societv (The), 215. for every Rules (Three), necessary to deduct, and intervals,how
Royal Academy
of

201, and

of the

"

la note

sensible," 239.

real how

musician,
to

198. 198. very

How The

to

add threii of
arc

compare,

explained,198, 199, 200 measurements calculating

subject to
the harmonic

or

242.

Logarithms a
only
in

(but

useful

music

where

simple way they

243. scale),

contomiates, 362. (J. ), Descriptiondes Midaillons See Trumpet. Salpinx,a trumpet. Sambma or (Sambuhe), a Trigon, or triangular harp ; also a Barbitos, manyGreek Phoenician lyre ; a lyre ; a stringed lyre ; a LyropJuxnix, or of elder- wood. Magadis ; a ladder for scaling walls; anything made The highest-soundinglyre,297, Sometimes a pipe or a dulcimer, 255.
Sabatiee 298. One
an

of four elder upon

255, strings,

298.

SambiuMS,
Sand Saturn's

tree, 256.
in the

vibratingsurfaces,187, 188. music of the spheres,105. in is Claudius Scale use Ptolemy's tightly strung Diatonic (The) now Its defects, 210,, 211. Comparison with 24, 209. {diatononsytUonon), Sub-dcuninants Dominants and the natural 220. formerly scale,219,
strewed Position
"
''

called semitone

Hypos

and

of the

Hypers, 24, 103. No Octave, 24, 103. majors arose only seven tuned, 118,
Greek
out

Greeks

had

scale upon
scales among Seven

every the
notes

complete major
of old

ancients, 115.
in
an

Our

minors, 25.
scale the from

Octave

because

planets known,
Our modem scale
on

52, 196,208.
two

How

ancient

scales were The

different

roots, 191, 210.

Octave

lyre, 193.

Two-ootave demur the

to true

scale,194.
the

The

of reputed proportiona

our

present 4 and |),200, 21 2", 242. Seventh, 211, 212, in Note.

It

present scale (I E sharp and wants

Ixxx
Scale

GLOSS

AEIAL

AND

EXPLANATORY

INDEX.

(The minor), the

Nature the
true

most be
a

ancient

but scale,
a

not

true

to

Nature, 201".

proves

it to of

merely
the

key-note
one, 212.

minor

scale

major scale with a being a major Third

of the harmonic

wrong lower

key-note;
than the

supposed
SCAIIGEE

See

intervals

scale, 217.

(J. C), 278.

203. Schiama, the approximate half of a Pythagorean comma, 186 unrecorded Science its vast of xx. Chapter Mwsic, antiquity, upon, See xxviii. Greek science. to 251. Pythagoras, Misconceptions of, Philolaos,Archytas, Eratosthenes, Plato, Aristotle,Didymus, and Claudius Ptolemy. Schneider editor of Vitruvius,332. (Gottlob), Scotch used by Egyptians and Greeks, xxii. Scale (The so-called), de Mvsica xlii. aeries, Seriptores veterwm, nova smaU 278. Scytalice, pipes, Scythian made of eagles' vultures' leg-bones, 268. Pipes, or flutes, or for a flute blown at the side, 67. Seba, or Sebi,the Egyptian name Seldbn. Assistance given by him to Jtfeibom's work, 157, 185. Semasia, written music, SS*. Semeia, or gra/mmata, musical notes, 118, 185. It is Semitone, major or Diatonic, the sixteenth part of string,196. Minor or tones, 196. reallyone of Nature's Chromatic, the twentyflfth part of a string, 197. Semitones,major and minor, added together are equal to one minor tone, 197. For the ancient semitone, see Limma. Septuagint (The), xl. Servius. Story of Hermes making a lyre from the shell of a dead tortoise
a

on

the

banks

of the
; an

Nile, 39^.
for in printed copiesof Quintilian, sesquiplex

sixfold Sescuplex, 390.

error

Sesquiexplained,388, 389. ratio (Greek Jiemiolios), Sesquialtera

of
a

of 3 to 2, iv. 389.

The

musical

interval

Fifth, 389.

Sesquidecimaseptimaratio is 18 to 17, v. the proportion of four to or (Greek epitritos), Sesquitertius, supertertius interval of a Fourth, 389. three ; the musical below tone Seventh the Octave, rejected by (The minor), or whole and Greeks in their Enharmonic and Chromatic Egyptians xx. scales, A minor xxi. Seventh A good reason, in the Greek Diatonic 25. scale, in Shunned all A 125. sound ears by susceptible disagreeable ages, without harmony, xxi. Seventh in modern times for the minor because (The major) substituted and false in a note a scale, so disagreeable xxi.,25. Major Seventh la note sensible," 239. true note, love of music, xlvii. Shakespeare's Chalumbau now Shawm, Schalm, Schalmusb, and represented by the
a "

264. clarionet,

Shepherds'
260.

Pipes, made

of reed of the four

or

straw, supplied the idea for all others,

derived from principles' Explanation them, 260. strings, 68, 312. SmiMon, a harp with thirty-five 65. Singers exhibited, (Egyptian), for all experiments, xxxiv., 248. Siren (The) not a trustworthy instrument

GLOSSARIAti

AND

EXPLANATORY

INDEX.

Ixxxi
within

SiSTEUM,
frame

an

Egyptian
bronze,to
to drive to

sacred be shaken the

rattle, made
in the evil evU

of

metal

cross-bars

of

in order

Christians down

away drive away

Temples, by a jerk from the hand, spirit Typhon, 286. Used by Abyssinian And 290. in Italy at childbirth spirits,
of four 302. strings, 326. Biography, SS"", Latin

to the

sixteenth

century, 290".
and Eomom

SUndapsos, a
Smith Oreek wnd
op

barbarian Oreeh

instrument

(Dr. W.).
Roman Aets

Dictionary of

364. Antiquities,

Dictionary,362.

Society
Solon SoNO in and

(The), 215.
48.
to Vulcan

Egypt,
Dance

(Ptah),63. Sopatee, 300, 301, 305^ Sophocles, xxvi., 13, 272", 278, 301.
Sound not in the of succession of the

atmosphere, but air-waves, 188.

concentrated

an

effect upon Which

are

the heard

brain in

produced by
and

seeming

stillness

air when of
a

and

intermixed

in the hard

polished

windings
Sounds SoKOE

shell, 233.
and too grave for
our

too acute

ears,

77, 244.
Resultant

(G. A. ), a writer on the Science of Music who discovered Tones in 1745, but seemingly after Tartini, 244. instrument Spadix, a barbarian stringed having high notes, 302. Speaking 282. Tbumpbts, Egyptian,
Mode,
147.
the i.

Spond^an

to Spondauloi,pipes for supplications Stajtobd (W. G.). History of Mum,

gods, 267.

Stephani
Stbabo.

Thesaurus, xxiv*. Quotation

On the from

Terpander, 30^
of the 298. year

On

the

ChaldsSanS, 41.
48*. On the

On

48. Pythagoras, 296"'.

Division

by

the

sun,

lyre,

Sambuca,

into his harp playing, fuU chords S*RAT0Nicus, the Athenian, introduced down his compdgitions,148, 149. took pupils,and wrote Sub-dominant of a scale the Greek Hyper, 24. It is reallya Fifth below, and not
a

Fourth Sei^.

above, 210, 217.

Suetonius,
Summvs
as

361s

SuiDAS, xxiv*.,93.
and

imus, doubts
of the

of the

learned

caused

by

the

blunder

of Boethius

to nete and

Sun

(The),centre
205, 218. out, 207.

SuPEBPAETiouLAR

hypate, 322, 323. planets and centre of celestial harmony, 36, 37. Katios, the Pythagorean doctrine and a true law, 202, carried who it first Greek The Probably Egyptian, 206.

for a Fourth, 46, 78. the old Greek name SyllabS, of notes Concord 11'. concord, Symphmia, meaning Euclid's

of different

pitch,16.

definition,136".
95.

SympJionium (Wheatstone's),245, 246. 31, Synaphe, the conjunct system of tetrachords,

Syncbllus,
61".

Synemmenon, the tetrachord above the key-note in the Conjunct System, or scales, 102. Syntagmata, modes with 130, 131, 131". tightlystretched strings. SyntoHon,

95.

Ixxxii

GLOSSARIAL

AND

EXPLANATORY

INDEX.

from Pan, 258.' of Pamdm-a, Syrinx, 258,259. Late writers give it the name Syeus (Publiua). Sententke, 293. See Octave Systems, 92, 190. System, and Conjunct or Lesser System.

Talmud

(The) notices the hydraulic organ, xx. Resultant Tones, 244, 245. said to have discovered Tabtini, the violinist, 102. TaaAs, a mode or scale, of strings, into the vibrations Taylok (Dr. Brook), analyticalresearches
236. Te Dewm, Hawkins Tebhen

laudamm,

printed by Meibom,
are

the

Greek

notes

supposed by

to be ancient

of Meibom's

making,

158.

(Tomb to the two-octave Teleion, perfect, referring system, 97. Temperament Tempered (Equal) means equally out of tune, 24, 239^ of tone and richness well false scales give false harmonics as notes, as depends upon harmonics, 239", 241. Temple of Denderah, a hieroglyphiclute over the door, 62. Tbrpandbb, 3, 26. For the seven- stringed lyre, 30. Planetary theory, 31. Not Octave Myth of taking his lyre to system, 32. His date, 32. Cameian or Egypt, 33, 48, 49. Pythian victories,33. Sang Homer's to please the varied recitations 34. Gave epics and his own, up His His Mese or key-note, 161. Greeks, 34. Modulation, 101.
scale, 162.
Teetullian compares the soul to the

of),65, 66.

hydraulic organ;

364.

The

organ

grand pile,367. 203. the quarter of a tone, an enharmonic diesis, Tetartemorion, Tetrachoeds four Joined four strings and notes, 28". by one note, common The interval of a semitone between to two tetraohords, 28, 31.
lowest Thales in two

the

notes, 31.

Egypt, 48, Theban made of the thigh bone of a fawn, and covered pipes or flutes, with metal, 268. Theinred of Dover, Treatise on Music, xii.,xiii. Theocritus. The lyre,296. Poem, The Syrinx, 259. Theodoret, comparison of an organ, 376, 351*. Theodosius of Alexandria, '384. of Smyrna, 12, 105. Thbon Thirds of tune, ii. Made out concordant (Ancient major), why by The nearest Didymus and by Olaiudius Ptolemy, 191, 204, 245. A major Third is the fifth part of a to equal division of a Third, 207. See Ditone. XXX. string, How Thirds The (Ancient minor), why out of tune, 205. remedied, 205. Third and Or the true minor a major tone a major semitone, 206. sixth part of a string, xxx. Third xxxi. (Diminished minor, or seventh part of a string),
Third

(Minimum
the

minor,

or

eighthpart of
39, 42.

xxxi. string),

Thoth,

Egyptian Hermes, 27, 189. Threni, funeral dirges, flute blown TMa at the side,67, 273. obligua,any 280. Tibia utrieularis, a bagpipe,

GLOSSARIAL

AND

EXPLANATOEY

INDEX.

Ixxxii!

273. obliqua, TIBULL0S, 258. Time in rhythm and in music not to be regulatedby syllables, but syllables by time, 172. Tityrinm, a shepherd's pipe, the Monaulos, 272. Tona/rion, a pitch pipe for orators, 395. How to tune 119. It is the difference Tone, Major. to hear by one,
vasca,
same as

Tibia

the

Tibia

Or the sound of eight-ninths length, 191. The sound of nine tenths of a stringabove Tone, Minob. that of the whole length, 191. Every major Third, Fourth, and Fifth, requiresone minor tone to be perfect, 208. See Helmholtz. Tonempjmdwngen (Helmholtz's), too hastilywritten, xxxv.
a

which of
a

Fifth

overlapsa Fourth,
that of the whole

119.

stringabove

Translators

of Greek to make

musical

Transposition Metabole. Transtillmn

Latin, so (Greek) to

tions only change the terminathey explain nothing, v. semitone within the Octave, 179. See any
terms

into

Latin

the upper ends of the (Latin),the yoke of a lyre, to which 306. stringswere attached, of the harp class, if of triangularform, 307. See Trigon, any instrument Four Roman used for 321 Harp. stringed Trigons pitch by singers,
.

Tripod

299. lyre of Pythagoras (fabulous), from string the

Trite, third 81, 97.

top

in the

two

treble

tetraohords

of the

lyre,

Tritemorion,the
Tritone,
148.
a

third

part of

discord

of three

203. diesis, a tone, a chromatic as tones, classed by Gaudentius

paraphoni;
of laurel

on Troqlodytai, borderers 74. wood, Tromba ilame Marina, a silly deceived 283. by it,

the

Red

Sea,
a mere

who

made

instruments

given to

monochord,
See Modes.

283.

Dr.

Barney

Tuba.

Tropoi, Greek modes See Trumpet.

All power be

and

our

keys, 99,
upon the

102.

Trumpet.

depends

bell end, if with

bell to slide off,

practisedin a drawing-room, 277. The lip of the player is the may The tone produced by tight pressure on vibrating principle,282. the lip,leaving a small part free to vibrate, 282. Practically, long Egyptian, only 18 key-note. Octave, and Fifth, so rather horns, and still longer speaking But the Egyptians had others four feet, 282. 282. Assyrian, 259. trumipets, Forks To diminish hold Tuning (Experiment with), xxxiv., 249. power at the angle 45 to the ear, xxxv. one Ancient Scales Tuning of by Fourths down, and Fifths up, just as now,
more

tubes

produce
can

notes

than

short, 282.

Some

inches,

have

had

but

118, 119.
"or

How

to

tune

so

as

to

prove

the

discord

of ancient

Thirds

Ditones, 119.
on

Tuscan Twining

Tyrrhenian.

See

Etruscan.

of Aristotle's Poetics, xi. (Rev. Thomas), Translator Lectures Tyndall on (John, LL.D., F.R.S.), Sound, xxix., xxxi., xxxii., xxxiii.,xxxiv., 226, 230, 232, 233, 248, 250, 263.

Ixxxiv
Usher

GLOSSAEIAL

AND

EXPLANATORY

INDEX.

61^ (Archbishop). Chronology,

Manuscript

of Greek

hymns,

156.

Utriculanus, a bagpiper, 351*.

Vakeo

De

He

rustica,56^

Vertiada, a
ViBBATiONS.
no

centre The

pin, 352,
French

353.
to and

count

fro

as

vibration

of air until the

a

return 54.

of the His

but vibrations, 216*. string, two

to

there

is

Vincent

(A. J.) on
290=. 258"=,

Greek

vase,

answer

FitiSj 141".
notes

of the scale, SS"". seven Septem vocmn, after him, 361''. A Eoman dance accompanied with song named ViTBTJVius's of the double-actinghydraulic organ, about twenty description an accompanying base, ixv". Reports years B.C., xviii.,328. AtUibasis and difficult, Did not quite understand Greek music obscure 4. it, as

Virgil,

disan/mina

5.

On

the

difference

between

organum

and

machina,

327*.

tions Transla-

and by Gwilt, 349. A diagram hydraulic organ by Newton of his organ, 350, and translation seems sary, necesWhy a new amplified The 351. 349, 350. translation, Manuscripts of the ninth and in the British Museum, here caUated tenth centuries, (as well as dthers On metal vessels to be excited of later dates), 353*. waves by the soundin theatres,and front the voice or froni instruments thus to of sound, 359. Ascribes the hydraulic organ to utilize wasted power Shows the Roman 365. Ctesibiiis, corruptions of Greek Words, 379, of his 380. VoLCKMANN

Vossixjs

understands Mis(R.) twice alters Plutarch's text unadvisedly, 34", 123". the hydraulic organ, 329, 330*. Gamtu, 154a,331, 350. A correction of,by (Isaac); De Poematum

Sir Johd VowBLS

Hawkins,
Scale

351*. Vocals

from distinguished of

only
How

in

English,

not

in

Greek The feason have

or

in

Latin, 53''.
way of

vowels, 27.

pronounbing Latin ridiculed in England, 391. sufferance long

the Vulcan

produced, by Milton, and

way

381*. the
we

English
for its

The

in which

twisted

sound of

one

vowel

into another, 63.

39lj 392.

(The Egyptian), Ptah,

Wallis

(Dr. John), completed

His world edition the made to the

Meibom's

collection

of Greek 201. First

authors cated communi-

On

music, 157.
science and
to

of Claudius

Ptolemy,
is the

discovery,which
at

foundation

of all true
at will

in

music,

Oxford, of how
a

measure

the

proportionson
minores, 368.

to produce string, 235, 236.

harmonics

Wbrnsdort',
Westbrn Whately Whbatstqnb

Poetoe Latini Ohuboh

of the),382. (Recitations (Archbishop),quotation from, 143;

(SirCharles), xxxix., 249, 242. 61*, 62, 67, 282, Wilkinson (Sir Gardner), xxxviii.,33^ 42, 49*, 58, 59i", 286, 287, 306, 313, 316, 317, 321, 370. the hydraulic organ, 337. on William of Malmesbuby, vowels, 27. on Willis (Professor),
WiND-CHBST of the
man

of

an

ancient

pneumatic organ,

who

stood upon

the pressure the bellows, xviii.

equal to

the

weight

GLOSSARIAL

AND

EXPLANATORY

INDEX.

IxXXV

Wire

stringa
or

unused

by
were

the used

ancients,

309.

But for struck

wire harmonic in

rods,

fixed sounds

at

one,

at

both

ends, 291,
and

by

Egyptians
to

by

ing pull290,

them,
291. Weight

by

Assyrians

be

dulcimer

fashion,

(W.

Aldis).

Thanks

to,

xxxviii.

Xbnophom-,

261.

Ybab YouNU Young Young

(The) (Dr.

divided

into

365 researches assistance his true

days

by
into

the the

Egyptians,
vibrations

48. of
to

Matthew), great

strings,

236.

(Patrick), (Dr.

rendered

by
Eesultaut

him

Meibom's

work,
247.

157.

Thomas),

theory

of

Tones,

Zbnodotus,

accents

to

Homeric 269.

poems,

384".

Zeugitce, Zugon
which

double

pipes,

(in

Latin the

TranstUlwm),
upper ends of the

the

yoke,
were

or

upper

cross-bar 306.

of

lyre,

to

strings

attached,

EXPLANATION

OF

THE

WOODCUTS

AND

OTHER

ILLUSTRATIONS.

1.

Egyptian
who

ladies

engaged
the

in

music

at

the

date and

of drove

those them to have

Pharaohs
out

conquered
"

Shepherd
who The
to

Kings
are

of the

Egypt

the

same

Pharaohs

supposed
third

put

Israelites
or

into which

bondage.
have frets and

first mark time

and

ladies of the

play

nefers,
the

lutes,

divisions with her

strings;
;

second has
a

lady

sings, pipes

beats

hands and the

the fifth

fourth

double kind of

with

ivory
"From
u,

mouthpieces,
the

plays
upon British

tambourine.

original
and
now

painting,
in the

plaster,
Mtisewn. 2.

taken lith

from

tomb

at

Thebes,
To

dynasty
a

of Egypt. nefer,
holes
or

f axe

Frontispiece.
by
are a

Egyptian
round escape

lady
her of

playing
The
"

lute, supported
front of the lute

strap
the
43

neck. the sound.

in

for

From the

Wilkinson's

"Egypt"
...

3.

Egyptian
to the

dancer

playing

lute, and
of the

using

plectrum,
From

attached

instrument,

instead

fingers.

"

Wilkinson's 43

4.

Greek Two

worship

of

Athene
on

(Minerva) magadides,
the
on or

after

the

Egyptian

manner.

priests play
at
one

cross-barred the

lyres, using
at the
a

the

fingers
Two No. 6. An

end

of

strings,
double Berlin

and

plectrum
i'Vom

other.
vase.

other

priests play
in the Museum
on

pipes."

Oreek

626,

at

55 This

Egyptian acting

player
from

the which to

m,agadis.
the the

example
derives
one,

of the the the

doublename

bridge,
is

instrument

of

magadis,
does not

preferable
true

preceding
The up the

because
or

former of the

exhibit
must to

proportions.
one

bar

bridge
of
to

instrument in order

be it

third the

length
of 2
"

the

string,

divide
"

in

proportion
"

1, if it is to
56
...

produce
6. Two of the

Octaves. earliest
a

From

Wilkinson's
of ^roro for the

Egypt

examples
or

hieroglyphic

for

the

word One

"good""
of the
two

nefer,
shows

lute."

Lepsius's support
as

"Denkmaler."

the

bridge
were

of the well

strings,
as

and

the upon .62

tail-piece
which the

to

which

they
were

attached,
....

the

pegs

strings

turned

Ixxxviii
NO.

LIST

OF

ILLUSTEATIONS.
PAGE

7. Song and

dance

to the

God

Ptah

plays on double pipes,with slaves dancing. and beating time with their hands singing, tomb Frmn tlie original paimting, upon plaster,taken from British Musevm. \Wi the im at Thebes, now dynasty
"
"

("Vulcan). One Egyptian ladyivory mouthpieces, -while two are

u,

63
.

8. The

musical

establishment

Tebhen,
date the

copied

from

Egyptian gentleman, named painting in his tomb, 4th dynasty,

of
an

Two Pyramid. harpers who play -with : their conductor harps, originalbow-shaped upon four two : pipers and a flute player, -with their conductor and child to beat time. three female male singers, a singers, The are flute-player unequivocally playing in pipers and harmony, o-wing to the varied lengths of the pipes. From of the Second Great
"

9.

10.

65 Lepsius's An ancient bas-relief, showing a girl playing on the ^o%pAi^i")"fl'OJi, Asiatic whUe or many-stiinged lyre, reading from a scroll scroll the wood-engraver has improved into a book. which .118 Copied from Bwney's "History of Music''' , words of Greek music and in Greek to The a hymn Calliope,
"

Denlcmdler"

"

"

musical
same

notes, vrith
Greek Greek of

clue

to two

the

Greek

notation

; and

the
.

in modem of of
a
a

notes, with

dififerent
......

accompamn(e^ts
accompaniment found only in
upon the
a

168-170 174

11.
12.

Music Music

13.

Continuation

hymn to Apollo hymn to Nemesis, with to Nemesis, the hymn figures described
the

an as

179
.

one

manuscript
14. Wood-cut of the

182

surface, when
sounded 15. The musical musical 16. Ancient

Octave,
the

the

by Eifth,
and

sand
or

vibrating
are

Fourth,

188 scale of Nature science Koman reeds

"

one

only

sound

basis for all

217
their conical
a

hautboys, showing
for the mouth.
"

tubes

and

their

double
Museum,

From

painting in

the British 263

17. A

18.

large musical pipe,probably the bornbyx,from, a sarcophagus. "Bump's "History of Music" piper playing upon double pipes,and wearing the phorbeion, or of the pipes, to support the ends and to prevent capistrv/m,
distention of the cheeks

269

280 inserted in them.

19.

Double
now,

pipes-with
and

peculiarplugs
an

Inexplicable
280
. .

probably
pipes as

emblematic

Plutarch fancy-picture.

includes 20. 21. A The

emblematic

shell-like horn, the

Roman stafi'

Icenm, or

instruments,as well as lyres early form of the hucdna

.

284

lUuMS,or

horn, curved

at the

end

like

the

augural
285

22.

An

or rattle,to Egyptian sist/ru/m,

drive

away

the

evil

spirit,
288

and 23. An

bearing the

emblem
on a

of the

cat
"

Assyrian player
the British Musevm
an

sort of dulcimer.

From

in sculptwre 291

24.

with Terpsichore, di Ercolano

...

emblematic

lyre. Copied from

"

"Antichitd 207

LIST
NO.

OF

ILLUSTRATIONS.

Ixxxix
PASE

25.

peculiar

Etruscan

lyre,having sound-holes, bridge, and

"

piece, tail-

like the violin.

From

Sir

William,

Hamilton's"

Etruscan 298

".......... Antiquities
26. Erato with her
an

harp,
emblematic

as

doubtless

and

an represented on not a practicableinstrument

Etruscan

vase

300
.

27.

true

lute, with
of

receding Apollo upon an

head

and

ribbed gem.
"

back, in

tation represen"Oemme 302

ancient

Copied from
their

Antiche" 28.

Egyptian singers accompanied by players on stringed lyre, double pipe, and many-stringed harp. Wilkinson's "Egypt"
Erato with
an

manyFrom 306

"

29.

"^rom upright ten-stringed psaltery.

"Antichita .308

diErcolano" 30.

Exemplifications
its for

of the

transitions

pf the

Egyptian harp
qi

from

originalbow shape to that the sake pf having short

Wilkinson's

of the

trigon

strings in the "Egypt"

....

triangular form, the angle. From

"

Harper's Tomb,
31.

314, 315

Egyptian
Blind

Wilkinson's
32.

triaijgular harp "Egypt"

musicians
a

with

twenty-one
in

strings.
"

From 319

Egyptian
nefer,

playing
with has

concert,

one

with third
at

splendid harp,
a

second

double
a

pipes, and
human

with the 320

pr
"

lute, which
From of the Greek

carved

head

extrenjity.
33.

Lepsius's DenkmMer hydraulic

organ From
one

Representation
Harleian The

of the
340

Manuscripts
of the

34. 35.

key-aotipn
of Poematum

hydraulic
Viribus
an

organ
"

341 From Isaac Vossius's "De 350 Soman initials gem,

now

Diagram Hydraulic
British
contest

the Oaniu orgaji.

"

hydrauUc
et

organ

Shythmi
ancient the in in the
a

36.

From oho

Museum,

bearing
the

of the victor
of beUows

of organists
earliest kind used

363

37. An

for organs. 38. Roman the in

Egyptian smithy, showing Wilkinson's "Egypt"

"

370

pneumatic
Obelisk
use.
"

organ

of the

4th

of

Theodosius, showing
the J. Mr. E.

century, as represented on the Eg3rptian bellpws still

the

Copied from
and

"History of
From

Organ

"

by

Dr.

Simbault 39.

Hopkins
B.C.
"

373
a

Assyrian harp, 7th century

Musemn, Flute
an

sculpturein

the British 392

40.

of

peculiar kind,
marble
statue

with

projecting mouthpiece.
British

"

Frmn in the 394

ancient

in the

Museum,

found
the

Civitd, Lavinia, 41.

the ancievi of
as a a

Lanuvium

Egyptian
plays
III.
"

caricature

Quartet
lion.

Concert,
This
was

in

which

King
J. P.
. .

the From

first part,

intended

for Rameses the Rev.

.

the Turin

Satiric
to

42.

Ancient

Mahaffy's "ProlegoTnena a cymbals. From

"

Papyrus, through Ancient History"

statue

399

marble

of

Satyr

in the British 404

Museum,

known

as

the Bondini

Faun
....

THE

HISTORY

OF

MUSIC.

CHAPTEE
The first firm

I.
The field
been found

footing
"

for

history.
"

new

opened by
a

recent

discoveries.
"

Why
Roman

Greek

music
one
"

has

difficult

subject.
form.
"

The

Romans latest

adopted but
writers. Greek
not
"

portionof
The
"

it in its oldest

The of
"

Mediaeval Greek love ^New of both

system.
"

Examples harmony. prepared

Standard and

misapplied
Tones German
"

terms.

of

Octave

Church for

Greek
No

music. evidence of music

"

difficulties ancient

readers. Greek

any

Pitch.'

The

system

intelligible

explicable.
most
seems

The music
are

convenient
to

basis for

be

the

here

removed

from
upon

historyof ancient earlyGreek system, for we the land of myths, and have
a

the

foundation
art

which raised.

the The

superstructure of
discoveries that in

modern have the

has made

been in

been

Egypt
now

and

century that
and Dr.

has

Babylon, withia passed, since Sir John

their
state

Hawkins

Bumey
an

wrote

Histories of the unknown

of
art

Music, have
in most and that from
more

revealed

advanced
was

ancient

times, which
There is
no

before

unsuspected.

to doubt longerroom the entire Greek mainly derived system was Egypt, Phoenicia,Babylon, or other countries of

ancient

civilization than

Greece.

The
B

musical

THE

HISTORY

OP

MUSIC.

instruments
even

of the hitherto

Greeks

to

the

may unobserved

be traced

in

Egypt,
Octave little

Magadis, or
and for that
to

playing instrument, of Anacreon, wailing span-long" pipe used

"

the

lamentations

on

the

death

of

Adonis. claim

From

pipe
The

must

the

modern

hautboy

its descent. Greek

total

number

of notes

ia the combined

of preciselywith the enumeration The writers. system, as revealed to us by Greek to worship of Athena, or Minerva, who' corresponds the Egyptian goddess Neth, was attended by the of having musical instruments to peculiarcustom play in Octaves in the temples of both countries. The same have prevailedin system of music must the two, because they had, at least in one case, the it was a. sa.me song, and song that, according to in generaluse. Herodotus, was be noted Moreover, a further discovery may that, at the time of through Egyptian monuments, the inthe buildingof the Pyramids, and before vasion of the HyksoB, or Shepherd Kings, had made to the Egyptians," every shepherd an abomination that played with harps those Egyptians had bands ^not in unison, as might have and pipes in concert This is made been supposed, but in harmony. manifest by at least one of the representations on of the fourth dynasty of Egypt. the tombs Three pipers have a conductor beatingtime for them, and of such different lengths, their pipes are that it is been mathematically impossiblethey could have Further, it may be proved to playing in unison. demonstration, that the ordinaryEgyptian lute had of two Octaves. The then a compass hieroglyphic this evident. It is a lute with for "good" makes
"
"

scales agrees the Egyptian

RECENT

DISCOVERIES.

length of the body. Again, this lute being providedwith not less than two for shows a provision strings, harmony), because playingdouble notes (to make one string having a compass of two Octaves, would have been aU-sufficient for melody. A single string, with a neck against makes which it may be pressed,
a

neck, which

is from

two

to three

times

the

scale for itself Another

is the point worthy of observation between the practical agreement and general identity musical instruments of Egypt and those of Nineveh and of Babylon. This is largely exhibited in ancient and may be observed sculptures, by any visitor to the British Museum. If we semblance couple with this rethe division of the incidental notice of the Chaldeean that of the

Octave, by Plutarch, and

musical interval of a Fourth, or reputed Diatessaron, in the Babylonianplanetary system, by Dion Cassius, they should suffice to estabUsh the identityof the musical systems of Assyriaand Egypt. When examined the musical by this new light, acquirementsof the Greeks will appear but as one branch of the transfer of learning from Asia to Europe ; for the Egyptians were admittedlyof Asiatic origin. It will also raise doubts that
were
as

to many

of the inventions

to posthumously attributed to Terpander, and to other Greeks. Pythagoras, feature of all Lastly, perhapsthe most interesting to

will be "this in
no

that establish, backward way the from and

the

notes

of the of

scale in

dark other

abysm
of
a

time," differed
of the minor

modern

notes

scale
on

(ason A), than

long keys
manner

in the

called

Thirds, (asfrom A

to

beginning pianoforte, of tuning the intervals C and C to E,) so that,

b2

THE

HISTORY

OF

MUSIC.

short of being consonant, as ours although falling in. melody, and not are, they would pass for Thirds perhaps then detect the difference, every ear would since it was but the eighty-first part of a string. If, after

this, the

ancient

technicalities
the reader

can

but

be the his

cleared away, successfully whole subjectof this most mind's

ancient

have may music before

This will be here attempted. eye. Boeckh has remarked, in his Metres of "the music of the ancients of is not

Pindar,

that

merely
is buried

neglectedby
in be oblivion."*

the students It is It
now

but antiquity, quite time that indeed been

it should
to

disinterred.
an

has

allowed

remain

unrav^lled puzzlefor many

seemed onward been
a

have complexities decrease

reasons

rather

ages, and its to increase than to of time. The

with

the

for this have

progress various.

First, it presented
because Greek

they
about

had

the Romans to difficulty adopted but one portion of the did

not

system, and
the

trouble

themselves

much over-

thought that Aristoxenus had devoted his energies too exclusively to music;* and, when touching upon the art in his from Aristotle, Cicero translated and own writings, then Quintiliancopied from Cicero. Vitruvius had to travel beyond the boundary of the Roman musical
system when
were so

remainder.

Cicero

he

wrote

about

the
to

metal echo

vases

that
and He
"an not

constructed
to

within
to

theatres

sound,
as

give resonance
described and difficult
musica
non

the voices of the actors. musical literature

one

then obscure
" li

Greek

and subject,"
modo
'
"

that

could

'Veterum

Quantum

Aristoxeniingenium
"

ab antiquitatis studiosis, Jiegligitur Bed oblivione sepulta est." (De Metria PindaH, lib. iii., c. 7, p. 204.)
"

cousumptumvidemusinmusiois." (De Fmi}ms,Vih.Y. \^.)

ROMAN

WKITEBS

ON

MUSIC.

be

to Greek words, for resorting which there were Latin equivalents.Although no he endeavoured and to explain the to understand writingsof Aristoxenus,he did not always succeed in givingcorrect interpretations of his author.^ Many such imperfectrenderingsmight be cited

explained without

from
on

Roman

authors, but it will

of the latest writers exercised of the middle the

now

suffice to the old

pass

to two

under

empire.
upon Cassiothe
-

Their the

works

greatest influence
These
were

music and

ages.
were

dorus sixth Goth.

Boethius, who

in cotemporaries

century, in the reign of Theodoric, the Ostrowas a

Cassiodorus liberal arts treatise Greek

to

Christian

who

wrote

and generally, mixsic. He

devoted

but

the upon part of his

included been

music

that had

only the branch of adopted by the Romans,

scale of tones and tones, semi-

the viz.,

ordinaryDiatonic
our

like

own,

but His and such But

in its

unimproved, state.
and brief summary, the

earlyPythagorean,or treatise is, so far, a good

the ratios of the
as

it includes the he

simple consonances,
and Octave.

Fourth, the
touches For upon

Fifth,
pound com-

when
not to
an

intervals,it is
says,
or

good.

has

been

made
to

Fourth a {i.e.,
*

added
in

say, that is Octave,)

autem est musioa

instance,he an Eleventh,
a

consonance,
abscura

For

example,
of that

the describing Grreek lowest

litteratura

fixed he

sounds

the the

system,
note of

et difficilis; majdme

qnidem qnibus
sunt notse
:

forgot

grascse litterae si volumus

non

quam
eat
non-

every did not their he

(theproslamhanomenoa) form of part of any one and tetrachords, or Fourths,

two

scale

etiam nuUa

exphcaie, necesse verbis nti, quod grsecis

eorum

latinas

non

habent

appeUationes. Itaque, ut potero, Aristoxeni in his enumeration, viz.,thej3ora?ieies apertissime ex quam of the synemmenon and hyperboUxon scriptorisinterpretabor. (Lib v., Of the difficulties of tetrachords. cap. 4, Leipzig,8vo. 1807, p. 121.)
omitted of the variable
notes
"
"

Greek

music, he

says

' '

"

Harmonica

THE

HISTORY

OF

MUSIC.

and be
not
an

that it is in the
as

ratio of 24 it is not
to
a

to

8*

(which -would
and To is
treat error, not

3 to

whereas 1),

consonance,

in the ratio of 24

8, but

of 8 to 3.
was a common

Eleventh
he

as

consonance

for which

had

but authority, respectable

for

mistakingits ratio.
The the work of Boethius of the

{De

Institutione

Musica) is
one

most

elaborate

Roman

and treatises, It is divided

some

devoted five

to exclusively

music.

into
or

books, each

subdivided

into

twenty

heads, or chapters. The last book exists only thirty in an have to seems imperfect state. Boethius intended it to consist of thirtychapters, of which but eighteen are The index of contents extant.
shows
to
a

that the last twelve

were

to have

been

devoted

of the suggestions and improvements summary of the later Greek to those of writers,and especially

Claudius been his

Ptolemy. But the historical only, because

of musical

summary he had

was

to

have

alreadyformed
the antiquated That
was

calculations

system
the

upon of the Pythagorean scale. of the

intervals

adopted scale

upon his treatise.

Romans, and his calculations it had been embodied in the precedingbooks of

contrast to

Boethius, in
have
art

Cassiodorus,seems
science than

to to the

paid

more

attention He
was
an

to the

of music.

able

but felt arithmetician,

short of the attainments upon the

necessary for a great writer Yet he exalted theory theory of music. His practice.!" with acquaintance the

above greatly

"Quarta, Diapason quamhabet

numerum
:

simul

et Dia-

InstUvt. MvMcce, apud

tores
^

GerbertiaSmpi.

tessarou,
exratione ad octo

symphonia est,quiB constat

xxivnumerus fit autem
"

Eccles. de Mus.

17.)

"Quanto

est igiturprseolarior in

ex

aonitibua

undeoim.''

(Cassiodori

rationis cognitione quaminopereefficiendi, atqueaotu!"

scientia musicse

BOETHIUS.

branch of Hs subject was evidently slight; practical known that he seems not to have indeed, so slight the correct of the lyre. He for the strings names strLag, applied the title of lichanos,or fore-finger
to two extant

that Greek

have

not

that

name

in the work

they were the Greeks intended for the plectrum. The Romans had Latin designations for the strings long before the time of Boethius, which may account for his imperfect with the Greek nomenclature."' acquaintance
Boethius should be ranked
as a

author, and

of any which strings

rather remarkable

as

man

of

general learning than He adopted Claudius

combination is had
a

musicianthe

Ptolemy's theory, that

with
a

of

an

Octave

Fourth the

above

it,

consonance,''against which

wiU be and (as systematically, But stiU he had proved) had rightlycontended. or only read Claudius Ptolemy's works superficially, else he would to the popular not have given currency that Pythagoras story of Pythagoras and the hammers
"

Pythagoreans hereafter clearly

discovered

the

law

of

musical

consonances

through passing a
the hammers Octaves
upon

blacksmith's
were

that
an

anvil.

of such

consonances

and chapterof Book I.), that have taught Boethius

And

shop,and weighing Fom-ths, Fifths,and striking Ptolemy denies the possibility anvil (inhis third from one a httle reflection might even
the tone of
a

beU

cannot

again:

"

"Multo auctius

enim scire

est

lichanos

sifnemmendn,

and
are

oi lichanos both in the

majus atque quisque faciat quam quod sciat ; etenim

quod
efficere
cor-

diezeugmenon,which
treble of the
were

ipsum

artificium

note, and

lyre, above the key to be played by the

the Greeks of

famulatur, porale quasi serviens ratio vero, quasi domina, imperat." i. .34, under Mus. "Quid sit (Inst.
"

plectrum.
called them lichanoses.

Therefore

paranetes,
Lichanos
or

instead "Uck-

is the

Musicus.")
"

ing
i. 22, he writes of
'

"

finger, fore-finger.
Inst. Mus. i. 12.

In Inst. Mm.

THE

HISTORY

OF

MUSIC,

be

altered in

pitcli by changing
not

the

of weiglit

its

clapper. adopt the improvements either of Didymus or of Ptolemy in the musical scale,but retained the old Pythagorean system of major tones major and minor tones. only,instead of alternating Hence all his intervals of Thirds (whether major
Boethius did of concords. discords instead were Thirds) Yet the way to produce true Didymus had shown consonant major and minor Thirds, five hundred Boethius was writing. years before the date at which Claudius it, by Ptolemy had again demonstrated the succession of tones, about a century, inverting had been a sound after Didymus, so that if Boethius theorist or a practical musician, he could not have failed to discover, in the one case by the Pythagorean law of consonances, and, in the other, by his ears, the improvement of turning those how great was
or

minor

discords

into the

concords, and,

at

the

same

proving time, im-

of proportions

the so-called semitone. been would that the well

not

Again, if Boethius had historyof Greek music, he

dovni
man, to
a

versed have

in the handed

series
a

of
new

stories

this man,

and if it He
as

that
were

added be

stringto
in the
a

lyre- as
"

understood discovered

literal

sense.

would

have

(as well chronological

such claims

other)
that be
an

contradictions
"

which

involved, and
but

stringto the lyre"could idiom for having introduced ancient some novelty into the arts of poetry and musia adding
a

new

approved
not

For
so

these
a

various

reasons

Boethius

does
on

merit
as

high
been

rank

among

ancient in
our

writers

music

has

conceded

to him

England,by making
Universities.

his

treatise the text-book

in

ROMAN

SYSTEM

INFEEIOE,

TO

GREEK.

No
or

E,oman
to

of

even

have

is known to have made, antiquity attempted,any improvement in the The and Romans received the Diatonic Greeks
at

science of music.

Scale, of
a

tones

semitones, from

the

time

when

it existed

only
foUow

in

its

primitiveand
content to

imperfectform.
retain it so, and

Nevertheless did
not

they
the

were

Greeks that from

in any
reason

subsequent improvement. It is for Greek music cannot be effectually learnt

writers. The treatise of Boethius

Roman

having

been

the

most

been written in the Latin complete that had language, and being supposed to teach the best unfortunately adopted as the text-book system, was in the middle It had effect a very retrograde ages. of the evils being,that it kept music, one upon up the use of an antiquatedand iU-divided scale to the time of Guido d'Arezzo, who taught and revived it in the eleventh In

gained the repute of having been a Christian philosopher. This his system of music have had been, because may It is possible, been also, adopted in the Church.
some

century. after ages Boethius, in

way,

that

he

may
not

have
uncommon

been

mistaken
name,

for another
no one

person

of that written than In

for

could
a

have

less in the manner of upon music the author of the Institutio Mudca.
a

Christian

could earlydate, a man avoid giving an indication of his but with difficulty would creed, and a Christian especially religious unless he almost surelymake some sign of his belief, had a direct interest in avoiding it. There was no like that of a generalpersecution motive to induce treatise
on

music

of

concealment

at

the

time

Boethius

wrote,

so

that, if

10

THE

HISTORY

OF

MUSIC.

any that

one

should

now

be curious

as

to

the

of religion

himself that writer,he may perhaps satisfy there is not a symptom about his of Christianity

able

style will be apparent on comparing a few of the corresponding Cascotemporaries, pages in the treatises of the two the philosopher siodorus the Christian,and Boethius creed. of questionable writings on
music. The
contrast

of

A Greek

second music

element
arose

of confusion from the

to

the

student

of

employment of Greek words in ecclesiastical music, where they were sometimes and at other applied in senses opposite, from classical Greek." times differing As materially the alternate singing of verses of psalms one instance, introduced by a choir divided into two parts, was Antioch in the fourth centiiry. One half of from
the choir sang one part of a verse, or either with the other half responded, with for
a

verse,

and
verse,

the
or

next

burden, such

"

as, 136

For
;

His

ever," in Psalm
our

No.

much It
was

endiu-eth mercy like the present

a

Syrian and a of responsive Jewish manner singing. The Song of and Barak Triumph of Deborah (Judges, chap, v.), and Psalms, such as Nos. 103 and 104, were evidently before practisedby not but it was designedfor it ;*" not have been a novelty. the Greeks, or else it would term for it,but Yet a Greek was soon appropriated It was called in quite a new sense. antiphonal"
"
*

in practice

cathedrals.

"Quippe

medio quum

sevo

qui
ars

artem

immutaretur
sed etiam Musicis

vis vocabuli prorsus Greeds

cujusque,
"

exooluerunt,

et

instrumenta

inverteretur."

plurima pridem conticuisset, nominibua

arte relictis ita sunt inventis tione
ex

extincta

essent, et

ipsa
ex

abuai,ut
nulla

novia
ra-

accoihniodarent

habitu prions significationis factum est ut

non

Commentafio, Franzius, Ph. D. Berlin. 4to. 1840.) ' Philo Jndseus, who bom was about twenty years before Christ,
Joannes
refers to the double

{De

quo

solum

chorus, and

the

CHANGED

MEANINGS

OF

GREEK

WORDS.

11

singing; but the meaning of the Greek anti, as of panying," accomusuallyappliedto music, is in the sense
"

in that and, therefore,

"

of the Latin Instead of

cum,

with," and
Greek

not

ofpro, or
the chants be

contra.^

like responsive, in would

in

called

being cathedrals our (which Greek ameibomenai^),

an

were antiphons

simultaneous
our

sounds

Octave

apart;

and

wherein congregational singing, the voices of men with those of women intermingle and children. The voices of the men, beingnaturally Octave lower than the others,inake the antiphons. an fellow or companion Thus, Greek antiphona were

therefore like

sounds, harmonious
the two
notes

antiphon and jfrom young boys and

of the latest writers Aristotle Fifths
are

graver of of the Octave, says Aristotle," is the concordance to the upper ; they result concordant.
"

and

The

men

singingtogether."(Some
double Octaves
as

include

phons.) antiand

says

that, although Fourths

also consonances,

yet they are

are
our

to make sequences this respectGreek

as antiphona,^ ears agreedwith

sung in Octaves." In
never own.

Ample
and to
counts-

definitions
burden in his of

are

found
among the i. the

in the works
Jews,
18.

of

of Aristotle Plato,'
countertenor

hymns
on

music, in

treatise

of the tilling

point, seems
Greek
oxa

better than the

earth "But

by
the the

Noah,
same

313, cap.
is sung

a"W

the express Latin coniro, or

by hymn most choruses, having a wonderful epode, which, to be sung He after the hymn, is beautiful." of this epode, then gives the words Exodus XV. ua 1, "Let sing unto hath the Lord, for he triumphed his rider gloriously ; the horse and
both hath he thrown and into the Miriam the he
"

taneous
*
'

against. Counterpoint is simulharmony, or note with note, book i. lines 603-4. See Iliad, Prob. and xlvii. of vii., xiii.,
19. Prob. xvii. of Section 19. to note, 19. See

Section
''

"

Prob. It may

xviii. of Section be desirable here

'

sea.

Moses

led the men, for

"

the women, of the in his

they were choruses," as

"Life
"

leaders

tells

agaiu

of Moses."

The

English

word

counter,

as

that avfi^iovia means anticipation, sound" "concordant (not "symphony ") and is opposed to Siafuivia, cot unmixing sound, or discord:" 6?"TJ)ra PapiniTi av/Kpiovov Kai avriPlato's Laws, ipiavov irafixoiiivovQ.
"
"

in

compounded

in counterpart,

and,

in

812.

12

THE

HISTORY

OF

MUSIC.

of Plutarch,'' and his cotemporary Theon of (many),* Smyrna," of Gaudentius,* of Psellus,in the eleventh and of Bryennius, in the fourteenth,' thus century,' the classical meaning of the word carrying down in the time of the antiphon to the Byzantirie-Greek, the elder, about 1320, Emperor Palseologus As the translations
are

of

so

classical authors
more

affected be cited
our

many by this

passages

in few the
not

anti,

cases

should The

before
extant

passingfrom
lexicons
are

subject.

oldest of

here to be much

defended upon. In that of Hesychius, antichorda first explained as are companion strings" which is right; but, secondly, as (" o"u'7x"'/'"^"")" equal which is not right, ("ta-6-)(opSa"), according strings"
" "

to

classical

authors.

The

second with

definition the

was

to probably interpolated adopted in the Western

agree be

"Church, for

meaning strings an

"equal." The Greek and antichorda were always Octave strings, prosthe xmisons. chorda or were equal strings," They and so explained by Plato, by Aristotle, are by
Octave

apart

could

not

"

Plutarch.
was an

When

Plutarch the

states

that

Archilochus

supposed to be accompaniment on

first person who the the lyre imder had

*

played
voice

part,and
'"

that the ancients

always before played

"koI

Iffrt owfj^wi/oj' dvri'^iDvov vioiv Kal iraiSuv yip Sia iraaSiv; ix avdpdv yiviTai t6 avri^uvov."
To

uiv

ripi /ikativ

trpog

Ttmrov
"

"

Arist.
See the
*

Prob. Nos.

xxxix.

of

Section 17

19. of

also
same
"

7,

13, 16, and

(irpoffXa/t/Saj/o/jEKov) cLvHijiiiivov." Gaudentius, p. 21,1. 8, edit.Meibom. two The strings here named were Octave invariablyan apart,
"

section.
'H aiv

"i} ti Std -raa"v.

kut

Km.

i\Sig Sia
36.

mpi

/cai i//o\/toiff

vaaSiv

dvTi(litJvov.""Vse]laa,-p6T
Note
on

^dpfuyyag op/iow'a Si
ix^i
' "

avrujituvtov
J)e

Meibom.
'
"

Gaudentius, p.

TO

^Plutarch avfi^uvov."
"

Amicit,

multit. 96 F.
"

dvriipojvov." KUT avfi^tiivoi 1644. Paris, Theon, 77,edit.Bullialdus,

rbv ani r^e vrjTtjg wp^e tov diro ijrdn/f rf/v Sid avri^uivovKara rqj waaiiv." Bryennius, edit. Wallis, p.

365, line

32.

MORE

GREEK

WORDS.

13

"

in unison"

with

he expresses the it,

"

unison

by proschorda."" Antiphthongus and taneous other words that two are equally express simulThe first is used as a (Octave) sounds. for antiphon,by Pindar, as quoted by synonyme Athenaeus.*" mele, and antispasta Again, antispasta sunchordia, quoted by him from Phrynichus, and from Sophocles,'' Octave (both meaning ment,") accompaniand antitheton for antiphonon, by Aristotle.'* have had Again, the antipsalmusmust necessarily the accompaniment of the hands a stringed upon instrument to constitute a "psalm," but Hesychius omits that part of the definition because possibly not in his time used in were stringed instruments
"
"

strings" antipsalmus

the

Church.
of Greek antistrophes plays are but the of the present enquiry,
seems

The

beyond
musical

the

scope of the evidence When

part

to
"

run

in the

same

direction.

neither HypoWhy are in Dorian Phrygian choruses nor Hypo sung Is it because they have no Antistrophe 1"^ 1 tragedies for not sufficient musical One reason having any would the two lowest base scales, be, that they were for men to sing Octaves below and it was impossible Aristotle

asks,
-

"oiovrai

Si Kat

virb Tr)v i^St^v tovtov

r^v Kpovaiv rfiv svpiiv, irpStTOv

Prob.

ix., Section

19,

TcpoaxopSa

q^ttv.
''

roilf Sk apxaioVQ

iravroQ

trpoaxopSa
Mm.,
cap.

"Triviidyadiv ovofiaaavra^aXfibv
lifia avvifSlav, (Athenaeus,
yevuv

KpovHV."
"

^Plutarch also Plato's

see
=".

De

28. He

See did

Laws,

7,

812. of

avripBoyyov, Std ri Svo koI lid iraaGiv tx^iv rriv

not

the varied

necessity
aocompam-

dvlp"v ri
lib.

Kai TvaiSojv. " Sec.

"

teaching boys
ment

the art of the lyre, or upon the instrument, showing off upon

be they should in unison and play taught to sing rd fOsyiiora 'diroSiS6vTae irpoaxopSa ( but

wished

that

xiv., second quotation from 37.) Idem, Sect. 36.

"

36, and

again in a Pindar, Sect,

Aristotle's Aristotle's and Prob.

Prob. Prob.

xvii. of Sect. 19.

,

'

"

Sect. 19, Prob.

roig

Again jiBiy/iaai.")

in Aristotle's

xxx.

xlviii.

14

THE

HISTORY

OF

MUSIC.

theaa.
and

Whether

that

was

or

was

not

the

reason,

ordinarily sung in be must Octaves, or an Octave lower than strophes, the subject. studied who have submitted to those for the lack of antistrophe Aristotle is good authority
whether
were antistrophes

to

the two Octaves

lowest
are

base

scales.

the

form simplest

of,consonance,

and

the first step towards double of the sounds. estimation

other the power of appreciating Abundant evidence be found may

hi which
was

of all harmony perfect very early date, and them. about

a

also

simplestand held by the Greeks by the Egyptians

this
to

most

from before

Anacreon, who
540 B.C.,

is said
to

have

flourished

his voice upon accompany each of the instrument, in which ten-stringed divided into two
ten
were was

used

was strings

parts, so
tuned derived

as

to virtually to

make

twenty, but
That its

in Octaves from

the
;

others. but

instrument

Egypt

ordinary compass, Egyptian or Greek, was of seven, instead often strings. The name, Magadis, been compounded of magas, a bridge for may, have
a

musical

instrument, and
divided each

dis twice.

The

double

bridgewhich

into two string parts was third of the sounding distance at about a up the end double the length to make one so as string, half the length of of the other; because any equal sound Octave above its whole sized stringmust an length. This instniment, which has hitherto been wiU hereafter be shown, waiting for identification, form. both in its Egyptian and in its Greek of instrument used by Long after the form fallen into disuse had Anacreon (or was perhaps employed only in the worship of Athena),the verb retained in the magadizein,"to magadize,"was

MEANING

OF

HABMONIA

AND

MELODIA.

15

language to
instrument that
a

"

express whatever.
"

playing in
Thus,

Octaves"

even

upon any double pipes,

could
were an

have

no

name,

called

to such to entitle them bridges" Magades, if one of the pipeswas

tuned The

Octave

below

the other.
to

words
are

that

relate

music, in modem

guages, lan-

mostly derived from the Greek, and yet of them there is scarcelyone (even one among commonest meaning. use) that retains its original indirect The of these deviations is our prime cause inheritance of such words. them We owe mainly to their having been appropriatedfor early Church mediaeval for giving taste a music, and there was Greek to names everything musical, even though of antiphon. If the as misapplied as in the case
words
matter
to them.
were

then

received ancient

in their Greeks

new

sense,

it would have said

httle what

might

the deviations that thus arose, exemplify and the trouble they have given to after-enquirers, a cited. few of the most ordinarywords will be now The Greek Harmonia is quite a different thing in its French, from modern "harmony," whether is it a Italian, Spanish, or English sense ; neither learned for our men "melody," as many synonyme Dr. Franz, of Berlin,* and have supposed including followed definition. Masons It Dr. Bumey, who The System of Music," will be here proved to mean or briefly Music," of which melody and harmony In order to
"

"

"

are

each but
was

parts. For
much in

short time

the Enharmonic
to

scale

so

favour

(owing
sonorum

the

popu-

Dr.

Franz,
veteribus

in

his

De says
"

Musids "Har-

consecutio
et

secundum id

grave
nos

Ormds monia

Commentatio,
est

acutum;

itaque
vooare

quod

fere

certa

qusedam

melodiam

solemus."

16

THE

HISTORY

OF

MUSIC.

of the omission Seventh of Foiirth and larity that scarcely enharmonic scale), any other than

in
was

used, and
assumed

so, for

awhile, the teachers

of that

system
all. But

the

general name,
comments
soon

Aristoxenus their

upon

alike to applicable this usurpation.

dropped out of favour, and not is not at aU Again, Melodia long after,out of use. the equivalent to our melody,"nor had Greek music given birth to what we should consider melody,"
system
"
"

at

the
not

time

the word

was

first used.

Greek

Melos
,

necessarily any tune in it. It apphed to the sounds of the voice when linked risingand fsilling togetherin speech,or in rhythm, as well as in music ;
so

had

that

without recitation, still be

"

any

musical

intervals

in

it, would
does
a

Melodia.

Thirdly, Harmonihe
"

not

mean

harmonic," or
Harmonia.

harmonics," but
The last

is

synonyme does not

our

for
mean

Again, Sumphonia
expresses of different

"symphony."

of notes "harmony," viz.,"concord music pitch." Even {Mousike) in Greek extended

a

had

so

sense
as

as

to

render necessary
or

more

precise
to

words, such
the
more

Harmonia,

Harmonihe,

musical strictly

parts of it

The

express mental

of a training Mousihe, and sciences

Greek included in the word was young it comprehended all that related to the and

of sounds

numbers,

as

well

as

to

their

in practice. application of difficulty for A fourth element Greek

not

the

student

of

music

was

in the ecclesiastical scales.

earlydate that has been from Greek scales, althoughthey differed essentially called Greek, and had Greek names they were given of Church The origin music will require to them. a which it is unnecessary but it to anticipate, chapter,
of the

They are supposed ; and,

CHURCH

SCALES

NOT

GEJEEK.

17

may the their For John from

was

be

observed all music

Kere which

th^t Cburcli
was
as

writers

con-

demD^d

not

constructed

,ecclesi^stical system
own

false.

They

upon asserted

to

be had

the the

this

they

only true ancient music. authorityof Popes, such as

aU

XXII., who
the safer ia

declared

systems that differed

It

ecclesiastical to be fidvolous novelties.

those

days to be orthodox, than to exercise private judgment againstthe traditions of the Church. Ecclesiastical courts had wide diction, jurisand very sharp claws. ciently will suffi,Such a series of misleadingelements
account
men was.

who

tried

learned for the ^ill-success of many Greek music to discover what really

ing hardly be suspected that the meanof ordinarywords, which is supposed everyone first be rejected. Therein to know, must lay the of translating difficulty relatingto many passages

It would

music

in

the
are

works of

of
no

classical
use,
as

authors. the

Latin

translations

because
to

Greek

words
Such

are

varied
were

only

their

terminations.

translations
not

they did
understand evidence As of

demand

easy enough to make, because the translator should that

his that

if there

intricacies the

sufficient There remains, also, subject. advantage was taken of that license. not were alreadya sufficient number in the pathway to Greek music, a works that of
some

glance at
new
as

of the

late

German

historians shows element

some

may first settle which

they have imported into it a of compUcation. Beginning the study, end, they would think, at the wrong
of the modem
notes

will

most

faithfully represent the pitch. That in itself is

supposed ancient Greek for there but a speculation,

18

THE

HISTORY

OF

MUSIC.

are

no

certain

historians follow
Greek scales
to

but when grounds to go upon; the names of the it up by altering ideas of correspond with modem those If
we

pitch, they
historical
a
"

dissever

scales
look for the

from

all

their of

associations. German

into the work

Hypo-Dorian or Common" Greek fied scale,it is no longerto be identiwith the Natural" the scala dura, (as on scale, the long keys of the organ or pianoforte, beginning The on A,) as it used to be, and still is with us. have Germans beginning on changed it to one A flat, other note. Thus the important or on some
"

modern

author

historical link between and the modem

"

the ancient
"

"

Common"
been
or

scale,
aside.

Natural

scale has

set

Secondly,the
music,
Dorian
rests

basis of Plain
upon

Song,

"Gregorian"
of the Greek

the

combination

Hypo-Dorian scales,(D minor and A but that is also rendered and minor,) unintelligible, to be contradicted from even seems by the alteration, A and D, to A flat and D flat. Thirdly, the long inherited from, and still were keys of the pianoforte the Common Greek scale,but that link is identify, the keyboard of the dissevered, as well as between that and of the ancient modem, organ, by the Greek a change of scale. The ancient organ was of such instrument, and one early date, that it to the stage of being fitted with advanced had a keyboard, and beiag played by the fingers(not than requiring the entire hand,) more a century
before

and

the Christian

era,

as

wiU that

be shown the

hereafter.
musical The been

It is

undoubtedly trae
has been of tension in the

pitch of

instruments increase

raised

since about

1750.

present century has

of

mainly owing to

the

improvedmanufacture

strings,

ANCIENT

AND

MODERN

PITCH.

19

both,

in

catgut

and

in

wire, but
wire of

to especially

the

introduction
enables Berlin that

of the

steel bear

which Sheffield, than is the

stringsto
iron of A flat *of of
a

greater tension
So very it

former

the

days. to-day may

or

probable nearly represent

tbe A

hundred

more

sink although a pianoforte may the pitch, of the tuning-fork, and requireto be raised half a note, we
account

But years ago. below half a note will do not

names

therefore
on

that of the

think

keys,or changing the

minor,
oin-

it necessary of the notes. No

name

to alter the

musician

would

think

of

of Beethoven's

Symphony
B

in C

to

flat
more

minor,

or

to

minor, because

nearly represent the pitch in have Beethoven's time. Considering, too, that we even yet no standard pitchfor Europe, and are not likelyto have one until the French will be guided of science,and slightly modify their by their men present law; also that the only directions hitherto might
.

found should the

among
tune

Greek his

authors the
to

are,

that

every

man

lyre by
it
can

lowest

audible

note

of

it will be time voice,* when pitch,

discuss the

questionof

ancient had
a

be shown

that the Greeks

universal

standard.
about speculation chral says that a sepulpyramid of Egypt
true

Dr. ancient

Burney, indeed, ofiers a standard when he pitch,

urn

found like
a

in

the

first
"

sounded Greeks

bell,adding, if it be

that

the

knowledge from Egypt, of the we may suppose this to be the standard pitch" will require Greeks. *" To receive such a doctrine than many have For we more imagination possess. that a sepulchral intended first to suppose was urn
"

had

their firstmusical

See

Gaudentius, p.

22.

History i. 278, note c2

x.

20

THE

HISTOEY

OF

MUSIC.

to

be

musical

instrument, and

next,

to

assume

that, after
and
"

five thousand

density of the that pitch." original

be
content to

weiglit years, the original of remain to assure metal us

In the the

meantime,

we

may

beUeve

in

of great probability

pitch in different cities of Greece, and in the same even cityat different times, yet that the A still sufficiently modern represents "the lowest audible note" of an ancient Greek's voice, distinctly AU it does of many voices at the present time. as that can be known with is, that ancient certainty alike, when instruments have been tuned must they to be played together. were The principal difficulties in the path of all students
variations in of Greek has music have
now

been

enumerated, but there

course

always
endeavour

remained

one

direct
to

to

leam

the

Greek
to

to go system, viz., to work

the

fountain

head, and

throughjand find the meaning without of,the technicalities, seeking help from the field. If they failed, labours of others in the same it would not be safe to copy from them. even partially, This has been found too time-consuminga course who desired to know for able men only enough of
Greek music
to

enable

them

to

write

about

it.

They prudentlyjudged that, when the value of time be taken into account, any entirely must new history intricate offer but the a subject would so upon That slenderest prospectsof a compensatingreturn. the main is indeed reason why the world has been to this day, and it has allowed to remain uninformed been my inducement to take up the subject. If the present attempt shall be judged to havet be attributable to the fact, succeeded, it will, perhaps, undertaken for the sake that the study was solely

REQUIREMENTS

IN

HISTORY.

21

of

obtainingbetter
have
hitherto

information afforded.

tban

histories

of the

music

After

having read

published works of mediaeval authors upon music, and the impublishedcontained in the British Museum, the Bodleian Library,and the Lambeth Library,I
next

took

up

Greek the

music,

as

of old

book

of chess

employment of my leisure time. Greek problem had been unexpectedly solved, and the solution had been tested agaiast the difficulties which Boeckh had pointed out in his Metres cated indiof Pindar, as well as against many by others, did the first thought of writing down the results of reading occur The to me. amusement of investigation at an was end, and no other terra to Jirma for a new problem seemed offer. it then appeared Desiringa new occupation, that leisure might be usefuUy employed in my the mystery that had dispelling hung about Greek
^

problems,for Only after the

music. branches
to

Moreover, there
of
"

was as

wide

field in other of the Greeks astical ecclesiin

such history,

the debt of the

Egypt

different version
or

of origin

tones

and scales,

of the kind for ancient of the

on

of notation

which
were

the

Chanting marks
"

Church revival
or

services

written
to

new

account

period,
much than

and and

show

music

in

England
of
was

four

five lines

spaces

before the time

Guide,

to whom

has been before

attributed,but who
"

rather

behind

the only true prinhis age then to explain ciples for all music, and to prove them, so that any

one,

who

only
be

knew

the There
when There

notes,
were

might

foUow

and of

understand
"

them.
a

also many

scraps

This

proved to
was

mistake

history
were

commenced.

then
"

problems
Hebrew

in

plenty

re-

wit, with Josephus, Philo, the Septuagint, Trommius's Concordance, the Hezapla, "c., to be searched,for, perhaps, a
page in

maining

instruments

to

print.

22

THE

HISTORY

OF

MUSIC.

information

that and
"

had in

not

been words

included
of Mr.

in

any

history,
would The
not

which,

the

Timbs,

be

Things
was

not

generally
ample,
in there the
was

known."

field

indeed

but
no

(writing history
sufficient of
notes

having
had

been

contemplated,)
made and

sion proviupon task under of

been

shape
the
a

former

readings,
over

irksome

going
the of the for the

the

same

ground
of
worn

second

time,
other

disadvantages
advance who

sight, and
Hard tried work the
even

warnings
prospect,
can

of time. have take

to

was

in

only they
time it

experiment
one

tell link. been such firom

written re-

may

find of

missing
hitherto has
as

StiU, the
so

main

points

history
and

have

inadequately developed,
from

there

been
as

copying
one

imtrustworthy by
another,
to

writers,"
that any
use.

well

historian

one

branch

promised
"

be

of

some

To

give

one

instance,

liow

many Kir-

work

upon

hieroglypliics.

It

is

have cher!

quoted
This He the
a

from writer's

Athanasius

equaUyimaginatiTe,butmoredangerons,

place
a

has very

been

because,
is that the sake
a

as

in

historical of

novels,
but

mistaken. rank he gave

more was

deserves

high
for He

there
even

smattering
is of

truth,

in

history

of

fiction,
man.

commonly making
in his
a

perverted good story,

most

imaginative
of
no

for

explanations
suo,

hieroglyphics,
clue
to

Meibomius to
were

said,
Greek least
two

introduction that
errors

although
had

the

the
at

authors,
hundred at p.
are

there in his

interpretation
intheseventeenth cher flourished.

been

discovered whenKirthose

century,
He in of

Kircher's

table,
There
as

541 too
as

of

published
three

Muswrgia.
mis-statements make it worth in of to

many to the
as a

interpretations,
under
cus.

volumes, ^gyptia(a
of his

well

errors

the His

title

(Edipus

while
one

to

count

Musargia
book upon the
same

Universalis all branches class

as

number work credit

table;
it

but,
does

misnamed

imagination,
his memory.

great

music,)

is

of

23

CHAPTEK
Preamble Great modern of tow modern music
"

IL
indebted Greek minor the Greeks. song

is The

to

"

similarityof systems.
minor
"

maiden's

like

music.

"

The

ancient

scale parent of the

"

major.
time
seven

-Deductions
Homer.
"
"

about

Egypt
of
the

and Greek

Babylon.
Hermes.

Music
"

in the

of

Lyre
of of

Terpander's
recitations. with
the

strings.
Greek
"

Use

but three
seven

stringsin
"

Homeric

"

Early
seven

scale What

notes.
a

Its association fit for.

planets. music

such

scale

was

Greek

cannot

be

considered

as

one

of those modern

subjects of
science has and it been

ancient
art

history with
but

which

have

little concern,

for not

only

of the musical system of progenitor it is largely adopted,without Europe, but even now improvement or change. to explain that account be convenient It will on of of modem it by the terms as art, so soon identity and thus reheve meaning shall have been established, of ancient technicaUty. Such the reader from a mass relate to modern practicewUl be terms, also, as explained pari passu, for, although familiar to musical more readers, it is an object to be even described Greek Dr. Bumey widely intelligible. and difficult subject" and dark "a music one as the that
or

had

"foUed

the

most
"

learned

men

of the but
or no

two

three

last centuries

i. 7.) [History ; either for him

other

existed difficultiesreally than The in certain music

for

them,

words, and in the ancient technicalities.

itself is

simplein

the extreme.

The

same

24

THE

HISTORY

OF

MUSIC.

remark, apply to Sir John Hawkins's the that Even on at this day the ablest writers subjectdo not hesitate at saying that the doctrine is absolutelyinscrutable." of the [Greek] modes {Historyi. 236, 4to.)
comment
"

will

One which

branch music

both

of the

science

and

of the

art, in

governed by Greek laws, is in divisions of notes the mathematical, and practical, the same in the scale. now as They are precisely in the new-found in the days of the Ptolemies, save which (introduced for the equal temperament sake of imperfectinstruments) means "putting all Whether the strict keys equally out of tune." of antiquity, adherence of the modems to models as
is still
" "

to

the
one

formation of the

of the

has been scale,

for the

best,

is

that will be submitted cases questionable to the judgment of the' reader hereaftei'. The presentmusical scale is a re-adjustinent of the Fythagorean,by the Greek mathematician, Claudius the same sit this Ptolemy. The notes are, therefol^e, in the fifst half of the as day (when played in tuiie) second century of the Christian era. had scales beguming upon Greeks The evStj of the Octave, and, therefore, semitone sharp every
and flat that
we
now

have. scale had call its Fifth

Gi'eek Every principal technical language', we

"

what,

in modern and above

"Dottiinant" and Fourth

the Sub-doiainant," i.e.,

scales, connected key-note, upoii which new Greeks with the key, begin. The expressed those scales by the words connected "Hypo" or "Hypef" to the original Dorian, Hyponame^-^as, prefixed Dorian, or Hyper-D6rian. The Hypo scale began below the key-noteof the principal Fourth scale. a
the

GREEK

LIKE

MODERN

MINOR

MUSIC.

25

(which is
answered

the
to

same
our

began
like
our

a
"

Fourth

and so 'it,) and the D'ominant Hyper ; above the key-note, and so exactly
as a
" "

Fifth

above

Sub-dominant."
a

complete system resembling our to its keys, as to its familiar modiilations, own as and as to the tuning of its notes. The music of a Grfeek maiden the accompanying her voice upon other instrument ot of the harp kind, nearly lyre, two thousand able years ago, could hardly be distinguishfrom the minor airs of modem Europe ; and the resemblance would be further strengthenedby the Greek maiden's strict observance of her key-note, which was quite as strongly enforced by Greek musical laws as by our own.
There could that be but
one

Here, then, is

difference

between into

the

two, and
"

would

hardly be brought
in minor sang of the key was the below the and

The and

Greeks
their
or

played
Seventh whole

play. keys only,

old minor

Seventh,
as

well

as

Octave, in ascending in descending. (In Dr. Bumey's time,

tone

this the

minor

Seventh

was

called is

"flat"

Seventh, and

only half a tone below the Octave, was called a "sharp" Seventh ; but, as faU upon flats or they do not necessarily sharps, those have been names discarded.) The minor Seventh was an integral part of the old minor scale, the major Seventh is now of the major. An as important piece of historyis attached to the old modem minor, that out of it grew the comparatively major scale, by beginning upon the third note instead of the first. Thus, beginningon the pianoforte upon C instead of upon A, we change the ancient key of A minor into the modern C major. A, B, C, D, E, major Seventh,

which

26

THE

HISTORY

01"

MUSIC.

F, G, is the' ancient

scale.

There

could

be

no

such

thing as
because below the

complete major
Seventh
was

scale under

Greek be
a

laws,
tone

the

always

to

Many
about raise the

key-note. interesting deductions

music,
and

ancient

made be may these will tend to the but For

subject above the technicalities and mere history of the art, if the reader will out. employ his thoughts to bring, them
instance, the
character of the music of

ancient
a on

Egypt

and

Babylon

of evidence

be ascertained by may that will leave very httle doubt

train the

and, by looking at the drawing of an subject ; with ancient a Egyptian instrument long neck, (only supposing the drawing to be an accurate he may know, with mathematical representation,) how many could be, played notes were, or certainty, of ascertaining it string. The manner upon every will be further explained. The present preamble
is to music
means,

prepare has some the

the

reader

to

believe

that

ancient
no

certainties

about

it, and

is, by

uninterestingor

doubtful

And to now might suppose. many the time of the Homeric From poems Terpander,(which is supposed to have the middle of the seventh had but

study history.
to

that

that

of

been

about

the century before Christ,) four

lyreof
made

the Greeks

sheepgut,which is While the number "catgut."'' have been used to four, the lyre must to guide in substitute for a pitch-pipe
of
"

strings. They were called now technically of strings limited was

rather
as

the

the recitation
ancient

The

word

seems

to

require

ders should

that have

the used

Egyptians

explanation ;
from not

for M.

Sir J. Gardner

F^tis, quoting Wilkinson, and

wondictionary,

looking

into

catgut, considering their respect for "cats." [Hist,de la Mitsiquei. 268-9.)

"

HOMERIC

MTJSIC.

27

of

epicpoetry,than
tune

as

musical

instrument.

Nothing
still there of the

like would

could been

be

played upon
in the
a was

it, but
Greek of

have

music

sense

"word, since there

metre, and

combination

recitation,

rhythm. In the Odyssey we read of a skilled singerand playeron the lyre, (PhorminxJ as having changed his chant "to a new stringupon a the entire musical new peg.""' That was change, and it was lower the pitch of to raise or evidently
his voice the poem. in
to suit recitation,
a new

sentiment
to have
"

in been
"

We like
"

something
"

may what

imagine his
is
now

chant

monotone.
a

Monotone

intoning or means practically only

called

pitch for the voice,for the articulation of the vowels alone forbid monotone in speech would in a literal sense, since they of themselves form an ascending or descending scale of sounds.'' The have a lyre or a pipe should orator custom, that an by him to regulatethe rise and fall of his voice, taking
endured Greek for many writers centuries after the time different of Homer. of the

give

two

accounts

side attributing originof their music ; on the one the discoveryof their lyre to the Greek Hermes, of Zeus and Maia, daughter of Atlas, and on son the other the to Egyptian Hermes, or Thoth. the god of learning, and He was was commonly figurewith the head of an represented by a human ibis, holding a tablet and a pen, or a pahn branch in
* "

Kai aoiSrjg, 'Qj 07"'avflp 0dpptyyoeiTnaraiievoe krdwuffE vsqt "iri koXXotti \opS^v, *Pi]iSi(og "A^a" dii^oripuiBEV ivarpeipis ivrcpov oioj." Odyssey lib. xxi.
"

li.406-408.

'

This

fact has Willis

been

illuslargely

suffice for
one

the
a

trated

by

(in the

Cambridge

ynR
one

find uniform

Transactions Society's PhilosophioaJ

V.

to

experiment. Every in adhering difficulty pitch of voice while

3, p. 231,) and
Greek cry

by Hehnholtz, but "ouai,"

wiU

pronouncing

it.

the

for woe,

28

THE

HISTORY

OF

MUSIC.

hid hands. the crescent

a

At

other

times

he has

man's

faee,with

of the

moon

disc.

Attention

has

his head, sn-pporting upon directed, not been sufficientlj these

two accounts.

to

the difference between

The the and real of and

first refers to the

Greek primitive system, before had learnt anything of music Greeks proper; the second to theif later system, which was from countries music, and obviously borrowed from Egypt ancient civilization, more especially

Babylon.
is made
a

The

first relates to the kind

of scale that

up

by joiningone
another

series of four notes, called series of the

one

tetrachord,* to
the

same,

and in the

making
double

highest note of the capacity of lowest note

"

serve

to

the

other,
into
our

as

B, C, D, E
to

E, F, G, A.
of

The the

second

account

refers the A;

the

embodiment

tetrachords

Octave The

system, as

if beginningand former

ending on
is told with

story of the

god

more

buted Hymn to Hermes, (at one time attriother to or Homer,) than by Apollodorus," This hymn is obviously of later date than writer. the Iliad or the Odyss^." It includes the story of the oxen of ApoUo, one of the fables Hermes stealing said to have been invented by Alcseus of Mitylene. after his According to the hyma, Hermes, soon tortoise grazing near his birth, found a mountain
'

detail in the

Tetra,
and

in

composition,meana
clwrde
means so or
a

""

Bnnsen to 850

has have

inferred the date

been

of 900 of

"four,"
be

both tetraohord

Homer and the

between
the of mention

string and
may This

note,

B.C.,

from

four

strings
sense common

four' notes. chords

second

of the word

is of most

in applicffition

to fiave tetrachords, but it seema translaescaped the notice of some tors from the Greek, includingthose of Julius Pollux's Onpmaaticon.
'

by (Egypt's Place in Univefrsal Hietary, by C. 0. J. Bunsen, D. Ph., and D.C.L.)

AohiUes in Hiad ix. 379-385. The last edition of Liddell Lexicon
"

hundred

gates

Thebes

and

Scott's Homer's

admirable date
as

gives

900?"

Lib.

iii. cap.

10.

LYEE

OF

THE

GREEK

HERMES.

29

it, grotto, on Mount Kyllene. He disembowelled took its shell, he and, out of the hack of the shell,

lyre. He cut two stalks of reed of equal he employed them as length,and, boring the shell, stretched the skin sides* to the lyre. He or arms of an the shell. It was, perhaps,the inner ox over the open skin, to cover part, and thus to give it of leather or parchment front. Then he tied sort a
the cross-bars of reed
to

formed

the

arms,

and

attached

seven

of sheepgutto the cross-bars. After thatj he strings tried the strings with a plectrum. Hermes is like some This lyre of the Greek that in ancient sculptures reeds are we see ; but the two of generallyreplaced by two horns, the curvature which givesgrace to the forrcu The borrowed Herodotus idea of these the horns
seems

to

have

been

from

Phoenicians, who, according to

iv. cap. 192,)used those of the large (lib. antelopeof Libya, and of Egypt (the oryx)for their lyres. The Egyptians did the same, but sometimes used carved The of the

wood, and
on

had

ornamental

heads

of animals

the

arms

of their instruments. and of the

most
never

author

of the IHad

Odyssey speaks
ancient of its
names,

lyre only under

or

its two

Phorminx,
seven

Kitharis, but

having
differed

to strings. The Kithara seems in being of mainly from the Phorminx

have
more

portable
to

size. The writer of the

hymn givesfour

names

the

instrument, viz., Phorminx,

line 50. The

Kitharis, Lyra, and

not. Be

Chelys,'' (fromchelus,the shell.)

*

TTTixae,

lyre

de-

was

might
that
error

have

scribed in Unes
*"

47 to 51.
asserts
a

himself the la

from

guarded hy reading

M.

P^tis
was

that, although
Kithara

the

Chelys

lyie, the

(Histmre de Hymn to Mercury. i. to 272 280.) Musiqae,

"

30

THE

HISTORY

OF

MUSIC.

Bryennius, of the the seven bridges over strings difficulty mentioned in the hymn, by asserting that, before had Hermes the seven-stringed invented lyre,men used one having but four strings. According to Bryennius, the four stringsrepresented the four elements, earth, water, air, and fire ; and Hermes increased the number to to represent the seven, seven planets. Mythology apart,we know with tolerable certainty
the of date
at which

One

of the late Greek

writers,Manuel

the

Greeks

increased

the number because

on

on strings

their
one

lyresfrom
of the
to

four to seven,
extant

the author

of

earhest

treatises
to
a

music, the Introduction

has

Music, ascribed
Hnes
'

Euclid,"

preserved for us Terpander,which is as

"

two

from

poem

by

foUows

"

But Will

we,

loving no
new

more

the tetrachordal
to
a

chant,

sing aloud

hymns

seven-toned

phorminx."

''

that the four-stringed states Terpander here plainly called Phorminx) had continued in use lyre (stiU up
to
*

his
It
can

own

time.
be that the the the
are same

hardly
have

the

author

can

written and both

IntroSectio

judgment Pythagoreans
33.

of

the

ear,

and

the

upon

mathematical p. is

duetio

Harmonica

calculations.

(See Ariatoxenus,
)
The second Euclid's

Canoms,
to Euclid is
an

although by

ascribed The first Aris-

edit. Meibom.
as

Meibomius. treatise

quoted
in hia monica Dr.

by
upam,

Porphyry,
the Har-

excellent

upon

Commentary
of
With Olaudms

toxeuian nius the

(which Bryenprinciples, often adopting follows largely,

identical
the

WaUis's

Ptolemy. (See Opera MathemMica, 3.

this reservation henceforth
as

words,

but the

without second treatise.

"

267.)
the both
aa

to

naming
is
an

author, ) and

we authorship,

quote
refe-

admirable
two

Pythagorean

to abbreviate Euclid's,

The

Aristoxenians
^
"

rences. opposed ^the aystems were relying chiefly upon ccoidi^Vj airoaTep^avTeg 'H^Tffrot rerpdyrjfwv
"

This

is

tpofiiuyyivsovQiaXaSriijoiisviiivovs." "EirraTovif (p.19, Meibom's with different reading in the a quoted by Strabo,"p. 169,
-w.).
"

ed.)
first

line (w. A.

"Soi

d'lj/ttels rcrpayjjpw

airoorpli/zavKC aoil^v,''

ANCIENT

SEVEN-STEINGED

SCALE.

31

ascribiBgthe invention of the seventh the planetaryto Terpander,supposes string theory to ha,ve suggested it to him,* but it is far more probablethat the increase was first made, and
Boethius,
while then the

nimierieal

coincidence

with

that

of

the

planets,(of the ancients,) suggested the lyre as a most subject for a Greek hymn. This hymn was likelycomposed long after the time of Terpander, when his claim had been and afber the forgotten, had Greeks learnt something of astronomy from then Babylon and Egypt.'' It was they began to the revolutions of the heavenlybodies with connect
musical

soimds, and
of music.

astronomy became
of the

one

of their

branches
The

arrangement
of which

seven

strings, (the

introduction
to

into Greece them

as

was Terpander,)

to tune

be attributed may at the same relative

are

distances

of tone
or

and
as

semitone

B, C, D, E, and A, B flat, C, D,

E, F, G, A,
in the modern the

E, F, G, A, and
Seven

scale.

because sufficed, strings

highest string of the lower tetrachord served also as the lowest stringof the upper series. This called Synaphe, or arrangement of the stringswas Conjimction." Although the Greeks had every kind of Fourth, Diatessaron, that we have, yet, in arrangingtheir or tetrachords for the lyre,or for a scale, they chose form only,in which the interval of the semithe one tone
is between it.
*

the

lowest
to

note

and

the next
some

above readers

(It may

be necessary

explainto
of tie
"

"Sed

SeptimusnervusaTeipandro
adjunctus planetarum (Boethius i)e
Sicnlus

first observations

on

the to the

order

and

Lesbio tern nem."

'

est,secundnm

scilicet

sepsimilitudi-

system
Hermes.
c

stars

Egyptian

(Hist. lib. i. 16.)

ilftMJca i. 20. ) attributes the

Diodorus

Hq ytvircu Koivbg wv "(,"j/a05, 09dyyoe."^Arist. Quint, p. 16.)

32

THE

HISTORY

OF

MHSIO.

tjiat a musical

Fourtli consists of two

tones

tones
a

and

half,and
Greek
Diatessaron Late

Fifth, of three
of

and
of
oiir

Jiglf )

The

had JDictpente
our

the compass

Fifth, as the
and

Fourth. attiributed a
second

Greek

writers

proved im-

to

of the lyre strings arrangement of the seven Terpander,hut that iniprovementmust have been the

of the Octave discovery system. It has been attributed,with greater" to probability, than a century flourished more Pythagoras, who after Terpander. The radical change involved in that the into Octaves, shows turning tetrachords "Greeks had at that time begun to lesirn;fi:om othesr nations, either by colonization, by trade, or by the of visits of mnpician^.. Even then, such chang-es are the .slowest growth. In no science have art or changes been hitherto so slow as in systems of music. As to the possibUity of Terpander'shaving also introduced the second arrangement of the strings, it is very small, considering ,his date. Jle is said to have gained the prizeat the first musical" contest, at the feast of ApoUo Garneius, in Sparta,B.C. 676. If so, that victorywas gained before Egypt was

subsequent to

"

thrown

open

to

the

Greeks, and

at

tinae when

guards weje set to prevent the landingof foreigners be So, while "poetical" contest would by the sea. an more equally correct itranslation,it would of his victory.Philodescribe the nature accurately demus, the Epicurean, who was cotemporary with beitween the music and Cicero, has distinguisheij poetry of the earlyGreeks, and based the reputations of Orpheus, Amphion, and the rest, upon th^ir
=" "

Her"yul(memmm

VolvmirmmqwB
i-

Muska.

"

Naples,

ex

regia tjpp-

supersmt,

Tom,,

PhUodemi

de

^laphia, fol.

1793, col. 6.

TBRPANDBE

AND
.

ARCHILOCHtrS.

33

of powers than upon

and upon recitation, what

we

their

poetry, far
music. have have

more

should

call their

If been been

Terpander gained a prizeB.C.

at least twelve

676, it must

years

later before he would

to

anything. Egypt was I. first throvm by Psammetichus open to the Greeks Calculated as by the Apis Tablets of the Serapeiiun the surest guide to Egyptian dates,*the reign of Psammetichus, of fifty-four years, began ia 664, could lasted to 610 and hardly have B.C., and
admitted iato

Egypt

learn

commenced

more

than of

year

or

two

earlier.'

The

probable dates
that of has

Terpander and of his supposed affected by cotemporary, Archilochus, are materially

Psammetichus, if either of them
attributed
to

did of

all that the later

been

them.

One

that he carried the lyreof Terpander is, Hermes to Egypt, and taught the Egyptian priests That stoiy was them. of learning from instead dictated by Greek vanity. Plutarch says nothing but that it is Cameian of Terpander's on victory, that he gained the prize four times record" in

myths

about

"

"

The

Apis Tablets

date

back

from

asked

the

aasiatance

of

Samuel

the

Birch, LL.D., F.S.A., Keeper of Antiquitiesin the British Museum, which he moat and burials of the sacred bulls. kindly gave me, in ' Smith's words "The In Dr. W. : Dictiona/ry the following highest monumental date known of PsamBiography, the of Oreeh and Roman is given as metichus I. is fifty -four reign of Psammetichus years, from of 671 to 617 b.o., but with the according to the Apis Tablets of a note that Boeokh addition dates which with the Serapeium, agrees of his reign in the commencement of Herodotus" statement [as to the Here is 654 B.C. The date of discrepancy of length of his reign.] As there is no ia the lowest seventeen 664 B.C. probable date years. date of greater importance in the of the accession of Psammetichus, of Greek science which be and ait two or a history might year date is inthan that of the reign of Psammetihigher, and Boeckh's admissible." Dr. Birch, therefore, chus as I., king of Egypt, and better are now Egyptian dates agreeswithSirJ. Gardner Wilkinson, dates it 664 to 611. understood than in Boeckh's who time, I
B.C.
"

conquest of Egypt by OamTiyses, 525. They record the deaths

"

a.

34

THE

HISTORY

OP

MUSIC.

succession

at

the

PytHan
he of

and Kithara,''
as

that

for games his own sang

singing to the epic verses

further

well that

as

those both

Homer.''

Plutarch

Olympus and Terpander had tried found it varied a style of recitation, but had distasteful to, and strongly opposed by, the Greek pubHc, and had therefore reUnquished it. Also, that Olympus and Terpander limited themselves musical mode, or key, and to three strings," to one how to use a although they well knew larger
adds number. and of He commends them
on

that

account,

their chanting far surpassed that says that all others who of employed a larger number

and frequentchanges of key, or mode.'^ So strings, the singingby which Terpander gained publicprizes his seven-stringed not was system, but a thoroughly Homeric kind of chanting, like that commended, in the Odyssey. Some readers may have heard Italian who recite their poems at a singing improvvisatores, a chant, pitch of voice,without any tune, not even in the musical
sense.

Their of the

manner

of recitation kind.

is

perhaps something
Greeks
manner

Homeric

The

the of "rhapsodizing" to this name gave of reciting epic poetry. Some, only,of the

chanted in musical intervals. rhapsodists is often ranked Although ArchUochus as the cotemthere was wide musical a step porary of Terpander,
'

Plutarch
Plutarch Plutarch

De De De

Mm. Mus.

cap. cap.

4. 3. cap. 18.

most guess

likely suggested
of

to but

him

by

"

Burette's

Burette

"

Mus. who

Herr

VoUanann,

edited

Teub-

having but an imperfect knowledge of Greek music, and his

guesses to should not have
text

admitted

ner's edition the Homeric

of Plutarch, has altered

been of
a

allowed classical

rpixopSaof the text into 6\iy6xopSa, He admits, in a note at the end of his book, that he has no authority
for the

disturb

the
De

author.
""

Plutarch

Mm.

cap.

18.

change.

It

was

THE

FIRST

SEVEN

-STRINaED

LYRE.

35

between
on

them, if Arcliiloclius played his accompaniments

the

instead of in lyreunder the voice-part Account unison with it. According to Glaucus's of Ancient Poets and Musicians, quoted and approved by Plutarch, Terpander preceded Archilochus, and of his having that theoryonly is the account upon played luider the voice probable.
GREEK TUNING OF THE

FIRST

SEVEN-STRINGED

LYRE;

string.) (shortest the shortest.) Pakanete c. (beside I" bl?.Paeamese to middle,) Teite or (next
d.
Nete
U.

(third.)

Mese

Gr. P. E.

LicHANOs

(middle.) string.) (forefinger

the longest.) (beside string.) (longest

Paehypate Hypate

distinguish notes.'' They were musical expressedonly by the of the lyre,so that the titles given to the strings would to be representedby any string note depend and tuning of the key-noteof the lyreupon the pitch
The Greeks had
no

names

of any kind

to

For

us

it is
names

more

convenient of modern

to

mark
as
"

the

intervals
to

by the employ
are names

notes,

above, than
This that
was a

the
"

constant

of repetition semitone."
not

tone

distant,"

That of

But

the Greek
remove
a

and strings

of notes, wiU
"a," begins upon

"

In this and

in all the
are

following
wUl be

the fifth Hue with treble

of the
on

letters scales,capital used from to G

to

and

bass

clef,and

ends

"g"

the The the

denote in the

the
or first,

base lowest space letters its

Octave,
space, of that

second

line of the

clef.
on

italic, or
second
runs

treble,a
of the

begins
treble space

in the
;

fourth small

space

clef and the

Octave tenor and to

then and

for the

"a"

all within

Octave;
a

up to gr in the treble clef.

*"

above

itaJios lastly, above.

to

for the treble

up

When
was

committed
"

to

paper

the

its g letters A

Thus", the
mean

capital
the base
tenor

notation p. 20)
"

arjimaia (Gaudeutius,
the notes ajj/iEia.

within

and

staff.

The

small

letter,

or

36

THE

HISTORY

OF

MTJSIC.

in the laoiguage to the words as long-felt difficulty Nete and Hypate, which have seemed to vary from their original when to music. senses applied Although in pointof pitchand sound, Hypate is the lowest string it is the highest" in the Greek sense, which is as the contrary,is highestas to to length. Nete, on lowest" when sound, but is compared in length with any other. this ground that NicoIt is upon
"
"

machus
was

teUs

us

that Saturn

the

gravest, or
his slow

lowest, sound
movement,
"

ascribed

to

from
"

and

being furthest from us ; for,"says he, Hypate is the highest" f also,that Nete, the stringof quickest and shortest length, movement producingthe highest
sound,
lowest
was

ascribed the

to

the

Moon,
nearest

"which
to

is the

of

Again, the
are

planets and longeststringon

was

the

earth.""
the

the

lyrewas
As modern

called

and the shortest first, connected

last." the

tions associa-

pitch of sounds rather with than the length of the stringsthat produce shall henceforth them, we speak of Hypate as the lowest string, meaning that it givesthe lowest sound, and of Nete as the highest, meaning that it givesthe note. highest the key-note, The middle and Mese, was or string, therefore the principal.Nicomachus it to compares the sun, as being the centre of the musical system, The two were just as the other is of the planetary.**
PapvraTOQ iv rg Sid ttwh"v vTrarov IxMiQi), "p96yyog y"p rb vwan)
'

with

""0

avwrarov,
"

vkarov
. .

rb KaTif)TaTov."

Boethius (Nicomachus p. 6.) also says of fii/pofe, "eaque Satumo

est

motus,

propter [Inst. gravitatemisoni." Mils. i. 20.) ' The seyen planetsof the ancients
et
"

adtributa

tarditatem

Saturn, Jupiter, Mars, the Sun, Venus, Mercury, and the Moon. "t6 ytipnpwTOV ^ttutov kKoXovv ol TraXmoi," and "vearov again, yAp iicaXovv rb 'iaxarov oi irdXaml." (Arist.Quint, pp. 10, 11.)
were
"
"

"

"KaBoKip Kai
"

roXg tv TJXioe

tTrrd

irXeivriaiv licaTepwQevlort
"v." fitaairaTOQ

rsraproe,

(Nicoinaohus p. 7.)

GREEK

RHAPSODIZING.

37 of Fourtli
one

considered

to make
on

the

consonance

with

their extremes
over
as

either side other

to

for while the

passed
notes,
Nico-

two

the planets, "a"

was
a

passed
or

over

two

from

down

E,

up

to

"d."

Pythagorean,and the Pythagorean that derived from Babylon and Egypt, was doctrine, the sun the centre of the planets. was If we try this ancient seven-stringed system by a
machus musical strictly
one

standard, it will indeed

take it for what it
was
"

be
a

but

we

must

poor series of

notes

before melody,of the arrangedfor rhapsodizing,'

modern

kind,

was

born

in Greece.

The

scale formed

have joined together may answered for the recitation of an epic poem, and for elevated the expression of thoughtsof an character, but it was unequal to express the stronger emotions called into action by lyric of the mind, such as are

by

two

tetrachords

poetry.
because and

The

effect of such

recitation

one be, musicallyspeaking,

upon of continued
to
us

us

would

sing-song,
unfinished,
third
reason

the

chant

would

sound

as

rather than ending, upon the stopping, of the key,instead of upon the key-note. The for this is,that we can only associate such a of sounds
as

series
our

E, F, G, A, B F, which
to

flat,C, D, with
the
to

major scale
the
"

of

includes have been

flat.

Near

as,

Greeks
Greek of

seem

findingout
the voice
on a

the

rhapsodizingwas
and

rally
with

or

Boeckh's
carwm,

epic poetry, without accompaniment. In Corpus InscriptionwmGrmvol. ii. p. 202, is a copy

inscribed atone found among musiwere

genemight be

notes; second, rhapsodizing; tliird,

accompanying
instrument the

of the

fingers of fourth, accompanying

Kithara,
The
were

stringed harp kind, with hands hoth and, ;

it
on

the

of

an

at

with

hand

and

plectrum.

Chios, which
others, the
cal contests.

commemorates,
victors The in the

subjects

left the

strings of the Kithara played by the fingersof the hand, and the higher stringsby
lower

four, q^myv^avoQ,pcaj/ifiSlac, ^aXuoS,

or reading musical first, KiOapujjiov,

plectrum

held

in the

right hand.

38

THE

HISTORY

OF

MUSIC.

major
yet
a

scale their law

tone

when that

they
the

chose

this of the

succession the scale

of
must

notes,
be

Seventh
below

whole

(at
or

least)
at

Octave,

prevented
the

their

having,
ever

least form.

acknowledgitig,
Many by
the
notes

major

key
have

in been

perfect

pleasing
moderns in

melodies within the

constructed

same

compass,

by
F the

taking

the

as

major
A for

key,
Mese,
to

and and much. when could

making
with Greek The sounded neither The scale

key-note
laws,
E and

but it

with

musical
two

was

impossible
D,
were

do

extremes,

and the fall be

dissonant

together,
rise best be
a

singer,
a

or

reciter,
from the with iu
to

Fifth that

nor

Fifth

key-note.
such the
a

could

accomplished
Greek

will

judged
In the

by

the

hymns
we

following
the

pages.

meantime,
and
to

turn

Thoth,

Egyptian

Hermes,

his

lyre.

89

CHAPTER
The

III.
his

Egyptian
of Hermes

Hermes

and
same

ChaldaBan

Octave-system
mathematical sometimes the

three-stringed "lyre." The ment instruThe the Egyptian as

"

"

of the lute kind.

"

How

long-necked instruments
of
ours.

taught
technical
the

the

proportions
better than

the
"

Octave.

"

Greek
to

terms

Egypt opened
of in number bodies.
"

Greeks,

and

advantages gained.
" "

Fable
same

Terpander
as

taking his lyre to Egypt.

Egyptian, Magadis
"

Greek

scales the with the

equally associated and their Octave Egyptian priests,

and
"

and

heavenly
"

accompaniments.
One

Egyptian
as an

tetrachord The

flute.
"

Greek

song

same

Egyptian. good."
"

Egyptian certainty as
ladies'

nefer
to the

or

lute is the

hieroglyphicfor

"

The

Egypt.
More

Egyptian Egypt.

practiceof harmony in ancient amusements. A private band.

" "

of

is the popularmytli*of the invention following of the Ijrre by the Egyptian Hermes, or Thoth : "The Nile, after having overflowed the whole country of Egypt, when within its natural boimds, it returned left on the shore a great number of dead animals, of The
"

various

kinds, and, among

the and

rest,
wasted shell

tortoise,the

flesh of which

being

dried

by

the

sun,

the left within nothing was these being and cartilages,

Forkel, and others, who Bumey, copy from refer this story to Apollodoras. But Apollodorus tells only the Mount KyUene fable,of the Greek Hermes
"

but and
5th
on

nerves

and

braced
of the

contracted
in century, -vrho,

Dr.

Bumey,

as

"vrell as

critic his lib.

commentary iv., says:

in
suos

"

"Cum

Virgil's Georgics, regrediens

varia in terra etiam relicta

Nilus

meatus

animaUa, relinq^nisset
testudo

with not

the of the

land

tortoise

(iii. 10),and
on

est, quae,
et nervi intra

cum

putrefacta
remanissent percussa
a

Egyptian
Nile. like
an

Hermes

the

esset,
extenti Mercurio

ejus
corinm,

banks looks

of the much

Bumey's

account

embelUshed I

versionofthatof have found

no

DiodorusSiculus.
earlier

it than

Servius,the

authority for giammarian and

dedit; ex cujus imitatione cithara composita est." Lncian and others adopt the 'Nile but more version of the story, briefly.
sonitum

40

THE

HISTORY

01"

MUSIC.

rendered Hermes, sonorous. by desiccation, were in walking along the banks of the Nile, happening to strike his foot against the shell of this tortoise, that it was so pleased with the sound it produced, which he suggested to him the first idea of a lyre,
afterwards constructed the in the form sinews of
a

and tortoise, animals."

"

strung it with

dried

of dead

(Bumey's History,L 200.) Siculus says nothing about the Nile, but Diodorus invented the lyre, that, when the Egyptian Hermes "he in allusion to the three it three strings, gave of the Egyptian year; for these three strings seasons producing three different sounds, the acute, the
grave,
summer,

and the

the

mean, to

the the

acute

sound
or

answered

to

grave

and The

the

mean

wintry season, to spring [and autumn]."* (fiea-ov)

stormy,

Egyptians made but three divisions of the year, each of four months; "Euripides," says Plutarch, four divisions,counting spring and "rightly made
autumn
as as

each each

of two of four

months, and
months,"

summer

and

winter

Any stringmade of the intestines of animals will tightenin damp weather, and so givea highersound than when quite dry. Egypt had Very Uttle rain, but evaporations
drew up moisture from the
only

after floods
"
"

earth.
that "and

This
autumn"

ijv armrjaai Aipav re "vpav, kot Tcig rpixopSov, lunrtaajihiov "pa". rptlg y"p airbv ""i vTrodTriaaadcu (pOoyyovs, Hi" /liaov i"iv fikv airi fiapvv Kai
h/iavrbv
'

It is there is added

spring{"lapof (cai toS fSivowdpov"). The two short seasons thus coupled together. Ptolemy are

after

Bkpove, jSapiv jSiawo X^i-ltMVOC, fiiaov

Tov

Si
tov

ivb

rov
"

o sa,ya: "^alv bra o Aiyiimos

lapog."
is
a

6 ^iKeKuiTtis Ai6diDpoe 'Bp/iiJQ irpSiroQ Kvpav sTrairiat rpLxopSov,lu/irjad/jiaioe fcis

Kor

{Hist.,

i.

16.)
in from

There Claudius

little

biucoTbv

Tp"e

Kpaaag

tS"v

apSiv,

difference

Ptolemy's

quotation
in
as

the

Vatican

Siculus, manuscript, p. 176,

Franz of Berlin.

Diodorus

Kcd ^j/vxporarryv Bcp/WTOiTri kcu oiSj' t^w ^Kparov, rptig vmariiaaTO 6%iv icaX papip kcU lUaov, fOoyyoruQ "c."

ttjv tI

^ven

by

Dr.

(p. 10, Franz.)

THE

EGYPTIAN

HERMES.

41

association of sounds
a

with
was

seasons* not

was,

natural

one,

and

confined

therefore, to Egypt.

Plutarch

tells us,

in

his

TimcBus, or, De Animce of deeans, or native philosophers

Plato's on commentary Frocreatione, that the Chalthe

Babylonian

empire, (who, accordingto Strabo, had a residence in Babylon,*) connected soimds set apart for them with the seasons in the following order : that spring bore the proportion of a Diatessaron, or musical that of a Diapente, or Fifth, Fourth, to autumn; that of a Diapason, or to winter ; and Octave, to This quotationis useful in showing that summer." the Chaldaeans, or learned Babylonians, had the Diapason, or Octave system, like the Egyptians. The musical instruments of the people would also sufficiently prove it.
"

Boethius, who
after

wrote

between the

five and

six centuries

lyre of Mercury had four strings, the two extremes Octave being an the interior two ones sounding the apart, and such as E, A, B, Fourth and Fifth to the exterior, E, in ascending. But the three stringsmentioned suffice to give those intervals,for the "byDiodorus of the extreme string that is a Fifth from one
Octave And which
'

Diodorus, says that

is at the interval
now as

of

Fourth

from

the other. instrument of

to

the

Egyptian
under
daeans,
district distance
o "

musical the
who of
name

the
rise of is at

Greeks
the its Nile

included
begins in

lyre.

The and of

inhabited

far-away
a

Jnly,
end

height about the It declines September.

middle is
at

Babylonia,
the JJ Persian

at

short

from

Gulf,
ev

visibly in the time Sowing

November.

of the crops

October.
end of till The
v

Green Harvest in

last

February.
NUe
'

in March.

at its lowest There

was

April.
a

also

tribe of Chal-

r^I ylvtuBca. irphq to /xetoiv Si T(f dii mvre wpog riv wiapov vpbg Si to Bspog cv rif SiA ^upuiva Trairuiv."" (Plutarch,vol. x., p. 261. Reiske's edit.)
Jul
Tfrrapiav
" "

XoX^alot

ro Xeyoi/iri, eap

42

THE

HISTORY

OF

MUSIC.

Our

learned and

accurate

countryman, Sir J. Gardner

Wilkinson, says, in his Popular Account of the Ancient Egyptians, ttat "Besides harps and lyres, the Egyptians had sort of guitar,"(or rather a "with three chords, which have been strangely lute,) of the supposed to correspond with the seasons Egyptian year; and here again Thoth or Mercury
has received the

credit of the
three

invention; for the

instrument

having only

strings,and

yet

of those of great compass,* was the power equalling considered by the Egyptians worthy of the god, whose in

intervention
an

on

this and

similar of

occasions

is,

mode allegorical communicated intellectual giffcs

fact,only

expressingthe from the Divinity

to man."
"

The
or

guitar consisted
handle, and
or
a

of two hollow with

neck

wholly of wood,
the upper sound to

covered

long flat oval body, either parchment, having

parts :
a

with holes to allow the perforated the whole this body, and Over escape. three strings stretched length of the handle, were either by of catgut,secured at the upper extremity, of pegs, or the same number by passingthrough The length of the an aperture in the handle. from twice to thrice that of the body ; handle was surface
. . .

and
...

the whole It
was

instrument sometimes the modem

measured

about

four feet.

the

neck, Hke

also it the

in corresponded voice, though this of

a

round slung by a band to which Spanish guitar, being an accompaniment to did not prevent its being other
a

part

band,

as

the

instruments,
. . .

The

Egyptianguitar may
*

be called
itself of
Octaves npen

lute."
every

(i. 123, et. seq.)

This

instrument

is of two

string,

great compass,

having

EGYPTIAN

NEFER,

OR

LUTE.

43

The
account

second of the
;

name,

lute, is
of the the lute

more

on appropriate,

form

back
was

and

sides

of the

instrument

shaped like the half of a pear cut from the stalk,but the guitarhas the at right angles with are waving sides, which The front,and a flat back. followingare from Sir
J. Gardner Wilkinson's work
:
"

because

Supported by

strap.

Daaiuing while

playing the

lute.

The kind had

Greeks with necks

had

no

musical

instruments

of

any

until many

employed them, and, even to prefertheir own, they continued althoughthey adopted the system of
for Yet the sub-division and
measurement

ages after the Egyptians when them, possessing without the

necks,

laythe secret, why the ancient Assyrians,and Babylonians,had learnt scale system, which is the only true
the Greeks
were

herein

Egyptians of strings. Egyptians,

the
one,

Octave before

even

nation.

with back, like the an Every instrument open Greek and like a harp without can lyre, pedals, yield

44

THE

HISTORY

OF

MUSIC.

but

string string ; but if the same be pressedagainst fixed upon tbe neck a finger-board of the instrument, it mil give a complete scale of sounds. The first lesson to be acquiredfrom it is, the note that exactlyhalf of the string will sound
one

sound

from

one

that

we

call the

Octave

above

that

which

by the whole length. The only that the string shall be of equalthickness throughout. the Next, that by stopping a quarter of the String,
remainder that will sound
a

is duced procondition is

Fourth

above

the whole

and

by stopping a
a

third

part, we
the remain

obtain

the interval

called

Fifth, above
three Octave The

the whole.
were

These ancient

sounds

foundation the
same

of the
to

scales,and
difference been has

this and the the

day.
modern
two

only
and

between the

ancient

science

in

tones

semitone, for

of proportions the filling up of

Fourth. As the

Of these

lesser divisions hereafter. very long finger-boards, the necks, the eye could the point at accurately the fourth off those round Some had the of the those

Egyptian lutes had with the length of according

not, in
which
a

moment,

determine

the

half,the

third,

or

part of
neck

stringended ; so they measured tied pieces of camel-gut and as serve guidesfor the finger.
discovered
in the tombs

distances,
to

ments instru-

divisions

marked in the distinctly remaining. They are the frontispiece of this volume from which painting has been copied. Technically, they are called "frets," the strings, from their fretting, or rubbing,lagainst down when pressed upon them. The paintingof the Egyptian ladies,who hold fthe double these lutes and pipe, is of the 18th dynasty of Egjrpt. It formed part of the plastered

EGYPTIAN

ladies'

MUSIC.

45

wall

plaster and sequently painting were safelybrought to England, and subwere by presentedto the British Museum Sir Henry Ellis. would Some date Egjrptologists them knew about the time of the king who not as earlier Joseph"; others, perhaps, at a somewhat period. If the ladies of Lower Egypt dressed their hair and adorned themselves in the bewitchingstyle
a

of

tomb

at

Thebes, and

botb

"

of these the feet

charmers

of

Thebes,
in

we

may

the

more

admire ladies'

power
are

of resistance
not

Joseph. StiU, the

quite Chinese as to size. Their lutes adorned with and are ivory tail-pieces, they are pictured as touching um-epresentedstringswith a their tender fingers. to save plectrum. Its use was The plectrum was generallyattached to a piece of cord hung round the neck of the player, but sometimes it was tied to the tail-piece of the instrument. Of the two ladies on the right, is sounding a one which have ivorymouthpieces, and the pairof pipes,
other round but make the holds
nor a

sort

of

tambourine, which
The
an
corners are

is neither

rectangular.
and
more

parallel,
curve, to

sides

ends

have

indented

the form

several

examples
work.

the eye. There are in Sir J. Gardner of this instrument

pleasingto
The

to be tapping lady seems the tambourine with her fingers to mark time, but the plaster has unfortunately been broken at away that point, and the picture is not quiteperfect.* taken for The measurements that were necessarily the fixing the frets upon Egyptian lutes, were obvious due to the discovery of the relation between

Wilkinson's

'

This

now

is perhaps picture,which engraved for the first time, will in the

British

Museum,
from

on

the

wall

on

the

right hand

the

entrance,

be

seen

Egyptian

Koominthe

46

THE

HISTORY

OF

MUSICi

proportions.The Theorems in Euclid's Sections Canonis) are of a String {Sectio for the of subdividing of proving the best ways purpose by measurement strings upon a rule placedunder the them. Then, by calculating proportionsthat
sounds and mathematical
one

bore

to

another,
AU such
names

to

forni

laws of

for concord

and

musical founded The than

scales. upon Greek

the

science

Pythagoras was

proportions.
intervals better express musical call a Fourth we a they named Fourth has

ours.

What

Diatessaron but three

("rightthrough four"). A
sounds, unless
it. is
;
we

include

in it the usual C
to

starting
a

note, instead

of, according to the Thus, from

two tones

calculation,
F
a

by countingfrom
Fourth, but
distant
to
name

is called semitone from

F C

only

and

from

for D

and

are

tones, and
Fifth
"

the is

semitone.

So with

the

^the Greek unless but the three

but Diapente, {"through five,") startingnote be included, it consists of and

a

tones

semitone,
tells
us

as

from the

C to G. Octave
was

Aristotle

that

called

pason, Dia-

instead of di' octo, {"through ("through all,") the Octave because, when was discovered, eight,") strings.*(This is another of lyres had only seven proofsof the true date of the introduction of many the Greeks.) For the Octave the system among
same

reason,

the

earHest

name

of

the

Fifth
"

was

oxeia, or di' oxeian^)meaning {di' through of the lyre, because the acute" strings the deficiency in the upper of the one string was part of the The Foui-th had its full complement instrument. and" was first called Syllahe,{sullahe), of strings,
Dioxia
"

Prob.

xjcxii. of Sect.

19.

and

Nioomachua,

p.

17,

edit.

"

Philolaos,p.

66, edit.

Boeokh,

Meibom.

EGYPT

OPENED

TO

THE

GREEKS.

47

probably from
the four upon intended be to and fingers, later. Tbe fruits
not

"

of tbe fingersform lyre-like four were for tbe lower strings;"* and tbree played by tbe tbumb by tbe plectrum,as will be sbown tbe

of

the

elementary knowledge

tbus

after sbown in tbe soon acquiredby tbe Greeks were It is not too mucb to improvement of tbeir music. say tbat tbey bad not tilltben any music, in our sense of tbe word. tbe reign of Psammeticbus Before I. to tbe Egypt bad been a country very little known Greeks. bad been permitted to settle, No foreigner All were to penetrate into tbe interior. or regarded tbe same exbibit witb jealousytbat tbe Cbinese in our own days. But Psammeticbus encouraged Greek settlers gave cultivated
;

bis tbe Ionian

own

cbildren

Greek Greek

education; nation, and

of friendship and Carian

tbe

engaged

mercenaries

also committed in bis army. He Egyptian cbildren to tbe charge of tbe mercenaries, to be taught the Greek between

language, and
the
two

so

to

become It is to
open

interpreters
tbe
to the

nations.

ancient

thrown tbus first fully civilization, that

we

Greeks,

must

attribute

tbe

sudden within

and the

rapidlytwo
or

increased tbree

advances

tbey made,
of science
was

followingcenturies, not
branches I. followed and

only
and

in

music, but
The

also in other

art.

policy

of Psammeticbus

by

his successors,

by Amasis, especially
every
"

thirsters

after

learningof
teachers

kind

flocked
says that

to

Egypt,
the

to become
dowmwarda,

the
were

Porphyry
this
on was

jEIian, the

Platouist, gave
but

another the
one

derivation, assigned by
to the

players proof that

the the

lyre.
four

It adds

played by by the plectrum. (Porphyry's Comment. Claud. iii. on Ptolemy, edit. WaUis
left

Mese

hand,
"

and

not

strings, from

271.)

48

THE

HISTOKY

OF

MUSIC.

of their Solon It
365
"

countrymen
among there Thales

on

their

return.

Thales

and

were

the

remarkable
to

early
the

visitors.
into

was

learnt

divide

year

the height of pyramids and to measure days,* perhaps with the by the lengthof their shadow,'"" for measuring heights, instrument help of an optical the Greeks the name of Dioptra" to which gave otherwise must that the we Egyptians suppose Rule of Three. There Solon taught our copied of the best laws for his code. some Pythagoras, who learnt the use of the Dioptra," is said to have passed twenty or more years in Egypt and Babylon, That have been he must there, is sufficiently It is also asserted by proved by his doctrines. lamblichus, Strabo,^ and others, supported by Siculus* Egyptian authority; for Diodorus says the visit of .that Pythagoras to Egypt was by the Egyptian priestsin their books. registered is recorded A tradition that Plato by Strabo" of study at HeHopoHs. spent thirteen years Long after the subjugationof the country, Egypt the great seat of learning remained for the Greeks. The Alexandrian hbrary was first formed to coUect of Egypt. the wisdom The fable of Terpander'shaving carried the lyre into of Hermes Egypt is told by Nicomachus.
"

Into

twelve five

months

of to each every

thirty
year, fourth extra year. and the the
was

Julius of the
^

Csesar year. Si

learnt

the

division

days, adding
and year,
a

days
iu

sixth
our

day
a

"'O

leap year,
of

for in

the

airbv tprjaiv
crKiag

xal huerp^aat 'Icpiavufios rdg Trvpa/iiSas, eb ttjq 8r6

quarter
The

day
of

every

irapanipiiaavTa

t'l/iiv
i.

priests
says the the

Heliopolis
divided not did.

dat." iaofieyWBiQ

(Diog.Laert.
p.

6,

Thebes, by year
moon,
as

Strabo,
sun,

Paris, 1850, 8vo.) "Nicomachus,

''

and

by
It

10, ed.
i. 96.

Meibom.

Greeks

Diodorus Strabo

Siculus

from

the

Egyptian

priests

that

"

lib. xvii. 29.

FABLE

OF

TERPAJSTDERS

LYRE.

49

to him, According

lyreto Orpheus, and instructed him in its use. After Orpheus had taught Thamyris and Linus, (the latter of whom taught Hercules and Amphion,) Orpheus, mortally wounded of Thrace, threw his famous by the women afberwards Thence it was lyre into the sea. discovered by fishermen,who took it to Terpander, and Terpander took this exqiiiaitely-worked ment instruto the Egyptian priests, and declared himselj
gave
to have

Hermes

his

been
are

the inventor."
no

We

in
not

need
to

here
to

of the Greeks

caution who

given by
to

Herodotus,
have

trust

claimed

because, said he, Egypt taught the Egyptians, had is a copied nothing from Greece. *" There fatal objection the Terpander lyreto sufl"ciently story,in the fact that the Egyptians had the same musical with seventeen instrument, and strings
instead of seven, nine hundred

pander'ssupposed visit ;" and

musical
remote

Teryears before that they had also a

at
a

scale

two of,at least,

Octaves

stillmore

period of history. The long neck of the Egyptian instrument proves the extent of the scale. of notes had been required If only one Octave upon a neck, equal in lengthto the body of the one string,
have sufficed
;

instrument, would

because

half the

length of
the neck is
"

thickness must of uniform duce proany string Octave above the whole length. But the from
two to

three times

the

length of
for the
the

the
arm

body," and
"

that inconvenient
lib.

extension
at the remote

Nicomachus,
Herodotus

ii., p. 29,

ed.

Meibom.
"

ii. 49, 123. of 14, and

Amosis, dynasty"
Mosea.
"

the
"

first

period of king

reign of
18th of ii. birth

of the the

before i.e.,

"Harps found to have been used are strings, by the ordinaryEgyptian musicians,
"

lyres of 17

^Witkinson's

Egyptians

273.

50

THE

HISTORY

OF

MUSIC.

only have been made for the sake of having two Octaves, or more, upon a string. If the half length of a string will produce one Octave, the halving of the remainder must produce a second Octave above of for a neck the first. So the reason especial length to be reached, was evidentlyinconvenient that there might be sufficient length of string to in the higher the notes between admit of space there with to move equal Octave, for the fingers of the of the entire length freedom. If three-quarters at that remote period, sounding part of the string, made available for the touch of the fingers were upon made the neck of the instrument, it was so certainly for the purpose of having a scale of two Octaves upon of those long-necked string. Lastly, if one every it was for the had two three strings, instruments or three notes of being able to sound two or purpose of two Octaves of together ; since the full compass notes might be had in succession upon one string. Nicomachus, quoting Pythagoras and Plato, tells that the Egyptians ascribed twdnty-eightsounds us it "twenty-eight to the universe, calling sounding."* So the have had Egyptians must twenty-eight sounds, i.e.,twenty-eight notes, in their scales. That is the precisetotal number of Greek notes, in their greaterand lesser perfect systems combined, all their scales and including Diatonito, Chromatic, Neither and Enharmonic. in Egypt nor in Greece actual limit to twenty-eight there an was sounds, all scales because were transposable,but only could be defined,starting notes from twenty-eight given pitch. Euclid, Nicomachus, Aristides any
can
"

(ncTiDKotetKoao^BoyyoQ Xeyo/dvti Nicomachus, lib. ii. p. .card T"iv AiywTrriwv irpoatiyopiav." also p. .36,ed. Meibom.)
"
'

'

38.

(See

"

GREEK

SCALES

SAME

AS

EGYPTIAN.

51

and others, enumerate Quintilianus," and their notes, and all authors
are

the Greek

scales

agreed as to the number being precisely twenty-eight. This most remarkable coincidence between Egypt and Greece nevertheless to have seems escaped the observation
of historians almost The of- music.
prove

If it stood the

alone, it would
Greek music.
at

suffice to is too

originof
have of

number

pecuhar to
a

been

arrived

by accident,within
The
names

of the in the

onlytwo Octaves. will be given notes twenty-eight

compass It may suffice scales there were, and scale,
now

hereafter

scales.

to say,
we

that in the two-octave fifteen notes

were

as

have,
there

for the

Diatonic

that

four variable

notes

for the Chromatic

scale, (one

in each Then
or

and tetrachord,)
was a

again four
which

for Enharmonic. for the

there

fifth tetrachord

Leaser

Perfect

System,

added the series.

one

Conjunct only three

note
one

notes
was

to the

Diatonic

because scale, old

lowest Add

Mese, belonging to the

for Chromatic
we

variable note in this

and have

for Enharmonic

in aU. twenty-eight The Greeks to give too were by no means prone much credit to other nations,yet they did not assert scale,which, according any claim to the Chroijiatic
to

tetrachord,and

Plutarch,

was

well

known
;

to

be

of

greater
says kind

than antiquity that Olympus of"

the
was

Enharmonic the An inventor

but of
an

Plutarch ancient

of Plutarch's tion analysis descripthat the invention" of Olympus proves consisted in the omission of one string out of the four in every tetrachord of the alreadyexisting Diatonic scale. No use made was by him of the quarter-tone
"
'

Enharmonic;"

Euclid, Int. Harm.,

pp.

pp.

5, 6;
Arist.

Quint.,pp. 9,

10.

Nicomachus,

39, 40;

52

THE

HISTORY

OF

MUSIC.

"wrhich
scale

Enharmonic. the true distinguished called by Euclid, and of Olympus was by before
were

The other

writers those

Plutarch, the Common

included and

Genus, because

notes

omitted

the

Fourth

in all the genera. Olympus Seventh of the Greek minor

nothing more. The Greeks copied the Egyptians in associating musical sounds with the heavenly bodies; but, as they made their computations of time by the lunar of the notes month, they connected the twenty-eight scales with the twenty-eight and days of the moon;
the fifteen
notes

and scale,

did

of

the

Diatonic increase.*

scale The

were

the

fifteen days of the moon's

subdivided the lunar

month

dedicatingthe first hour'' of to the seven the seven who as deities, planets, were them. This association over supposed to watch to have seems originatedin Babylon." The seven planetsand the seven days coincided with the seven
notes

Egyptians into weeks through each of the seven days

of their Octave. followed Octave there

If the would of in

scale been

of nature

had

been
in the

have
seven. our

eight sounds
is
a

instead

That

worthy note-

even pecuUarity,

present system.

One ancient the

more

link between
has been

the music

Greece

hitherto the

Egypt and of unobserved,through

technicalities

of

of misunderstanding
Aiistides

musical

"

Quintiliamia,lib. iii., explained by

LiddeU time and year,

Diodorus
are

Sioulus,{ante p. 40,)
tlie
seasons

p. 136.
*

applied to
the twelve

qipai of the

"Qpa
Scott

is
as

year. where
"

See also the note

here
are

and
or

period fixed
or

"any limited by natural laws

of the

hours
that

below, /iipEa.
Greeks
of the of

Herodotus
the
use

says of the the

the

revolutions, whether

learnt

gnomon,

mouth,
"hour" Greek Claudius

is

day." The meaning of of comparatively late

In the note from from

sun-dial, and day into twelve

the

division

the

parte,

from (jUEpea),

date.

Babylonians. (Euterpe, 109.)

Ptolemy,

quoting

EGYPTIAN

MUSIC

TO

THE

GODS.

53

in

earlyGreek passage from an the word anti,which, when

or

author, and
taken in the the

ally especisense

of

contra

loco,made

the

in parallel

context

It is in the treatise on elocution, {Peri unintelligible. Hermeneias,) which has been published under the of Demetrius Phalereus, but which Ducange* name ascribes to Dionysiusof Halicamassus. unhesitatingly This Dionysius is recorded music as a writer on by Porphyry. In Egypt," says the author, the priests hymn the gods through the of the notes seven scale, in regular succession ; and, being sounding them accompanied by the pipe and by the Kithara, in Octaves]the resounding of these notes [playing with a very euphonious effect;whereas, he is heard who omits the accompaniment of a musical ment instruwith his voice, takes away nothing less than and the fitting the due modulation from the tone passage.'""
" "
"

"Testatur lib. Demetrio

Dionysius
Phalereo

Halicar-

instrument would It make

with

the

voice, and
without have be be

this
one.

nassus,

qui PEpi "Ep/jiji/fiac,

ascribiLatin.

it to

be

Tulgo
tur."

to ought, therefore,
a

proved
wrong, taken in

Ducange
voce

Gloas.

Med.

such Once

translation
dvri
must
or

to

iv. 1219, sub

"

"Nota." Kal

more,

"'Ev

KiyvvTif di
didi
Tuiv

roig Oeoig
KoX dvri

thesenseof

"cum,"

"aocompanyhas The been true

vfivovai

iTrrd,

ot (putvqivTOJV
"

ing."

Again,
is

GvyKpovaiv

Upue, i^tl^e "/ixovvTES

Kai dvH aitXov,
TOVTojv

caiTO.

translated

"concursmn." "the

T"v ypa^fidriov meaning KiBdpaQf

ojcouerat

diffre 6 aM"o Koi 8vo. been in the

^x**C oiSkv rrjv tjdyKpovatv, l^aipojv dTixvSii; Haipa TOvXoyov 71 jiiXog fiovaav." (71. De MlocuHone, There have 1743, Glasgow.)
'

utt' tvtlnovias

of

an

mstrument."

accompaniment Thirdly, iirrd

"the
seven

is ^lavqkvTtjiv vowels." there

were

translated

Having
not
seven

understood

that in the
to

vpwels

several above.

puzzles to First,"xal
been

translators dvri avXov rendered The that of

an

Egyptian language, I Dr. whose Birch, upon

the with number
may

referred

authority
as
"

be stated In that be

four the

Kai dvTL

has KiOdpae," tibise aut

inflections."
must

case,

by

"loco

citharse." passage

fjrrd fuvrievTa discrimina the

the

septem
of

whole follows

purport
is the
on

of the the

vocum,

(seven notes
the
sense

expediency
of

scale,)which

of the

accompaniment

passage

suggested.

Nevertheless,

54

THE

HISTORY

OF

MUSIC.

This

practiceof
who
seem

words, like birds, to

singing without or carolling the gods, was copied by the

have

Greeks,
the

to

caroUed

on

four

vowels,

Egyptians having but four.* .The vowels had meaning recognised probably,in both cases, some
attached of
"

to
as

them,
was

as

substitutes
case

for certain the

custom
b T7 o

words
was tt A

praise

the

when Church.

transferred retained the

sense

to

the Western Roman

The

E,

in the of
"

Catholic

is taken service,

in

Seculorum, Amen,"
without the consonants. its noeane,

being

the

vowels Eastern
anoais,
name

of those words Church "c. of

I H

The

also had It has been which

nonanobane, some,

supposed,by
in Hebrew this
manner

that the

Jehovah,
V

consists of four of

letters, Berlin,
of this

H,

in originated of the Greek

praise.
at

One No.

vases

in the
exact

Museum Greek

626,

suppHes suqji an

Egyptian custom, and so that it is here quotation,

On

copy illustrates the fully submitted

to the
or

ing precedreader.

the, one
on

side is

sacrifice to four

Athena,

Minerva,

and

priests, playing on musical before them. It is instruments, with the inscriptions what to say with any certainty almost aU impossible
are

the other

the letters

are

intended

to
;

be, on

account

of the

lessness care-

of the execution late A. J.

are

but, in the opinionof the

de

Yincent, of the Institut

for

France, they
is

intended

A, E, I, 0.

The

first of the four

and the whole excellent an supplies very like an X, It might have been expectedthat field for conjecture. the Greeks

would
no

have

ifthere had been

with their to, te,ta, te, sol-faed for another selection. reason special
four .vowels wiU the

the upon
"

notes the The

were

most

probably sung
of
use

appear Greek

irom
vase

the

in-

open

sounds the

Towels. of but

soription on
here

which

of probability

iUustrates the Greek

custom.

GREEK

COPY

OE

AN

EGYPTIAN

CUSTOM.

55

Greek

Woeship

or

Athena,

oh

Minebva.

It should each
seven

be noted

that the

lyresin

the above

have

of notes strings, accordingto the number employed in this worship,as described by Dionysius the double Next, that the lyres have bridge, or the strings, each into to divide Magadis,"across from the two two parts, so as to produce Octaves In ordinarylyresthe thumb would be on the ends. middle string,and the plectrum playing the four the nearest to body, but that is here reversed. Thirdly, that the priestsare playing the higher with the fingers and longerends of the strings of the
"

left

hand, and
'

the under

and

shorter

parts with

the

which each holds in his right plectrum (plektron) hand. The double pipes are in all probability sounding Octaves, as with the Egyptians, for the object of double be to pipes would necessarily simultaneous sounds. The external produce two does not make than one pipe look larger appearance the

other, but
the

the

distance

of the bore

holes

from

the

mouth, and

size of the

of thei

tube, would

56

THE

HISTORY

OF

MUSIC.

determine

the

player was
had

pitch. usuallyto
hi^

The sound

pipe
the

on

the

left of

under

part,^and

apertures further distant from

the mouth.

of the vase,*" description says that the whole representation is identical with one in the Parthenon frieze of the at Athens, but that the letters are there scarcely visible. And having shown now,

Gerhard, in

the

Greek the

copy, hitherto

we

produce served unob-

Egyptian Magadis. According to Athenaeus, (lib. iv. Sect. 80,) the Magadis was classed among foreign instruments by it is Aristoxenus, and clear from the early date of' Egyptian tions, representathat it
was

not

Greek. originally In the Egyptian instrument the proportionate An Egyptian Player the length of string to make the Octave is better preservedthan in the Greek. The next point is as to an Egyptian tetrachord or of a "four-stringed" arrangement of the notes There scale. is in the museum at Florence, said
on

the

late

Fr.

Jos.

F^tis, the
2688.

lower is

part part of
De Re

of
a

an

Egyptian flute.No.
"

This
mmi

long

"Et

ut

dextera

tibia sit

aJia quam

bus."

(Varro

rustka, 1,

sinistra ita ut tamen

quodammodo

2, 15.)
1)

conjuncta, quod
minia

est altera

modorum

ejus carincentiva, altera

sinistra foraa

VasetibUder des KSnigUchen Musemns

siiccentiva.

Succinit tibia
inferior

quod

est

dexterse

Berlim, by Edouard Berlin, 1843, fol.

m

Gerhard,

EGYPTIAN

MAGADIS,

AND

TETRACHORDS.

57

three-quarters of a yard (69 gentleman took long. A Florentine centimetres) the of all the parts for Fdtis, who measurement of Brussels to reproduce engaged a flute-maker
one,

and

about

the

ancient from

part

in

and facsimile,

to

add

piece head-

designsupon
details of
one

the
over"

minor
"

All Egyptian monuments. this experiment may be passed

the

noticeable the lowest

as

part is that between

note,
the interval five
was

the
a

and liighest Fourth

;

and

that,

there

were

holes, the

produced six sounds within this Fourth, or tetrachord, includingthe open note of in a the instrument. That number is the precise when Greek it includes the Enharmonic tetrachord, semitone for change quarter-tone and the Chromatic So that this Egyptian model into those genera. pipe
must

have

appears to have formed.. was

"

been

the

one

upon

which

the

Greek

Either holes

the had

dimensions
not

between taken with

musical

sounds,
a

and

tellingof
after the

this
en

the

been

flute, as
son

"ph^nomtoe

unique might

is equally sufficientprecision, or what flute the maker had been probable, his model. He improving upon would know

genre;'' that

first be

harmonic

of Octaves, that

nothing

of

tones, limmas, and discordant

called

quarterthirds,

played above the natural scale on it produced Fifths ! and any flute,
he

informed Ditones, unless before hand, and would the suppose dimensions given to him to be inexact.
on

The

new

flute

turned

out

interposition gradual increase of necesrapidity in breathing must and above sarUy produce Fifths after
the of Fifths. The the first Octave in Fifth This

expected the foUow, without

double

Octaves

to

the modem

Chromatic

scale ; and ancient

so

P^tis,notbeingweU-versedin
music, although he
much
use

being

the

every second be
on.

flute

"

the

harmonic,
more

had

written

about the

it,did
of
a

mildest

not perceive (to phrase) the utter

subject will explained further

part
made is
to

fuUy
worst

The

tell

"

M.

F^tis, having
upon basis the of

improbability
announced had made de it
as

such

scale, but discovery that he

a new

his

experiments
of the upon ancient

restoration his theories

flute the

in la

his

Histoire

G^nirale
vi. p. curious lack of

Musique, 1869, 8vo,

Another
F^tis

music, has throughout treated

tian music
as

Egyptian Egypupon See his

22.3, 224.

equally
was

if it had

been

in deficiency the knowing

his of

the modem

Chromatic i. 324, et seq.

scale.

first laws

History

58

THE

HISTORY

OP

MUSIC.

It does

not

follow that made

were

Greek,
Athenseus

were

scales,whicli
says first who

all or Egyptian pipes, those two to include peculiar comparatively but little used.

all

that

Pronomus,

the

Theban,
of that for

was

the upon him We with

played the three kinds flute,, one (hb. xiv, cap. 31); and players had separate instruments
may

music before each.

case

suppose

the

same

to

have

been

the

the

Egyptians, for we have had three, and could only have been
where of
a

find their sometimes for

one were
or

pipes or
four
two

flutes to

holes, which
kinds of

scale,

the Fourth.

extreme

sounds

but

at

the

interval

many foreigncountries,such as of
men

In

addition

to

intermediate the visits

links

with

of. Asiatics,and
were

from

the

there to Greece,, Isles, between In

several in
more

direct connexions ancient times.

Egypt
B.C.,

and

Greece

Cecrops is said to have led a colony from Sais, in Egypt, and to have founded the Neith, kingdom of Athens. the Net, was or deity of Sais ; and her name have led both to the name of the city to seems Greek and of the goddess,Athena, or Minerva, the asserted remarks Plato identityof the upon in goddess under the Greek and Egyptian names "In Egyptian," his TimcBus.^ says Sir J. Gardner the name written from was Wilkinson, right to "A" left (0HN,) and by adding an at each end, make would it Athena, reading from! the Greeks
1556,
"

left to

known It is weU that the Greeks right.'"" adopted the gods of other nations, and their those of worship, especially of Egypt. manner
^

"

Timcms, 21, e.

Wilkinson's

AncieM

Egyptians,i. 47.

EGYPTIAN

SONG

IN

GREECE.

59

The
case

Greek

vase

has

this alreadyexemplified

in the

of Athena.*

of

Again,Danaus, who is III.,^ Amunoph

to

seems

to

have

been

brother

also said to

have

left he

Egypt
became

and

have

founded

Argos,
1425.

of which

probablethat the colonies were formed class of chiefly by the military of Egypt, and, therefore,brought no large amount The learning with them. higher order of priests well provided for, to have too been to have seem been easily tempted to migrate. There other links to cormect are Egypt with king,and
died, B.C.,
It is

Dorians," Colchians, and

others, and
will
not

much

in

the

mythology, to

to permit me refer ; but one of the strongest proofsto a musical of a Greek and of an Egyptian reader is the identity visited Egypt, he was Herodotus When struck song. than he had by hearing what by nothing more but thought to be a famous song of Greek origin, which he then learnt was most ancient Egyptian a a moiu'ningdirge for the premature death of one of Menes, the first king of Upper and the only son Lower Egypt, and that it had been sung universally The immemorial. Greek in Egypt firom time song

which

space

"

was

lament song

for
was
a

Linus lament

and

the

name

of

the

Egyptian

for Maneros.*

Identity

of song argues could be no such

"

There of system of music. identity of the between a boat-song identity

And, indeed,
all the Gods
. . .

Herodotus
names

"

says: of almost

Egyptians, (cap.50.)
Grecians received the the deities from
*

Also

that

the

the
came

above-named

from

For,
and

vrith the the

Themis,

Egypt exception of Neptune Dioscuri, Juno, Vesta, the Graces, and the Nernames

into Greece.

Wilkinson's

Pelasgians." Ancient Sgyptians, Erato, 53

ii. 79.
to 60.

i. 57.
"

See

Herodotus

eids,
have

the

of existed

aU

the among

others the

''

Herodotus,

always

60

THE

HISTORY

OF

MUSIC.

Nile

and

any

European
that Arab's
are

air

now.

The

tonal

so systems differ,

write music.

down

the

European can sing or in our boat-song correctly

no

There

numerous

allusions

to
a

ancient few has

to

Egyptian music Babylonian, but

been of found

in
not

Greek
one

writers, and
among
comment

them

yet

in which

any

systems between
be traced.
was

Egypt,
As Herodotus in

difference upon Babylon, and Greece, adds that song Cyprus, and may extended
we

is to of

the

Linus

sung

Phoenicia, in
different musical

elsewhere, though with

assume

words, system

that the also.

of identity

there

Diodorus

Siculus

poets of Greece

says visited that

that

the

musicians

and

improvement,
records
names
so

and

Egypt for the purpose of the Egyptian priestshad

The first two and those of

of their visits in their books. recorded Homer

were

Orpheus
at

Musaeus, and
to
names

followed.

So,

least, the

Egyptiansclaimed
the Greeks in
at

to have
a

very

taught music and poetry early period. The later

as

Diodorus's

list,such

those

of

Solon,

Plato, and others,are

admittedlyauthentic. And to the antiquityof the Egyptian as lastly, Octave system. Not only have we drawingsof the long-necked Egyptian lute in the eighteenthdynasty find it depictedeven in the fourth of Egypt, but we dynasty, in the reign of Chephren, or Suphis II., misnamed who second king, sometimes Sensuphis," erected the second great pyramid.'' Egyptologists remote differ in I dates, so estimating these
"

Bunsen Greek

has

the explained to

error

of the is his p. 64.

as S'eMuphis, scribe, iii. Append, Aegyptens Stelle,

sius's Blatt

See, for instance,Richard LepDenkmahr, Byn. 4. Abt. 2.

2.

GREAT

ANTIQUITY

OF

THE

LUTE.

61

leave from time

the the

reader
note.*

to

select the

authorityhe prefers
say

It is sufficient to the -of

that, at the
musical

of the

buildingof
is
one

Pyramids, this
a

instrument, which
was

very

advanced

kind,

for "good," and employed as the hieroglyphic that the Egyptians were then in such a stage of civilization as of the have other hieroglyphics to book, the Egyptian writing materials, and papyrus inkstand, together with sculptureson the largest scale. Th^ paintingsof this long-neckedEgyptian lute are sometimes of the accompanied by the name f r," instrument, but giving only the consonants n the vowels to be supplied. Some and leaving preters interhave chosen Nofre," one of the three Coptic dialectal names. Bunsen has a pluraltermination, others "Nefru"; "Nefr"; but, according to Dr. is now the more Birch, "Nefer" name generally "1" are "r" and changeable interadopted. The consonants in Coptic, as in Hebrew, and hence, the Hebrew Nehel, and the Greek Nahla. perhaps,
"

"

reign of the first king dynasty of Egypt at 3124, B.C., and the reign of this second king as beginning in
"

Lepsius

dates

the

between first

them. of to

The the be

of

the

4th

king (supposed
not

18th the

reign of the dynasty, "king who

dated

knew

Joseph,")

is

by
era,
B.C.

3095 J.
to

(of the
G.

Julian

Era,)

B.C.

Sir

Wilkinson the

says,

Manetho,
about

"according Pyramids were

B.C." The himself that the

Lepsius, 1591, of the Julian by Wilkinson, 1575, B.C., and According

Abraham ajid
to went to to

Archbishop Usher,,
Egypt
the

erected

2120,

1920, B.C.,
Key. Dr.

chronology which he (that of Josephus) is

of the builder 2123 of the
B.C.,

adopts

according

reign
second of the

Hales's

first the and

B.C.

pyramid

began
third

of

pyramid, 2083, B.C., pyramid, 2043,

ing to Bunsen,
Wilkinson

Accordhas
not

quoted
the true
at

chronology, in 2077, B.C. the Manetho, Egyptian historian, described the 113 generations of the 30 dynasties of Egypt, i.e.,from first king of Upper and Menes, to Lower the Egypt, conquest by
Alexander in
a

the
one.

pseudo-Manetho,and
When 18th

the

Great

"

as

comprised
That is in

Egyptologists arrive

period

of 3555

years.

the
no

dynasty of Egypt there are longer such grand discrepancies

quoted from him his chronology.

by SynceUus,
See Bunsen

i. 98.

62

THE

HISTORY

OF

MUSIC.

The
two
or

The is the hieroglyphic. following four pegs across the head indicate the instrument had then, either two

that
or

it is strings. As a hieroglyphic, found with one cross-bar. more frequently The second example here given shows the the stringswere to which attached, and taU-piece the bridge over The which they jp^^ssed. bridge is representedflat,but must have stood upon its two points. These are copiedfrom Lepsius's great work, and are of the fourth dynasty of Egypt.* When visited Egypt in the the French savants time of Napoleon I.,the clue to. hieroglyphics had been .discovered, not and, accordingto them, a lyre of three strings,"to represent the constellation Lyra," was found in a httle Egyptian temple,above the great temple of Denderah." It is of the same kind," says the writer, as Diddorus Siculus speaks each of in his History, Hb. i., of which string of the year." respondedto one of the seasons show the The Babylonian and Assyrian sculptures Nefer, as well as the Egyptian, but more sparingly ; Manners also the double and pipe. In Wilkinson's Customs 123),and in of the Ancient Egyptians (ii., of them his Popular Account 7,)the hieroglyphic (i.,
"
"

four

6 "

will be

found, with
over

one

bar

across

the
a

neck

of the and the Good

instrument,

the

doorway
Good
to the

of

house,
or

"The interpretation, House." Any visitor Museum and few will find

Abode,"

"The

numerous

of the British antiquities examples around him, attention arrested

will escape

having their
from Abt. 29.
""

"

The

first

is liieroglyphic

Description de

I'Egypte, 8vo,

Lepsius'sDenhmakr,

Dyn. 4,
Blatt

vi.,424.

2, Blatt 40, and the second

EGYPTIAN

LADIES

PLAYING

TO

DANCERS.

63

64

THE

HISTOBY

OF

MUSIC.

magnificentsarcophagus of the daughter of Psammetichus the II.,and of Queen Nitocris,among which the mil be inscriptions hieroglyphic upon frequently seen. The preceding paintingof four ladies seated, and two female dancers, is also from Thebes, and of the lutes will be eighteenth dynasty. Three hieroglyphic found over the head of the third lady,who is singing and fourth The marking time with her hands. damsel, who is nearest to the dancers, is playing the for them tune two of the flageolet kind, pipes, upon and those pipeshave ivoiymouth-pieces. The painting is upon plaster that has been safely removed from
the wall But
a

by

the

of

tomb, and is now

more

in the British
scene

Museum. of the

stUl

curious the

is that

singers of an Egyptian the exceedinglyearlyfourth dynasty. The the lute, the book, and writing papyrus materials the only marvels not of that country, are at the period of the so wonderfully civOized, even earhest cotemporary monuments in the world. An of the same kind the following, as engraving, was the Pyramids of Memphis, and wiU from taken be found in the Descriptionde I'Egypte, pubhshed by the French Government, (vol. v., plate 17.) The Memphis band consists of but one harp, one sidewith two pipes, blown flute, blown or together flutes, conductors two at the end, and The beatingtime. followingis of Upper Egypt, from the Pyramids of Gizeh-.* It is copiedfrom Lepsius'ssplendidwork, it is included other remarkable where among mens speciof the fourth dynasty.
"

private band gentleman in

and

Lepsius's Ifenhrmhr,
36. From the

Abt.

2,
of

Gizeh, Grab

9.3.

Blatt

Pyramida

THE

EAJILIEST

EXAMPLE

OF

HARMONY.

65

I
TO

I
i

Bf

J^

66

THE

HISTORY

OF

MXTSIC.

We

have

here the

instrumental' and
named

musical establishment, private vocal, of an Egyptian gentleman,

was

Tebhen, who
hand, which

master

of the tomb. the

In the

large plateof Lepsiushe

in his The is the in but lower upper two rows of the deceased ; admits his

is seated,with

flagelltim
dominion.
the wealth

and signof lordship the picture exhibit the

two octavo

only
state

the

size of this page which comprise rows,

domestic

musicians

and

singers.
and his

The

glyphics hieroFor

his distinctions the

name.

I am indebted inscription Dr. to Birch, for no letterpresshas yet been The Denkmaler. publishedwith Lepsius's painting exhibits two harpers with a conductor; one flute and two pipe playerswith another cmductor ; four male singers, with the right arm extended towards their patron, as if invoking him ; and, behind them, three female singers, who also mark time with their hands. hollow a child,who Lastly, taps upon some bronze which instrument could that has
an

the

of interpretation

animal's

head, and

time. only be useful for beating This re-duplication of time-keeping, togetherwith the certain harmony which is being produced from the pipes,prove the advanced and the rhjrthmical character of this very earlyEgyptian music. It is
not

Homeric

with recitation,

hcense

to

ramble, but

There must have been a great metrical tune. strictly off in the music when it first descended from falling the Egyptians to the Greeks, just as a similar decline Greek music, in its advanced took placewhen stage, first descended
to the Western

Church.

The
band

greayt point to
is the

be

established

by

Tebhen's

harmony.

of instrumental exceedingly early practice The flute and pipescannot be playing in

EGYPTIAN

CONCERTS.

67

unison, on
the

account

of their varied

lengths.Moreover

is being sounded in its lowest notes ; but longest form o^ harmony they may be playing the simplest in Octaves, just as the men if singing and women, the same Octaves. We tune will make together, indeed conjecture that more advanced harmony may have been must produced from the three pipes, but we have no sufficient proof Sir J. Gardner Wilkinson of
enumerates

thirteen that he has

different noted

combinations

instruments

Egyptian bands, and more. {Pop. Ace, i. 86.) Besides these, are singers accompaniedby harp, and combinations lute,by double pipesor flutes, lyre, of voice,lyreand lute,as well as of solo and chorus without of the instrumental any accompaniment. Some
combinations kinds The and of instruments
are

the paintings of among he adds that there are many

of four

or

five

different

playingtogether.
was

which Egyptian flute,

blown

at

the

side,

called the Seba or very close to the end, was Sehi. and the Plagiaulosof the It is the Photinx

Greeks, and

the

Tibia

of obliqua

the Romans.

The

The Egyptian pipe blown at the end is the Mam. of the last would Greek and Latin names precise depend upon whether that pipe was blown through without If it had no reed mouth-piece, or one. a reed mouth-piece, being a singlepipe,it would be But I shaU. describe pipesand flutes the Monaulos. hereafter. more particularly The harpsvaried much of stiings. to the number as

part of one, in the upper made for seventeen strings ; one

The for with

British in the

Museiun, is
Paris collection
one

twenty-one

and
"

Wilkinson

mentions

twenty-five pegs

^therefore for

twenty-five
F

68

THE

HISTORY

OF

MUSIC.

strings.We read of otiier harps wMcli had thirtyfirst,called by the five, and forty strings ; the Greeks the Simihion, and the second, the Epigoneion. The Egyptian harps that had no poles or pillars could only have to support the tension of the strings, tuned for low been notes. Any such tension as that of modern harps would have pulled the fi^ames of harp that would kind to pieces. They had one have supportedmuch tension,and to that the Greeks of Trigon. gave the name
may instrument that ancient We
trace

the

prototype of every
No kind
to

Greek

in

Egypt.

of

country

seems

have

upon till -been made

advance

the three

Alexandrian and Claudius the

mathematicians, Eratosthenes,

Didymus,

upon

scene,

Ptolemy, appeared and improved the

them,
of
was

sively succes-

scale. about

Eratosthenes, the
276
B.C.

first of

bom

He

was

Director

the

Alexandrian

Library.
to Egyptian historyseems begin with Menes, the founder of the Empire of Upper and Lower Egypt. We have a cotemporary of the second dynasty in the Ashmolean monument Museum at Oxford. It is from the tomb of King ture, Sent, and we there find a fine specimen of architecterra

The

firma

of

papyrus hieroglyphics. "The

and

the

roU,

or

book, is among
are

the of The of

kings royal

of
names

the

Old

Pyramids Empire," says

in them
even

the

tombs
"

Bunsen."
are

discovered The

all those of the

Eratosthenes.

number with

great
in

Pyramids
"

accords

that

of

the

kings

Eratosthenes."

According to

Diodoms
in

and

Plutarch,the shrine
to vol. ii.

fs Place

History, introduction

THE

EGYPTIAN

DYNASTIES.

69

Memphis contained an inscription commemorating the imprecation of the father of the nnfortnnate Bocchoris against the aforesaid Menes, for having introduced venience luxurious habits into Egypt, the inconin his Arabian of which he had felt severely know campaign."" We nothing of the infancy of find it only, from first point of our Egypt. We with writing, view, as a country of high civilization,
at

with with and works

"

musical wonderful the

instrmnents

of

an

advanced The Lake

kind, and
of Mceris among the

architecture.

Labyrinth are to be of the Old Empire, as

Hst of
a

numbered weU
as

the

Pyramids.
"

By

the

Eratosthenes," says

Bunsen,

we

obtain

chronology of the Old Empire third of 1076 years." "The king of the 13th his throne by the dynasty lost Memphis and irruptionof the Shepherds. The holy city of the and restored Empire [Memphis] was not re-conquered 18th of its later kings tin the dynasty. One the occupationof freed the frontiers from entirely the Hyksos."" (i. 80.) itself into three Egyptian historysubdivides comprehensive periods ^the Old Empire of Menes, Empire, during which (12 dynasties)^the Middle to the Hyksos, who reigned in Egypt was tributary Memphis (13th to 18th dynasty) and the New Empire, from the 18th dynasty, which expelledthe threefold division is This Hyksos, downwards. estabhshed even by those of by the monuments, the 18th dynasty alone; also by the authorityof The Hyksos, according Manetho." to Manetho, were
connected
"
" " "

united
"Bunsen,
i.

North
ii. 52,

Arabian

and

South
de Is. et
x.

Palestinian
Os., cap. 8,
and

races.

quoting "Diodor.,
"Confer Plut.

Athenaus,

45,"

and

adding,

4."

70

THE

HISTORY

OP

MUSIC.

"

The

Egyptian

laws while the

and

religion everything

forbade around on."

change
them Plato in the

and
was

improvement, changing
to
as

centuries adherence The

roUed
to

refers

their words the

zealous
"

antiquity
been known but

following
down ago forms into what
to

"

plan
of ^that

we

have
was

laying long

for the and the

education

youth

Egyptians
fine music of and

"

nothing
be

beautiful
to enter

should young what in

or

permitted Having
music
;

assemblies

people.
that

settled

those exhibited for

or

forms,
them

should
nor,
was

be,
it
to

they

their other forms

nor

temples
imitative different
was

allowable

painters,
invent any

artists,
from

innovate,
which
were

those in

estabhshed,

it

lawful,
of

either

painting,

statuary,
"

or

any make you

branches any wUl years than

music,"

(ev

fxova-iK^ ^vfiTrdar)],)to examination,

statues

alteration.
find the
are

Upon
and
one

therefore,
ten

pictures
in
no

made

thousand
or worse

ago what

particular
make." The of
as

better-

they

now

(Laws,

Hb.

ii.

64.)
of
to

unchangeableness
greatest
the
ten

hieroglyphics
modern

has
;

been

the
to must to

assistance thousand them

cum

inquirers
of

but,

years, grano

spoken
salis, unless

by
we

Plato-,
should

we

take

wish

chronologize

the

Egyptian

gods.

71

CHAPTER
The

IV.
of the Greeks. Stories about ideas coveries dis-

improved
"

or

Octave

system

"

Pythagoras.
of Greek of
"

The

Monochord

and the Pandura."

"

Egyptian supposed
the
"

musical

knowledge.
"

Three

of

the

Pythagoras.
seven

Earliest the
"

writings

of

reans. PythagoHow the for usual and

a

The held
"

and

eight-stringedlyres.
Greek

lyre

was

and

played. Eight strings sufficient

between
a

purposes. two-octave
"

The

difference the

one-octave it has

scale,and

misunderstandings
and the

occasioned.
to

The

Greek
the

key note,

importance
name

attached

it.'^

How
"

literal translation

of its

has

led to

sion.' misapprehen-

Difficulties in classical Greek

writers

explained.

And has

now,

as

to

the

ancient

Octave

been

followed implicitly

by
so

the

system, whicli moderns, even

of the scale.

in the

present mathematical
music did not attain of after the death the

divisions

Greek centuries scale second

high a level for many Pythagoras. The Greek

was

adopted by

modems

devised and
no

in the further

century of the Christian

has been

era,

improvement
Octave had

effected since that

date.

It is certain, that

system

from

existed

of certain

for ages Greeks, who them

Pythagoras did but import the it Egypt or Babylon, where before his time, yet the vanity
were

of

different

stamp

to

Herodotus, led

to

attribute

.the discoveryto

To because he was their countryman. Pythagoras, and conJGbrmation to this first fable, give circumstance he others in which to the way as they concocted had been led to the discovery. These stories are such clumsy inventions, that they carry their own refutation.

72 The first

THE

HISTORY

OF

MUSIC.

is,that

lie

was

passing a

blacksmith's
of the the
to

shop, and, hearing the musical consonances Fourth, Fifth, and Octave, sounded by
hammers
to
on

various and have

the

he anvils,

was

induced

enter
to

weigh
the

the
cause

hammers. of the
were

He
consonances

is then

said

found

which weights,

twel-^e nitie, and sounded the Octave with those nine

respective of six,eight, in the proportions pounds. That of six pounds

in their
to

twelve

that

of
a

compared eight,

twelve,gave
and

the interval of

Fifth

and

at the were together^ how often this interval of a Fourth. It is surprising it a childish story has been repeated. Demolish thousand times and yet it appears again. In the middle was thought too good ages- such a discovery declared to be for a heathen, and so Pythagoras was

twelve, sounded

misUomer

for his
to

Jubal, and
dared
to

the

real

blacksmith

to

har^e been who

seems
so

brother. Tubal
have

Cain.

The

first person
a

express dissent from

generally adopted by the later Greeks was of Claudius Ptolemy. He avoided the mention hinted to them Pythagoras by name, but cautiously of a blow increases loudness, yet does that the power it alter the pitch of any sound, so as to make not i. cap. 3.) Pythagoras should or lower. (Lib. higher instead of to the have looked to the anvils^for pitch,
story
hammetB
to
; as
we

should

look

to

the

beU

instead

of

its The

clapper.
next

story is that, pursuing his discovery,

of equalsize and length, Pythagorastook four strings them at one and fixing end, he passed them over such used in musical instruments, (Mabridgesas were and then hung weights to the other ends. gftdes,) He employed weights in the same as the proportions

FABULOUS

EXPEEIMENTS

OF

PYTHAGORAS.

73

previousexperiment,viz., of six, nine,and twelve pounds ; and it is said that eight, he obtained the same r,esults by those weights as with the hammers. Claudius Ptolemy, actingwith his usual care not to give offence, only threw doubts from this story, dissuading his countrymen upon placingany reliance upon such an experiment. He did not deny its truth, but advised emphatically that they should For trust only to measurement.
in the that purpose he recommended the kanon harmonihos, of a rule and movable to be placed consisting bridges, under the

hammers

strings. (Lib.i. cap. 8.)

on

So this fable went "the time of that Galileo.

uncontradicted, perhaps tiU

the the
to

great enquirer after truth,

He
seems

astronomer

have

been

point out that, to produce such results as obtained said to have by tension Pythagoras was have the weights should equal-sized strings, upon
first to been he of those squares employed ; i.e.,instead of six the have times The used six times
so

is

said

to

have

six
on.

and

pounds, he should instead of eight, eight

and eight, above

(pp. 10, and by a

If the left
or

by Nicomachus, 11,)by Gaudentius, (p. 13,) by Boethius,

stories
are

detailed

host of later writers.

third,and

alone,it would

Babylon, as the derived. He is said, and of Pythagoras was with truth, to have next taken the measurement probably of the strings a stringedinstrument with upon Some said a movable bridgeunder them. a rule and it was instrument, but Monochord, or one-stringed a divided a stringinto two if so, he could only have

account, had been only possible have pointedtoo clearly to Egypt, the knowledge from which source

74

THE

HISTORY

OF

MUSIC.

parts,
many

as

in

the

called the because been

perhaps
to

Magadis. Nicomaclius says that a Phandura supposed Monochord they imagined the measurements
" "

have

that If

such an instrument upon entitled it a Kanon.* Pythagoreans taken

^but

Pythagoras experimented upon consonances, should have had more than one to work string
It may be noted, that the

he upon. three-

Greeks

had
or

instrument stringed which and Julius Pollux

"

called the
enumeraites

Pandoura,
after the

Pandura,
invented

Monochord,

Assyria, and stUl the instrument, perhaps sUghtlyvarying in to Egypt under another form, may have been comm.on title. Maitianus CapeUa attributes the Pandoura- to the latter country. His Nymph, while recounting the good she has done to mortals, says, I have allowed the Egyptians to try their hands at the Pandura."" find such an Among the Assyrian sculptureswe instrument, and it differs but littlefrom" the Egyptian
name

says, it.'""The

so

called may

by
have

the

who Assyrians, derived from

been

"

Nefer, which
The Nabla

may have been the Nabla of the Greeks. and Pandoura not strictly identical. are

of Cyzicus Athenaeus, after quoting Protagorides "On the Festivals of

Daphne,"
that Red

as

sounding Pandoura,"'* states

wrote
a

bright who Pythagoras,

to

"the

book

about

the

Sea, says
upon

that

the

(who Troglodytai,
Pandoura
on

bordered

out
sea

of the
"

it,) make that laurel, daphne, i.e.,

the

the
grows

the

shore.

Thus

instrument

is

brought
Philo-

^aiveaBai,d ifOVoxopSa ol voSXoi, KoKovaiv IBrl ipavSovpovg S" ol HvOayopiKol." (KicoKavovag

" "

Ta

Ti

tare

permisi." {De Nuptiis lib. ix.) logics,

"

"

"

'Tvi (pavov

vavSovpov." (Lib.
"

maohus, p. 8.) * Onomasticon, lib.

"

iv. 176 iv. cap. 9.

"

B.)
183, 184.

Lib. iv. Sect. 82, pp.

"Panduram

.(Egyptios attemp-

THE

ADVICE

OF

PYTHAGORAS.

75 the

within southern added

tlie

knowledge of Pythagoras,and part of Egypt, or of Ethiopia. It

before the time of

to

that, in and

be may Claudius

Ptolemy, three stringshad been foimd insufficient for trying and measuring consonances, and that the
Greeks then used
an

instrument

to

make

called the Helikon.^ sections, the effect of

Movable
as

many bridges had

fixingthe sounds,
frets.

the

hand

pressing

strings upon
Aristides
'

Quintilianusstates that,when

Pythagoras

his death-bed, he exhorted his friends to upon the Monochord, "by which," use says he, "Pythagoras shewed that the intervals in music rather are
was

to

judged inteUectuaUy, through nvimbers, than sensibly, through the ear." (p.116.) Plutarch also attributes this doctrine to Pythagoras,[De Musica, the distinguishing principle cap. 37,)and it became of the Pythagorean musicians Sense is but an uncertain guide ; numbers fail." cannot We know the opinionof the Egyptians as to the Greek smaU of the amoimt knowledge of music before the visit of Pythagoras, from what of one the Egyptian priestssaid to Solon, in order to to apology for it. Plato, too, seems stiggest an have acceptedthe Egyptian estimate of his coimtrymen's acquirements, by repeating the story. The for the Greeks having no remote priestaccounted because history, they had but recentlybegun to commit their records to writing; and, as their country had been swept by a current from heaven, survivors the like a pestilence, rushing on them had been left destitute of Kterary, attainments, and unacquaintedwith music. "And thus," said he, "you
"

be

"

"

"

Ptolemy,

lib. ii. cap.

2, and

Arist.

Quint., lib. iii. p. 117.

76

THE

HISTORY

OF

MUSIC.

became
of the
or

young
events

again,as
of ancient

first, knowing nothing times, either in our country

at

in your own." 23 B.) The [TimcBUS, had no record of the great Deluge in their

Egyptians
own

land.

Pythagoras is supposed,accordingto
of
570

the

weight
year

authorities,to have
B.C., and
to

been visited
one

bom

about

the

have
was

of

Amasis,

which

commencing from about birth of Pythagoras. to Pythagoras are too

any
are one one

the The

Egypt in the reign of forty-fouryears, date of the supposed

attributed
vast

discoveries and
too

various

for

mind

to

have

but originated, have been

not

beyond

what

might

they learnt by

and carried away from a country of person, ancient civilisation. Among his reputed discoveries
are

the doctrines

of the

Immortalityof

the

Soul, and

the musical bodies. The

harmony
first is

in the revolutions of the referred clearly

to the

heavenly Egyptians

of the Greeks by Herodotus, who adds, that "some have others adopted this opinion,(some earlier, their own; if it were as but, althoughI know later,) their names, I do not mention them." (iL123.) The doctrine of the Harmony of the Spheres is referred to the Chaldeans by Philon Judaeus." It associated with astronomical and was reckonings, with the Octave fore, system of music.'' It must, therehave followed the Octave system. The theory calculations based of distances, and of was upon the rapidityof motion, of the stars and planets, which observations must have been made from by This doctrine was a long line of astronomers.
"

"In his treatise"

On

Abraham,"
"On

vi. cap.

tkemigrationof 32, p. 464j again,

"Ibv xai

'6\ov

oiipavhv apfuni'mv paaiv

"

Avm

Aristot. Sipi9fit)v."

i"e

in cap. 33 ; and

tUrdly, in his treatise seeking Instruction,"cap. 10.

iii.1. Ccelo,

THE

SUPPOSED

HABMONY

OP

THE

SPHERES.

*J1

adopted by Archytas, by Plato, and by all tbe pbilosophers, says Plutarch; "for the universe," say framed and constituted by its author tbey, "was the principles of music." {De Musica, cap. 44.) on
"

The

ancients

accounted

for

those

sounds

not

reaching mortal ears, as, sometimes owing to the magnitude of the concussions of the air,{to fieyedos tSsv y\r6(f)oi)v,) and, at others, as exceedingour powers of hearing, both in acumen the one hand, and in on Plerein gravity on the other.^ they anticipated discoveries of the last and of the present philosophical which prove, by resultant sounds, that some centuries, of air could onlyproduce soiuids too high, concussions that sounds and other experiments prove also may be too low, for our hearing.'' Again,they argued that
there
are
"

many
some,
;

sounds
on

in nature

of which

we

know of the
;

nothing
concussion

account account account

of the

feebleness

others,on

of their

great distance
excess

others, on and, again,

too

of their
"

being

great for

our

"are Archytas, if it be attempted to

Our ears,"said organs to endure. like narrow-necked out of which, phials, poxu-

rapidly, nothingwiU
the Greeks

come."" earhest
in

As
extant
some

to

the

Octave

system of music, the

writings of Philolaos, "the who is reputed to have of Pythagoras," successor been the first to publishthe Pythagorean doctrines. The system of music, part concerningthe Octave jffarmoma, suppHes the old Pythagorean musical or known, are here terms, which, not being generally
"

of it among fragments of the notice

is included

Porphyrii
edit. Wallis.

Gommentarius
,

p.

will the
"

be

hereafter

referred

to under

257,
ii

Science

of Music. Comment, in Har-

Porphyrii
Claud. iii. 257.

The

experiments by
have been

which

mmaca

Ptolamm,,

apud

these

facts

established

WaUia,

78 witli printed, Some of the

THE

HISTORY

OF

MUSIC.

their
terms

as proportions were

musical

intervals.

rejected and A few have alreadybeen explained others retained. fully (pp. 35, 36, 46). Proportions will be more The following is the passage : hereafter. explained
"

afterwards

'Aofiovlas Se fieyeOosevri

The

extent

of the Fourth

Octave
and
a

TO

o^eiav Se Si o^eiav ra? fiel^ov (TuXXa/Say eiroySoui

koi tri/XXa/Sa
"

Si

is

tem sysFifth ; the

but the Fifth is Fourth

greaterthan
Tone
;

by

tion [proporthe

of 9 to
ecTTi

8.]
to string
a

yap

airo

VTrara?

ej

fiecj-av

from for, middle

the lowest

o-yXXa^Sa,
ctTTO

string is
A]
middle
to to

Fourth;

[E ^e
fiecrai
iron vearav

to

but from
a

higheststring

Si" o^eiav,
airo

Fifth; [A
the

E]
third

Se

i/eara?

e?

rpirav

from

highestto
the

string
[E

crvWa^a,
OTTO 06

[from toB]
from
the

top]a Fourth;
to the

TOITUS
"

6?

VTraTUV

01

third

lowest

o^eidv
TO

Fifth; [BtoE]
fieaw

S'

iv

fiecrai
"

Kai

between

the
a

middle Tone.

string and [A
to

To/ra?
a

Se

eiroySoov crvWa^a imTpirov

fifuoKiov o^eiav
"

third is The of Fourth

B]

is in the proportion

4to3; proportion of
2;
in that of 2 to 1.

TO

^6 Si Sia

the Fifth is in the

3 to

TO

Traaav

Se SiirXoov
irevre

"

the Octave Thus

OVTWS

apfiovia

eiroySoa

the Octave and

two

system is of five
Semitones
Tones
;

Koi Svo

Sieaiei,

Tones the Fifth

a

Si

oZeiav Se
Koi

rpi' eiroySoa

is of three
;

and

Siecrti,

Semitone

avWaj3a Se Sii'evoySoaKai
Siecri^-''
Philolaos, edit. Boeckh,
passage is also 66.

the Fourth Semitone.

of two

Tones

and

"

p.

modem

This

quoted

in

more

Greek by Nioomaelius. edit. 17, M^eibom.) (p.

"

SYSTEM

OF

PHILOLAOS.

79

These

intervals

will

b"

found

verified

in

the

scale following The

for the

seven-stringed lyre.
to

fiiBst observation
we

be

made for

upon
a

the

above

is,that

have

diesis here used didse

;

semitone, like
was

the; modem transferred

French

but

diesis

afterwards
a

to th" smaller
a

interval

of either

third

part, or
and
or

quarter, of a tone, in the Chromatic Enharmonic scales; and this Diatonic semitone,
of then called
a

hemitone-,was

limma

or

remnant

(Xeififia) by the Pythagoreans, and Next, the by the Aristoxenians.

be here observed of between

hemitone distinction the

only
is to Octave

Harmonia,

system
Plutarch

music,* and
tells of
us

Diapason, the Octave itself. that Pythagoras limited the

to

doctrines, included the;

Harmonia

the
or

sounds

that That

are was

in the

Diapason,

Octave.''

and one Octave suffices to definition, origirial exemplifyevery other. Philolaos defines Harmonia for it is as "altogethercomposed of opposites, and the connection, the. union of many ingredients, of varying, or in two different-meaning, ways, olicts Sixn)may be parts."" The "two ways" (^'X" assumed and to mean Fifth, and by by Fourth

Fifth

and
as

Fourth, whether
defined author. in the

up

or

down

in

the

Octave,
the
same

preceding quotationfirom
to the

The

Octave

system,
vaa"v

new

Greeks,

was

called

"IbiBayopae S" 6 oc/ivif ryS" airapias t ceplun"la(iKdKilTo)irapd.TdlQiraKmdlQ." "vdKoyixg apfiovia ^Ariat; Quint., p. 17, and at p. 91. Sii miauiv arrjaai i.vofuX,i rm ^"jipi. also Plutarch De See Mvsica, iirlyvaaiv." (PluTtpi rije /louaoc^f Claudius tarchJJe Ptolemy only J/wsiea,cap. 37.) cap. 23. accords tlie name of perfect system, Sk wavnig 1% havruott 'Ap/tovia that of to two (rlAtiov) Octaves, yivcrca Ian yip ap/iovia jroKv/uyBiup
"

"T6

Stci

((ruffn/jaa)

""

..

"

"

"

"

"

because not

compound

intervals
one

could

evunrtg
"

be calculated

within

Octave.

KaiSix^^oveovrtiyuxrvfi^paffi^" edit. Boeckh, p. 61.) (Philolaos,

80

THE

HISTORY

OP

MUSIC.

"

Harmonia,"
from

and

tliis

name

seems

not

to tave

been

derived
or

Harmonia, the wife of the

Phcenician,
of
no

Egyptian,Cadmus, the reputed fouMer for there is and teacher of the alphabet,
connection between her and music
:

Thebes,

apparent
was

it

more

probably taken from the verb harmozein, "to fit fitted ini," and dove-taUed because it together," the of the Greeks, viz., the onlytwo lesser consonances Fourth and the Fifth,within the greaterconsonance, the Octave. (The older system had no such fitting of this verb was also ia.) The perfectparticiple used in music as an ing hermosmenos, meanadjective, or fitting according to the laws of music of musical." Pythagorean musicians took the name Canonici, Harmonici,'^ (althoughothers called them and Aristoxtheir measurements from by a rule,) continued of them with haAring to enus chargessome teach the following seven-stringed system exclusively, had been that Harmonia, long after lyres and calling fifbeeai strings.'' The made to carry eight and even of againsthis predecessors, charge of Aristoxenus be system, must having taught only the Enharmonic received with some for, againstit,we qualification,
" " " " " "

have have has

the above

Diatonic

system from
of Plato of

Philolaos
;

; we

it also in the

TimoBus scales

and

Ptolemy
the three

preservedthe

Archytas in
soon

genera, The

in his lib. i. cap. 13. of the lyrewere seven strings The

manner seen

increased to
was

eight.

in which

that addition
two

made,
side

will be best

side,as in the
"

the by placing : following

"

systems

by

apjiovueoi," says KoKovjievoi contempt. Aristoxenus, with some

"Oi
"

" iKoKovv kirraxopSiov, iiroiovvro." Imaics^iv

Tijv ApjuovtaQ,
"

36, edit. (jr.

(p.40,
""

edit. Meibom.) ahrSiv TTtpi

Meibom.) fiMiov tSiv

"'AX\"i

PYTHAGOREAN,

OK

IMPROVED

SCALES.

81

THE

DISJUNCT,
LYRE.

OR

OCTAVE

SYSTEM.
LYRE,

SEVEN-STRINGED
e.

EIGHT-STRINGED

Nete. Paeanete.

d.

b.

Fabamebe,

or

Tbite.

'a. Mese. G-. Liohanos.

!etJ?

(Key Note.)

sr

F.

Pabhypate.

^^E. Hypate.
The in both -from The
are

intermediate
cases, to

tone,

or

tone

of the

immediately above
instead t|,"
are

is, disjunction, key note, i.e.,

to the
was

"a"

"b

of to

"bb."

notes

which from Greek

a

here

ascribed

strings
the

taken

the

Hypo-Dorian,
Seventh. the It

which

"Common" A it

scale,and is our
minor
to

"Natural" Aristotle
"

scale, or
describes the most

minor, with
as

most

suited

Kithara, being
was
no

and stately

stable."* it

doubt natiural

the

general
of

scale, because
a

is within

the

compass

man's Boeckh

voice. found
a

about difficulty the its

the

name

of the

third

string from system, "b," from

Plulolaos Philblaos

top in
to

the

being called
it
as

seven-stringed Paramese by some,

But while

while

seems

call it Trite. the "Third"

speaks
it from

of

(Trite)in
the tetraof
a

numbering
Fourth
from

the

highest stringof
at the

that it is chord, he also explains the

interval

and of a Fifth from the lowest highest, there is in name, if differing string;therefore,even di^erence in meaning. Aristotle says that the no the omitted string." Trite of the eight-stringed was lyre in the above scale,) It is very clear why this string ("c,"
"

Prob.

xlviii. of Sect.

19.

i"

See

his

Problems 19.

viL, xxxii.,

and

xlvii. of Sect.

82

THE

HISTOKY

01"

MUSIC.

was

omitted

minor and
a

It made to -any other. a preference Third from the key-noteupwards, ("a"to "q,") wards, major Third from the highest string down("e" to "c;")and Thirds, as they tuned them, in The ancients wanted Fourths
consonances.

were

discords. in

and

Fifths

because preference,

they were
there
was, to

By

the

above

arrangement
a

from

the

key
a

note, "a," upwards,

Fourth, ("a"
in

"d;") afld
from
a

Fifth, ("a"
there
to
"

to

"e;") and
a
" "

coming
to
"

down

"e,"
Fifth
"

was

the choice of

Fourth
a

b," or of
the

a."

The
one

Again, b improvement
was

made in this

Fifth

to the lower
over

e."

system
The

very
two

great.
or

tone

preceding interposed
the
minor

between compass Seventh.

the
an

Fourths

tetrachords, made
of
a

Octave, instead
This
tone
was

discordant

called "diazeutic,"
of

(tonos

or diazeuhtihos,) it separated the

the
two

"tone

because disjunction,"

tetrachords.
in

The
"

scale then
one"
at

became instead

like of

ours,

what

is called

key,
th$
been upper

turning out fifth ascendingnote, as

retained, instead
tetrachord of
one

of the scale of A it would "b"

note

minor

if

"

b" flat had So in

natural.

the
the

began

higher

Octave

systems, viz.,on
Some

"b"

natural

instead of "a."

stands ; but lyres of large size were upon those of a portable like the Kithara, were character, the left arm held on the left side of the body, with behind the instrument, for the purpose of reaching which the the furthest from base strings, were player.^ The left hand took the lower tetrachord, the thumb being on Mese, the key-note. The little The forefinger not used. of the left hand was finger
.

"xp^jiivov,Plato kipa jikviv apumpf Ss hSi^tf,wpayfi,aoiSev." TrXiJKrp^

" "'
"

De,

Legibus, vii. 794,

THE

OCTAVE

LYKE.

83

gave the

below next string key-note." The righthand held the plectrum, and touched which were only the treble strings, nearest to the body of the player. The plectrum of horn, ivory, was bone, or of any hard wood.
name

the

of Lichanos to the

The the
was

left

arm

had the

to contribute

to

the

support of

lyre,but
sometimes
or

right was
if

more

disengaged,and
audience. left The

tion, flourished about, to assist in declamaas

held out

the addressing the thumb

principal duty
because When
it
was

fell upon

of the

hand,
the

upon the key-note. the lyrehad eightstrings, the five from

notes

upwards completed the key-note

and then its older name,
"

of the

Fifth,

Dioxia, gave way

to that of

made in was Diapente, through five," No change the word because Dia/pason(the Octave), through all" was to seven. as as appUcableto eightstrings The strings of the lyrewere counted from usually the lowest and longest, No. 1, and the highestand as shortest was the last. This is,at least, the way in and Aristides Quintilianus which. Nicomachus coimt the top, them.'' Trite, for the third string from have been to have been exceptional.It may seems because at the interval of a "Third," both it was from the key-noteand from the higheststring. of declamation, and for a simple For all purposes sufficient instrument. a chant, the Octave lyrewas The reciter could take his key-note at a comfortable a Foiuth so that he could sing a Fifth up, and pitch,
"

down, in his natural

*

voice, without

exertion.

The

"'Air6

roii rbv

txiq

Xup"s SdicTvKov, tI"v TOP ovTiD \ixavbv Sivrixfipa,

tisvoVf

apmrfpcLQ rbv napd eoXou"

avTi^

del

kiriTiOeadat."

Nicomachus, p. 22. See ^o Arist. Quint., p. 10. * See NicomDchus, p. 33, and Arist. Quint., p. 10.
G

84

THE

HISTORY

OP

MUSIC.

This use of purpose. for ages after the the lyre for recitation continued Aristides Quintime of Dionysiusof Halicarnassus. compass
was

ample

for such

tUianus

also

contended much

that

orations,

as

well

as

poetry, lost
It

of their

if unaccompanied is essential

by
to

the effect upon musical instrument.* in mind vocal

an

hearers

bear

the

difference the

between Octave
mean one

this Greek of modern that

one-octave

scale,and

times.

By
the

Octave

scale, we

its Octave

began
on

on

and ends on key-note, above or below; but a Greek single Octave the Fourth and ended below the key-note,

beginson

the

Fifth for

above

it.

That

was

the

better had
a

on

each
or

because the Greek singing, side of his key-note,, and we all below.
two

arrangement few notes either aU extended

was

have Greeks

above,
their the and

But

when

the

scale to
as

Octaves, their arrangement

same a

ours.

They

added

Fourth.

to

the

top,

Fifth

to

the bottom
a

of their one-octave

scale.

It is

what surprising has

this slight tion variadifficulty

to

of habit the

occasioned

the

modems.

AU

of the Greek modes supposed "inscrutability" the misunderstandingof this simplepoint rests upon the difference between a complete Greek scale of Octave of the same. It two Octaves, and a single them insolvable is that difference only which made an
"

riddle both And

to

Sir John and

as

Hawkins,
this

as

well

as

to

others^

before
now,

after
to

his time.
"

portant important key-note imin Greek. in all music, but especially It so it occupied the always called Mese, whether was which the word middle" string, or place of means, the lyrehad but seven When Mese was not. strings,
"
"

Arist. Quint.,lib. 2, pp. 63, 64.

THE

KEY-NOTE

OF

THE

GREEKS.

85

in the
to

middle,
Aristotle

but

when
no

the

number

was

increased

there eight,

could

for,as
no

middle."'

longerbe any middle string ; to it, eight has says, in referring of every the centre Still,it was
"

complete
but have

two-octave

scale.

If the

Greeks

would

of their key-note to one changed the name less misleading, when they made their lyresof eight ten it can or strings, hardly be supposed that their have remained for so system could long a time that the thorough a mystery to the modems ; or of the Greek with our old minor scale should identity have been not Mese, was perceived. The name, retained of strings because, although the number might vary, the system of tuning the lyre to Mese made it ever the centre and turning point of the When Bacchius is change of scale. asks, "What he givesthe answer, sustematike,) system "?"(metabole "When we change from one system" [i.e. scale] "into another, making another string Mese."*"
.

Euclid that
"

says the

same."

Aristides mutation that

same."

QuintUianus
are

says
one

systems without
"**

those

with

key-note (Mese), and

several. be Euclid "middle has the several

mutable As
a

systems
there could

have
not

strings"to
a

evident

that Mese

second It

be lyre,it must meaning. Change of

system
such
a

change change as
not
one

is

of scale. from

would, indeed, include

to

Diatonic

Chromatic, but
can as

as

that would

alter

Mese, these writers

to

only mean
the Greeks
to

change from
would call

key
one

another
to

"

or,

from it,

mode

another, as Dorian

"

Problems 19.

xxv.

aaid

xliv.

of

"

Euclid, Int. Jffar., p. 2.

Arist.

Sect.
*

"

Quint., p. 17.

Bacchius

Senior, pp. 13, 14^ edit.

"

Euclid, Int. Har., p. 18.

Meibom.

80

THE

HISTORY

OF

MUSIC.

Phrygian. Mese may or may not have beeii middle but, in Greek music, it had string, the invariable meaning of key-note..It was equally the pitch-note for reciting; The name, Mese," say" taken into the Octave Aristotle, was system from the seven-stringed lyre."* Euchd says that aU other tuned tO Mese.*" Here notes be are again,it must is the key-note. So also, Bacchius says, "Mese the Fourth is stringfrom which, in the Octave lyre, tuned down, and the Fifth up, and from which the
to
" "

Hypo-Dorian, or

two-octave
"

scale is the

is

tuned and

both sole

down ruler aU

and of the

up.""
scale,"

Mese

leader

says Aristotle.'* in tune except

stringsbe Mese," Says Aristotle again, "does the whole scale appear Oiit of tune ; and yet, if any other stritig be out of tune, that single string only is affected 1" He that, "in aU good poetical answers recitation or song, Mese" be [the key-note] "must used, and that aU good composers do so. constantly When but to they quit it,they return to it quickly, other in a similar way." He to no compares Mese the conjunctions in language, and says that if we such as te and hai, it will no take away longet be Greek speech,but that words of another kind might the language without such inconbe omitted from venience, for the in constant conjimctions are but httle in comwhile others are so requisition, parison them. In the same with he, says way, "Mese" [the key-note] "is the conjunction of of the sweet because sounds, and, especially ones,
.

"Why,

though

the

"

Problems 19.

xxv.

and

xliv.

of

xxxiii.,and
TiQ

Sect.
t"
^

Euclid, Int. Har.,

Bacchiua

p. 19.

Senior, p. 16.

iiiaovfiovov ap^xfi kanv," and "t6 jiiaov ijv apxn in Prob. both of Sect. iwvov," xliv., See Problems xx. 19. alao and
xxxvi.

"rf

GREEK

ANTIPHONES.

87 remains tMs
were

its soimd

exists

in them."* of
our

Mese

at

day

the

key-note
from Church.

minor

scales,which
and
not

inherited
Western
true

the The

Greeks,

from

the
not

scales of the

latter had

key-notes. Having quoted freelyfrom Aristotle's Problems, it is perhaps here the place to refer to a supposed in Problems vii.,vuL, xii., and xiii. of difficulty
Section

19,
the

as

to

the

lowest
to

somid

of the

Octave

being
vice
"

antiphon
as

the low The

versd, and
of the is the

to

the

highest, rather than sound absorbing the

lower
upper,

Melos"

Octave

high one. generator

as

sound which
as

of the is its
to
one

of the

first harmonic; and of the has word the

the upper

vibrates

two

lower, it
Melos

been

The difficulty quicklyover. only created by misunderstanding the to mean melody," as if the lower took is
more
"

tune
a

only
and

the upper, from away succession of sounds that in

but
vary

Melos in

means

pitch,up
it is
an

down, whether
hear the
a

speech

or

in

music, and
as women

to quiteas applicable

If

we

any under voices of men the

to
more

part
and

to

upper.

singing
of
;
a

together in
woman's if
a

room,
seem

voice

rapid vibrations give it superiorpower

women's
a

but

chorus

of men's
same

and

voices

be

heard

singingthe
the open
to brilliancy

subjectat
men's, and

in distance,especially
seem

air,the women's
the vibrations
Sect.

voices will
to

to

for the slower

a

in away of the men's voices continue die

*"

give them,*"

Prob.

XX.

of 36th is to other

19., edit.
in the like
:
"

My

learned

friend, G. A.
whose

Mac-

Bojesen.
same

The

Problem the words

iriaQ

farren, from

conversations

Section in
....

effect,
"rd

though

I have music upon information of the

gained
here he made

so

much availoften

ripiwoBai liscrqv."

ixuv

Trpbgrrjv

able,
noticed

tells

me

that

has

this effect.

88

THE

HISTORY

OF

MUSIC.

after those the

of the

women

have

ceased.

The

eifect of

longer duration of sound in a low note than a by striking high one, may be tested on a pianoforte low and high together. The higher the note, the
"

shorter The Problems Plutarch

will be its duration. above

answer

to

the

in difficulty

Aristotle's

8, and

ia

Further referred

apphes equallyto the similar passages of lib. ix.,Qusest. in his Convivial Questions, his Conjugal Precepts, cap. 11.* examples may be desired, and having
to

Melos

in

Aristotle's

Problems,

and

in

ing Plutarch, as meaning only the undulations of succeedsounds, it becomes expedient to show how wide

applied.Plato is compoimded out of three things, 'saysthat "Melos and out of speech, out of music, and out of rhythm ;'"' Aristides is indeed QuintUianus says that Melos when it combines music, and rhythm, perfect speech, but that the more precise meaning of the word, as in music, is the linkingtogetherof sounds that diflPer and gravity."" Bryennius includes to acuteness as Aristoxenus words.* the same opens his treatise by the different kinds o^ Melos, and, after that describing There is also some of music, he says : Melos, so called, in speech,which is compounded out of the
were senses was
" "
"

the

in which

the word

accents
.

that

accompany

it

for it is natural

to

raise

'"""Qainp
tov XritfQSiai, "c. jisKoQ," ^
' '

av

o^vTtjTi xai ^dor/yoiSvoaviiipiovoi PapvTtin." Quint., p. 28., edit. Meibom. jiapvTepovyivtrai to

"

Ariat.

''

"MeXof

roiwv

ian

riXeiov jiivto

MkXoe

IK

rpuiv iart

Ik (TVyKiijjttvov,

\6yov ri Kal apiioviagical pv9fwv" Plato, Bepublk, iii. 398 d. itK ian TeKimv to "MsXogdi fiiv Kal Xs^eiog ical ftudfiov, TE apjiovidg,
"

ap/ioviaeKai pvQiiovkcu Xlltwj ^roi ijwrjjroj Kal avvtarriKOQ Kai fipaSiiniTOj;, PapvnjTOQ, TaxiiTrjTog
rt
"

"

fiaKp6rriTosKatl3paxvTtiToe''ldiaiTipo
Sc
uq

mviUTtiKOQ

apjioviKg,

ttXok^ ipBoyyoiv apfioviKy, iv "c. dvofioitijv iSiaiTtpov Sk, (lit; d^vnjTt Kai fSapvTTjTL,** 502. jrXoKr) fOoyyoiv dvojioiiiiv Bryennius,p.
-'
"

iv

GREEK

MELODIA

AJSTD

MELOS.

89

and

to lower

the

pitchof

the voice in conversation."*

Septuagint version,is "threnos Jcaimelos hai ouai,"is rendered in onr English version lamentations, and mourning, and woe." been According to the Greek, it might have translated "lamentation, and wailing, and woe," for Eastern implied mourning is intended, and in the word Melos. In the of Euripides Electra and falling sound of the battle cry(1. 756),the rising Melos hoes. The Melos of rhythm; to which Plato is, refers, is,accordingto Aristides Quintilianus, the
" "

Ezekiel

ii. 10,

which, in the

rise and

fall of the voice the

beats, the arsis and

a

the up and down which thesis,"^ stituted togetherconverse.

between

pous,

or

foot,in

When the

appliedto
rise and
to

musical faU those with

instruments, Melos sounds, wlule

voice. To of the

expresses

of their

Melodia

appliesonly
Melos
or

connect

Melodia

melody, so as to exclude recitation by unmusical intervals, required the addition of an or hermosmenon), imless adjective(such as teleion, Our modern explained by the context. melody
comes

modern

within

the

Greek
are

definitions

of Melodia

and

Melos, but

they

far from Greek

being its
words been

because, in neither
that
sense

of the should In
we

synonymes, it indispensable was

our

there

have

music, in

of the word.

if we fact,

requiremore

precise

definitions of Melos,
for

making it,under
on

turn to the instructions may the head of Melopoeia, in the

we

treatises
"

music, and
Sri xai
ix tCiv
'

shall

there
also

find

it

"KkyiTcu yap
ovyKuiiivov

XoyHSkg

24, edit. Marquard;

^
"

quoted by

rb fieXos,
rStv

Bryennius. irpoaifiiiuv
'Bv Se

iv Tols ovofiaatv sinnivtiv xal

"

tjruaiKbv yap
iv

Toig \6yotQ /itXet, rdf

tuv

ri

avikvai
avuvat

T({i

apaimv

vpoi

Bsaug."

"

Arist.

(or Sici\iyta9ai,"
iv

rrjv

tpwv^v
p.

Quint., p. 32, edit. Meibom.

Aristoxenns, T"fSia\iye(76m.")
"

90

THE

HISTORY

OF

MUSIC.

explained
by
up
or

as

the

rise and These

and

fall

of

the

voice,
any

either intervals

gradual
and down. iteration

ascent

descentj
were

or

by
varied
It

to

be

by
was

pauses,

by

of

the the

same

Sound of elocution six

Melopceia
in

that

brought
says ^the
"

out

force there

tragedy."
for

Aristotle

that

are

necessities the

tragedy
and

most

important remainitig
voice,
"

being
five,

language,
or

that,

of the

the

Melopaia,"
charm," should music.

due
^

inflection is been somewhat left

of

is

the that

greatest
aU this of

It have

remarkable

unexplained

by

historians

"

"Asyiii pkfpiitv

Si

Xi^iv

jikv

air^v

rfiv

"

Toiv

Sk

\onrZv
"Trsvre,
ri

fieKovoita
Idem.,
"

T"v

avvQtaiV

ntKoTTodav
tx" iraaav."

Si,

jikyusTov
cap.

Twv

ijSvaft"Tiav."
edit.
'

rfiv

iiva/uv

^avepav
De edit.

15,
25.

Tyrwhitt's

(1794),

"Aristotle's

Poetica,

cap. p. 19.

14,

p.

Tyrwhitt's

(1794),

91

CHAPTER
Greek
of
a

V.
the
The

of speech "adding a string to figure tetrachord

"

lyre." Ion's addition

"

to the

Former
"

system. misconceptions about

"

earlier

Lesser The

System
have

plete. Com-

it.
"

Greater

System
been
"

Complete.
treated No the
as

The
one.
"

two

systems
Modes

quite distinct, but

and
but

Greek

their attributed
"

characters.

musical voice.
"

diiference Fifteen Plato.

"

in them modes.
"

pitch. Principal modes

modulations universe like
ours.

for
"

Greek of the

Plutarch
a

on
"

^HariUony

four Octaves

and round the six

Sixth.
sun. a

Pythagorean system
"

of the
"

planets revolving
doctrine of universe

the earth

The

musical

theory.
the centre

The

making
invented

fixed

plain in

of the

centuries after the true

Egyptian teaching of Pythagoras.

wished
to

Whenever

compliment an eminent poet-musicianupon his having introduced tion, some noveltyin the style of his poetry and recitaof speech, they chose to express it by the figure that "he had added to the lyre." The a new string phrase was happily selected to express that he had enlargedthe powers of instrvimeht and voice ; but it if we to say as were now was as purelyfigurative, had who made useful discovery, of a man some familiarly be in his cap." In that it would a feather idiom later ages this mere to be appropriated (Jame instead of a figurative, by certain Greeks in a literal, and hence the list of long and conflicting sense, claimants for every stringto double and triple even such as that copied by Boethius, into his the lyre,
"

the

Greeks

tjreatise upon
As Octave
to the

music. addition
even

of

one

or

more

to strings

the

system,

if

the

scale

had

not

been

92

THE

HISTORY

OF

MUSIC.

borrowed
to

entire,it would
such
a

have

no reqtiired

genius
had The

make

discovery as, that, if

must

one

note

its

Octave, another
sound is

have
was

the

same.

first

Octave

discovered

the clue

to

the whole

sufficiently proved by the Magadis and the double flute, which older by many are ages than the Greek claimants for the added strings. tetrachord the with the It was same system. One tetrachord having been joined on to another, nothingwas easier than to add a third. In the tirhe thus been had of strings of Terpander the number increased from four to seven, by the addition of an
series, as
entire tetrachord
;

and

in the time
seven

of

Ion, of Chios,
There
was

by
no

another such

tetrachord,from

to ten.

nine, and gradual progress as seven, eight, ten strings. For these additions by tetrachords we have the best evidence, in the authors themselves, and it is by far the more probablemode of increase. extended The Conjunct system never beyond eleven borrowed then the eleventh stringwas notes, and
-

from of the

the

Octave

system, and
an

added
to the

on

at the note.*

base

to make scale,

Octave

key

When
name

thus of the and

completed, the Conjunct,or the

retained claim

scale Lesser

obtained

the

disallowed considered
consonances

the

plete,'' System Comit imtil Claudius Ptolemy of the Lesser System to be it did
not

complete,because
of Octave with

include

the

Fifth, nor
"

of the

double

Octave.

system," says Euclid, is compounded of one intervals," a (p.1,)but, Aristoxenus more or says, as something compounded system is to be understood
A
" "
"

Aristides
"

""
,

TLai Ian

Quintilianus, p. 10. iKaTTOv rb filv (avarrjua

Kara i-sXtiov)

avvap^v."

"

Euclid,

p. 17.

ion's of
a

ten-stringed

lyre.

93

more

than

one

interval," (p.15). In either

of two
tones tones

case,

Fourth, (beingcompounded
a

and
a

and semitone,)
were

three Fifth, (ofhence

and

tone,) semi-

necessity of the addition to signify an complete," (teleion) entire scale. Claudius Ptolemy differs from earlier writers in his definition of a complete system. He admits of nothing less than^ two Octaves, because
systems, and
"

the

any the

smaller
consonances.

compass

cannot

include

the

whole

of

According Sophoclesand
in the 82nd the before The

to

Suidas, Ion, the

cotemporary

of

of

Pericles, produced his first tragedy

was

and Olympiad, (453 B.c.,)

dead

year

421,

B.c.
a

by Ion, are to Music, (p. 19,) quoted in Euclid's Introduction Vhere they foUow immediatelyafter the lines already cited from a hymn by Terpander {antep. 30).
"

following lines, from

hymn

Having

the ten-note
:

scale,
Greeks

Combining
Till
now

threefold

consonance

with

seven-string lyresthe

hymned

thee,

Upraisingstinted song.""

hymn, and from that is also part of a hymn, it would of Terpander,which of conjoined tetrachords appear that the ancient scale perhaps, at that time, was kept in use, and was of religion.It is for purposes chieflyreserved for its vitahty, after difficult to find another reason a so system as that of the Octave had very superior
From the above

fragment

of

been
"

discovered.
"

triv

rd^iv Ixovaa StKapd/tova

Tie

TpwSovt, avfi^iiivovaai ap/toviag

"

Upiv fifv ff'ETrrdrovov ipdWov Sui rkaaapaTravreg "HWtjVfg,airaviav jiovaav aapdufvoi." (Euclid,p. 19, edit.

Meibom.

94

THE

HISTORY

OF

MUSIC.

The

three
the

consonances

to which

Ion

refers

can

only be
not

three tetrachords conjoined. He

the Octave from from
an

could of

intend

system, because, instead

ten

only three
have been

consonances

five

even

Fourths,
The
or

two

Fifths,and
from scale

there would strings, viz., two seven strings, shown Octave, as already

in the extract
new

PhUolaos.
of Ion's
was

called Episymxphe,

Conjunction upon
two

Athens,,

hundred the

opened to them, third conjunct

scale,which
in
was

Conjunction,^ Here, then, in been years after Egypt had Greeks had but just added the
to

tetrachord stiU

their

old

defective for

maintained,
of

at least

hymns,

the,

most

polished city
to this

Greece,

Diodorus

spiritof the Athenians, who, "being an Egyptian colony,had '' derived their institutions from the parent country,"
alludes
conservative' and the Plutarch second refers to the
same as

Siculus

characteristic of
"

It is Egyptian colony of Argos. related," says he, "that the people of Argos prohibited of their by law any extension, or alteration, the first person musical system, imposinga fine upon who should the
venture to

increase

the

number law
"

of
was.

stringsof
aimed could modern
at not

lyre beyond seven."" checking, extravagances in

have been intended
to

That

recitation

^it

limit music

in the

sense.

the ancient as spirit existingamong Egyptians, in regard to their hymns to the gods, such was the reputedantiquity and Plato says, that of the hymns, that they were of some ascribed sanctity Of the like
"

to
"

jand Isis,
"

were

held

to

be ten
""
'

thousand

years

old.'*

imavvaffi."
"

Baoohius

Senior,

Diodorus

Siculus,i. 28.
De

p. 21, edit. Meibom.

"

Plutarch

Mug., cap. 37.

THE

LESSER

SYSTEM

OF

THE

GREEKS.

95

Tte
musical
D
to

additional

tetractord

of Ion it

made

great

.improvement, because
Octave in the

the
a

Dorian

suppliedthe lower scale,(our D minor,

" "

flat iu that b Seventh,)and thus the the scale was properly brought into play. When the A at the base of -eleventh note was added, (viz., Octave of the it equally completed an the scale,) Hypo-Dorian scale, (our A minor,)from base A to minor tenor
"

-with

a," because
"

the

lower

in

the

scale

was

natural, as requiredfor the key of A minor, although

the How
upper b"
was

flat,as

required for

minor.

completely does this foreshadow, and tell the originof the ecclesiastical scales of later days, with the lower B, natural,and the upper b" flat !
"

THE

CONJUNCT,

OR

LESSER

SYSTEM

COMPLETE.

(7V(7T"ifJi,a TeXeiov

Kara

ervvacprjv.^
Nete. Paeanete.
"

d, The

Synemmenon,

Conjunct,

oe

Synbmmbnon
0.

Tetbaohobd.
b
a.

b, Tbite,
Mese. LicHANos. Parhypate.

"

Middle,

or

Meson

G.

Meson.
"

Tetrachord.

F.
E.

Hypate.
"

The

Lowest, by Ion,
Added

oe

Hypaton

D.

LiOHANos.
Parhypate.

Hypaton.
"

Teteachoed,
added The
b.o.

C.
to 420. B A.

450
or

Hypate. (tt).

,,

Tone,

Octave.

Proslambanomenos.

""

Nioomachua
fourth and

the

(p. 21) writes highest tetrachord

added the to the Octave

of
as

added This

an

Octave

tone

at

the

base.
the the

would

contradict
too.

Ion, and

having system
had tone

been

Conjunct
system
a

Pythagoreans comparatively
machus,
where and the

Considering
date he could of
not

before the the

late

Nicotell
was

caused above

interposition of key note,

and had

that

interposed

tone

96

THE

HISTOJRY

OP

MUSIC.

This
one

witli scale, scales

the

added Meibom

tetrachord of Ion, is misunderstood,' and

error,

of two

that

his account
'too

includes

another

which

Dr.

Bumey
different
to

hastily adopted from him.'' The strings had originalsev^i

but
no

seven

names,

additional

names

were

given

the

fore It thereby Ion. the between to became distinguish necessary of each and the old series by adding to the name new it belonged. to which stringthat of the tetrachord So the name, lengthened into Hypate (E), became

stringsof

the

tetrachord

added

of the middle tetrachord Hypate Meson, i.e., ; ajid the newly added Hypate Hypaton, Hypate (B) was of the lowest i.e., When under

tetrachord.
below

A, the Octave
Ion's

the

key note,

was

added became scale

tenor

tetrachord, the
to this lower

above

scale

identical, as
upon

Octave, with the other

base
chosen

the Octave

system, viz.,from
Meae

A
to

to

placed,"whether
and TrUe ah

"between

might

Trite, or, as some say, between and Paranete," (p. 21, 1. yii.,
is not, in this
case,

adopt, they represented but one string,(b flat) in the Conjunct system.
''

have

imo,) he
as

to

Meibom

was

be treated

is Nicomachus

anauthority. authority for a good

tells the fables that

Neither

disadvantage
Sect. It that is xix. clear had of

of

under evidently not having

the read

Aristotle's the with been

seven

Problems,

history.
were
"

He

that

strings
in the

copiedby Boethius.
See Meibom's he notes has upon rdade

names, must

Mese the

where p. 63,
tetrachords;
chord have lowest his
'
"

Euclid, impossible
tetratrmst

middle,
seven

have

but

Bumey,
them

misled to

ori^ual by
have to Mese

Every
a

Greek scale between He

Meibom,
been Mese.
was

supposes

in the two version

Diatonic

from

semitone

the

Hypate Hypaton So, accordingto them,

the
"

strings.
of the which of upon

founded upon

not
an

middle"

of

anything,
Aristotle his deri-

scale is
a

but must

extreme have of

and string; wrong in

Parhypate, C,
Bound
note instead ; of the

movable lowest

been Mese.

the

vation

(See Bumey yet

he

Bumey's
had read

tetrachord, Hypate
next, he included
and the
a

History, i. ^8.)
the
'

Hypaton,
both
a

(B); and
of

Problems,
error

and

adopted
upon p. 209.

Paramese

Trite
names

above.
he

this

from

Meibom's

note

"Whichever

two

Aristides

at Quintilianus,

THE

TWO-OCTAVE

SCALE.

divergenceof the two systems commenced from tenor a." The precedingscale of eleven notes turned off to "b" flat, "c," and "d," and there stopped; while the two or larger scale, of fifteen notes with an complete Octaves, followed on its course Octave in the same key as the lower, viz., upper
"

"

a."

The

from

tenor

"

a" to treble be
seen

"a." it with the

This

win
"

by comparing

: following

THE

DISJUNCT,

OR

GREATER

SYSTEM

COMPLETE.

reKeiov (a-varrrifjia

koto.

8i.aXev^iv.\
Nete. Hyperbol^on.

a.

The Hypebbol"on

Extbbme,

or

g. Paeanete

Tetraohobd

(or Diatonos).

"

f. Trite. (uxe^jSoXat'coi/.)
e.

,,

Nete.
Paeanete

Diezeugmenon.

The

Disjunct,

ok

d.

{or
"

DiEZEUGMENON

TeTRACHOBD
c.

Diatonos).
Trite. b Pabamese (U),

,,

"

The

Tone

of

Disjunction

,,

SiaCevKTiKOS.) (toVoj
a.

Mese.

(Key Note.)
{or
Meson.
"

The

Middle,
Tetrachokd

or

G. LiCHANOS

Meson

Diatonos).
F. Parhypate.

(u,eaov.\
The

E. Hypate.

,,

Lowest,

or

D. LiCHANOS

Hypaton

Teteachord

{or Diatonos).

Hypaton.
"

C. Parhypate. B. Hypate. The

Added

"

Octave
to

Tone
any

A* Proslambanomenos.

(notbelonging

Tetbachord.)
In been the above
to

scale the

second

name

has (Diatonos)
to

added

Paranete

and

the

Lichanos

98

THE

HISTORY

OF

MUSIC.

whicli strings, tetrachords. above

The the

in the positions corresponding occupy in tetrachords The first named are the second

and key-note,
name

in those

below it. the

additional
was

arose

in this way.

When
or

lyre

tuned

for

the
two

Enharmonic,
inner

for

the

of each tetrastrings altered and chord iii pitch, so represented were hehlim^noi, variable,or movable sounds, {kinolknenoi, outer chords, strings of all tetraor, pherdmenoi). The Chromatic

scale,the

and

the Octave
or,

below

Mese,

were

immovable

minantes, {aldnetoi,
was

in the
a

stringof
for both Diatonos for the it
was

The chief alteration istotes.'). the Paranete Lichanos, and its equivalent, tetrachord. They were changed in pitch and
to
;

Chromatic
was

Enharmonic

scales. of

At

first

added

the
and
"

name

Lichanos, w^hen

Diatonic

scale

afterwards,for brevity,

sometimes
it was

called

Diatonos"

only.
or

In other Lichanos the scale

cases

called Lichanos

Enarmonios,
of the

to which Chromatike, according

two

might
The

be. reader have of Dr.

Bumey's
from

account

of Greek
were

music
two

will not

discovered

it that there in
use

distinct systems of Greek

as

music

ously, simultane-

just exhibited. Burney regarded the General two only as one System of the Ancients," what termed and are properlythe third and fourth Greater ascendingtetrachords of the System," the and fifth." With "fourth him, the "b" flat tetrachord L'esser System" was of the the third ; and termed fourth (as he the it) was supposed to commence by a descent from the top of this third
here
" " "

from tetrachord,viz., It is
"

D of

to B

and then i:|:,

to

reascend. said

something
"

the

dodging kind,"
i. cap. 12.

he,

Olamd.

Ptol.,lib.

MODES,
"

OR

SCALES,

FOR

THE

VOICE.

99

ttat is to be found

in the scale of

Guido, divided

i. p. 5, note /) The into Ije^iachords." {jffistory, was by copying Meibom's "way he fell into this error

ready-madediagram in
and, with
number.
And modes
were

his notes

upon

EucHd, (p. 51),

the

"system" in (Compare Bumey, i. p. 22.)

word
as

it, the

singular keys,
or

now,

to

the

Greek

musical

for
to

The three, for the voice, (tropoi). principal Dorian, Phrygian, and Lydian. They had, in relation long time, no settled pitch,even

one

another, for
to
as

the

names

were

first used
to

in

reference
and
tenor

the
to

character

of

poetry

be

recited,

not of its

with song.

the general pitch. They denoted certain style of poetry a a composition, appropriatemetre, and the spiritof a

The

ancients

were

not

agreed
of the

as

to

what

were

the characteristics of any

modes

except the
the

Dorian, of which
true

Plato

Greek
The be

manly.
to

style. Phrygian
the

says, that it was That was severe, mode

was

only

firm, and

enthusiastic from

character bacchic

reputed by some and deriving its orgiastic, Phrygian style of worship.

it as enthusiastic smooth
was

described for instance, Aristotle,

;

and and

but Plato, on

the

contrary,as
mode

fitfor prayer.

Again,the Lydian

esteemed

modest, decorous, and fit for boys ; as by some and erotic,(or fit for love by others, as plaintive of mournful songs) expressive ; by others again as
affections. The
reason

for these

be found

in the

to appropriated

is to descriptions conflicting fact that "particular metres were "" modes and, imless all particular ;
"

Plato's

Laws, ii. 670.

h2

100

THE

HISTORY

OF

MUSIC.

poets could
metre, there
the

first have
one

been

induced

to

of appropriation

could of the be the

styleof song to be no general agreement

mode. written
same

agree in the each particular

as

to
a

character
now

martial
same

song
metre
a

and

hymn may be played

difference and the be in the

in the
"

and wide

in

key^

there

will be

in the

character

of the words

of the

two,

spiritof the music, but no change in both of the notes they may key, in which played. The notes of the key constitute the
mode. has collected modes various among estimates the ancients
was

musical Boeckh

of
*

the

characters

of the

;
one

but,
of

musicallyspeaking,the only could pitch,which, in itself,

because way. music all the Greek Difference arises modes of character

difference confer
no

character,
in the
same

were

tuned in modem

solely from imperfection in scale being left less perfect, in order them, one We to must, therefore, look improve another. of the poetry and to the to the metre exclusively the style of music would of the words, which spirit
follow,for any attributed
marked Dorian and
common

keys of tuning

difference which

has

been

between

one

Greek
be

mode

and

another.

gravity would

fitted
more

time, while the

by spondaicmette strains would lively

would be. better

rapid feet,and some require more time. fitted by triple of the modes The relative pitch

longunsettled. has noted some of the ancient vagaries, Aristoxenus such as placing Dorian and Hypo-Dorian only a them.*" tone apart, and the Mixo-Lydian between
was
"

Metres 8.

of

Pmdar,

lib.

iii.

Aristoxenus,
edit.

lib.

ii.

p.

37 ;

cap.

Meibom's

CHANGES

IN

ORIGINAL

POSITION

OP

SCALES.

101

Again,
show

Atlienseus*

that

afterwards

gives several quotationswhich ^olian, at an earlydate,held the position assigned to Hypo-Dorian just as Mixo"

transferred, and became Lydian was synonymous with Hyper-Dorian. This wiU explain a passage
about
a

combination from Pindar has

of -^oHan

and

Dorian
on :
"

modes,

quoted
127, and

by
been

the
a

Scholiast
crux

Pyth., ii.

which
"

musical

A.io\evs e^aive AwpiovKeXev"ov refers to

"

vfxvujv,"

So

Pindar the

the

Greek

which

"

mode, joined
scale. usual This

on

flat gave the to

Conjunct system, in the option of the Dorian Hypo-Dorian, or natural

Fourth date of above
was

modulation
one

to the

the

Terpander to down to existingspecimens of that of Jon, and even Greek hymns, which will hereafter be presented to the form. reader, and for the first time, in an intelligible
In have and the time of

hymnal

from

the

Plato, however, the

established that order obtained

modes of

seem

to

acquired an
therewith

succession,

secondary meaning of which relative pitch, is their more important feature musical view of the subject. In the in a strictly the secondarymeaning of Mese, as keysame note, way, is far more important than the primary,for it has afforded a far greater insight into Greek music, the middle than the mere fact that it was originally stringof the lyre. Aristides Quintilianus, after saying that Dorian, the principal modes for Phrygian, and Lydian were
the

voice, adds
"If

that

the

others

were

rather

for the

musical

instruments.'' three
cap.

Bacchius modes

Senior
are

puts

question:
"

only
*

sung,

which

Athenaeus,

lib. xiv.

19, p. 624.

Arist.

Quint., p. 25.

102

THE

HISTaHY

OF

MUSIC.

are

usual is (invertingthe they T* The answer "And if order) Lydi^n, Phrygian, and Dorian." 1" Answer: seven "MLxo-Lydian, Indian,Phrygian, and Dorian," and the Hypos, or Dominants, of the
"
"

last thtee.*

He

numbers

the vocal

scales in order

of

Mixo-Lydian "g" being the highest. The modes not were always called tropoi,which with the carried name an implied character, or but sometimes style, only as taxeis or syntagmata or scales,) (positions arrangements of notes iamudcal in precedingquotations, and by Aristotle.* as In the time of Aristoxenus, who a was pupU of
descent, the
there Aristotle,
one were

thirteen
twelve Octave

Diatonic

scales, viz., Octave,

time of the

for each
one

of the the

semitones itself"
115

of the In

and

for

Alypius (said to
had the the
a

the number B.C.), increased been to fifteen, by giving to each of five principal scales its JSypo and its Hyper, one beginning the Fourth below and the other above.** Thus
an

be

about

Fourth

there

were

three

scales
were

beyond the compass of of necessarily duplicates

notes
an

Octave, and
that
were

they
the

others

same

Octave

lower.

of the modes, followingis the enumeration their relative pitch. It to Alypius,with according that the Mixo-Lydian to remark is only necessary scale as (not here iiicluded by name) is the same the Hyper-Dorian, viz., "g," it being a Fourth above The the Dorian.
note

The

letters

refer prefixed below

to

the lowest

of the

the Octave scales, or

their Mese.

"

Bacchius, p. 12, edit. Meibom.

"Td,i'
TO.

"

i"

oKKa Si

-rd mivtSffiara

fxiv
"

"

Euclid, p. ""Oirutsy

19.
av

hmrTOg
icai

Aiipia,
Ariatot.

9pvym

KoKovaiv."

txti, Kal fuaoniTa,

Papirntd oivTr/Ta."
"

Politic; iv. 3, 7.

Arist. Quint., p. 23.

THE

FIFTEEN

MODES,

OR

SCALES.

103

DOMINANTS. Hypo-Lydian. (C #).

PRINCIPALS.

STJB-DOMINANTS.

(C). (B).

Hypo-^olian. Hypo-Phrygian.

(F S).Lydian. (F). ^olian.

(b). Hypeb-Lydian.
Hypek-^olian. (bb).

Hypo-Iastian. (B 1?).

(E). Phbygian. Iastian (or (E I?).

Ionian).

(a).Hypee-Phkygian.
Hypee-Iastian. (ab).

(A).

Hypo-Doblan.
ia Pindar's

(D).
time.)

Doeian.

(G).

Hypee-Dobian
.

(Called^OUAN

(oj. Mko-LyDIAn) the

The

order

begins with

viz.,A scales,
and

the lastly b," are the same Hypers, "a," "b b," and three lowest Hypos, but are the Octave
"

Hypos, as the lowest D to F# ; to C# ; then the Principals, Hypers, G to "b." The highestthree
notes
as

the

above
to

them. their
was

unnecessary Principals. The entire three Octaves and

a

These

were

except ia relation
compass
from
a

of the fixed

scales

pitch. modulated from the Greeks When one key into another, they did so exactlyas we do now, by some sound to both common keys. They did not always key, as was flyto discords to change to a connected in the presentcentury. The greater the fashion even
tone

the
was

connection

between

the

two

scales,the
as

better
us.*

the modulation

esteemed kinds

by them,
of

by

They
"

had
or
"

four

modulation,
such

called
was

mutation,"
as

described transition Enharmonic

change, {Metahole)} One being according to genus,"

the
;
a

kind

as

a or

from

Diatonic second
was

to
a

the

Chi-omatic

change of system, vice from the Conjtmct to the Disjunctscale, or as mode versd ; the third was {katd a change of key or tOnon)as from Dorian to Phrygian ; and the Fourth in the style of singing a change of Melopceia,i.e.,
scale
"

Euclid, p. 21., "Mera/JoX^

Si

edit. Meibom.
.

Kara

yevog,

Kari

marrifia,
"

Kara

tovov,

""

XiyeraiTtTpaxioSt

Kal Kari

Euclid, p. iii\(nroiiav."

20.

104

THE

HISTORY

OF

MUSIC.

or

as chanting,
a

from
one.

grave

to

gay,

or

from

a.

love

song to When
"

martial
a

Greek

system,
"

or

scale,
a

was

called

ametqhole," or, without

the

mutation, such

translation wrong than an

a

ordinaryone, impression,for it ordinaryscale,tuned

as

immutable," conveys
to
one

means

nothing more and usuallya key-note,*

Octave

Diatonic There
tone at

scale. is the
a

to the added passage referring basis of the Greek two-octave

scale,in
of

Plutarch's which Greek this has

Commentary on the Timceus for many created a difficulty

It has led them
to

Plato,
on

writers

music.

suppose
was

that

tone, called

Proslamhanomsnos,
not

originally
Boeckh that
use

at the

top of the scale,and

at its base.

erroneously inferred from below the key note Octave

time of Plato.''

the
was

passage in not

the

in the

Plutarch's

complaintis" that innovators,(neoteroi,)

as an

by adding Proslambanomenos key-note,at the base of

two-octave

Octave

below

the
or

the

"Greater
a

System"
tone

scale, had
which
was

introduced

below

Hypate,
which,
sequence

said

formerlythe lowest sound. By made the he, they have ascending

consonances

of the

to

differ from Fifth

the

order
a

of nature, for
""

they

have-thus

placed a
virarriQ

below

"'S.aX

ra

tA. fiiav jjAvafiera^oXa,

'

im

ri

/3api Ta^avres,
Sle
Si

to

ixovra fiiar]V
rd,

to.

Si

Trkiiove

txovra

jasra^oWd/uEj'n, fdv '6\ov ^Arist. iwolriaav fikaae."

"

ovarrijia
'

Sict iraaSiv
rriv
'

twv

ovii^uniiMV
ra^iv

Quint.,
effect,
*

^rpAf fdav Enolid, p. 18. ripiwajiiva."

"

p. "aTrXS

17,

and

to

the

same

icarii (fivaw oiiK yap Sii

tov

irq^aav
to

to

fikariv

Sia

irkvTi

irporepov

yivsTOt tov
"

M TeaaapiJir,
tovov

(Proslambanomenos) Plareceptus usu tonis tempore nondum Metres fuit." of Pindar, -p. 206.
Is tonus
"

^api)ry virarg Trpoa\jitp9evTOQ6 Si

isTtv
"

TIXutuv

SijKos

eiri

to

6^i

'

"

Ot

Si

Tbv veiiiTcpoi

^avofievov, T"ixf

irpoaXanlidvoiv.''Plutarch, OomDeAnimosProc., 'Sieiakii edit., SuupkpovTa Tfji; 1029, lin. 20, p. 262. irpoaKap,merit.

rOUE.

OCTAVES

AJSTD

SIXTH.

105

Fourth,
lowest Plato does

whereas

the

Fourth
"

ought

to

have

been
"

the that He

inteival added
not
on

of all
to the

It is

he adds, clear,"

acute

part of the scale."

fixed
at

there

say

that

Plato

the the

particular
top of the

called Proslambanomenos, string,

scale,as
The is not in the

some

former

readers

have

understood.
to

Plato's about passage to be found exactlyas

additions Plutarch

the

scale

TimcBtts,but circles,and
have been then

Plato of

there

it expresses speaks of circles

within
must

musical

calculated reduced

which proportions, of his by some disciple

to
a

school, who

them

scale.

It

is

quite a
is

celestial

scale,for it refers only to the music

The substance of those calculations Theon well
as

of the heavens. stated

by Plutarch's Smyrna, (who quotes from

It does Octave from extended
not

cotemporary,
as Adrastus,)

of

by
as

Proclus.
to

bear the

out

Plutarch's

words

the

below the the

excluded
"

Plato

key-note having been computation, but only that greater system of the Diatonic
a

scale to four he Plutarch's

one,
so

Octaves,

Fifth, and
lowest

Tone."* The

fore Thererest

included surmise
as

this
;

note.

is

but, very

possibly,a
were

correct

far

the

heavenly bodies

concerned.

The

relate to the harmony passages in both authors had first been adapted by the of the universe, which Greeks
to

their

shorter

musical

scale, and

Hypate

Saturn, "the slowest in motion of the represented and furthest from the earth." Saturn was planets, then placed at the distance represented by a musical two Fourth, from the Sun ; in other words, there were Saturn and the Jupiterand Mars, between planets,
then
*

Kai "'OSeJlXaTitiVKalykvogSidrovov
rirpaKLQ

Tracwv,

(cat

Sid tt'evtekoI p.

tovov

irpoayi)Bulliald.

EivaiTO avffTTifiarog fiiy"9oQ

8id

ox^v"

"

Theon,

97, edit.

106

THE

HISTORY

OP

MUSIC.

planetary system, was Mese, the key-noteto the whole, Saturn being Hypate, represented by the lowest note as to pitch. The systems of Copernicus, Kepler, and Newton, the Sun, were the planetsrevolviag roimd to as and there can be no doubt prefigured by Pythagoras, that his knowledgeof the revolutions of planetsin their orbits, derived as well as his general system, were
as

Sun, and

the

Snn,

the centre

of the

from

the

observations

that

had

been

made

for many

nomers. preceding ages by Egyptian and Babylonian astroIt was Claudius Ptolemy, some six centuries after Pythagoras,who first propounded the doctrine

that the
a

earth

is the unmoved took such hold

centre

of the

universe,
Pontifs
as

theory which
cause

of Roman of

to

the retention

of the book

ia Copernicus

the

Index V.
was

BxpurgMorius of Rome, revoked by Pius VII.,

the confusion has been
so

untU
so

the decree of Paul in 1821. the

as recently

Whether

of

order
as

among

heavenly bodies by Plutarch, in

note td

great
of the
a

represented
of
a

consequence

addition

the

leave and

to be

by
must

oiu*

must question we determined by Pythagorean philosophers, mers. present learned Mousikoi, the astronomere

musical

scale, is

As
we

to
even

mundane

music, it is
"

not

so, and

defend
the

from

their

part of

supposed innovators" charge made by Plutarch ; for,

the

.longbefore the date of Plato, Anacreon had used the Egyptian Magadis, and still a thousand years before that, the Egyptian lute, or Nefer, had its twoThe double scale. octave flutes,Egyptian and all the and Greek, the tmtiphons, antistrophes, antis of the Greeks, signified musical Octave an
below Octave another
must

note,

have

any compass therebycreated a two-octave

so

that

of

one

scale.

107

CHAPTER
Greek

VI. by
the
Cl",udius
names
"

singing.-^Its highpitchlowered
on
"

Ptolemy." The
given
to

scales
Octaves.
"

the

lyre." Eeason
differed music
"

for in

Greek

Scales

only

pitch.
of

No

names

for notes. of

Greek-written

and

plan
scale.
or

tuning
The

the

lyre." Test
neither of

'

imperfect Thirds.
nor

Greek

Chromatic
"

scale had scale

Fourth
or

Seventh.

"

Enharmonic
"

Olympus,

Common Their

Genus.
names."

The

Chroai,

varied

tunings of

scales."

by

Aristides age

peculiar scales, called "very ancient" Doubts QuintUianus. ^What they really are. as
" "

The

six

to the

of this writer.

It have take the

is clear that
caused the
"

ancient
severe

Greek strain five

"

singing must
to

often If
we

the

voice.

lowest and

of the
severe

manly
"

tenor

d," ia clef, and

the

treble the

space the Octave bass. Octave the

middle scales, principal Dorian, the key-note was immediately below the below it
was

on

third

line of the if
an

Suppose only the

in compass.

small

lyre or Kithara,
extend
a

It would
tenor

Fourth
a

below above for Greek

an

key

note, viz.,to
"a." voice.

"a," and
a

Fifth

it,to treble

That

is

high
Our

chest note ancient have

ordinarytenor
must

have chest
to

thrown the

back

his

head, and
wished addresses Aristotle
to

filled his his from few

"

if he fullest,
"

declaim
to

severe,
so

firm, and
a

Apollo

high

Nomes,

says that called "Nomoi

persons

manly key-note as D. coiild sing the

account

orthioi," on

of their

xxxvii. Sect. 19). That may readily high notes (Prob. be imagined. The however, tentfc to comment, that regard was show paid to pitch; and Plutarch

108

THE

HISTORY

OF

MUSIC.

says of

Nomes,
the

that

they were
hand,
are

not
we

to be to
assume

transposed.*
that all could invited

Yet,
were

on

other from

debarred

chanting to Apollo who

ancients have in
a

of the sing so high ? Some then the god to supper, and must him. Perhaps they only took part The of out pubhc crier is now
not towns

addressed

with

many may his old French

;
"

but

large recollect him in former days, "Oyez! oyez!" (Hear! hear.!)

paean. fashion in

O yes ! 0 yes !" and how he assumed corruptedinto the highestpossible ments. pitchof voice for his announceWith all due respect for antiquity, can we but fancythe singing of an ancient Greek to the gods kind ; and, conto have been something of the same sidering that the most
correct

Nomes
now

were

notes, it would
such Greek

be

difl"cult

to

upon three decide whether of the ancient

singingdiffered widely from

crier, with
to

that Led!

his

Akouete

"Hear,

ye

people." Apollo seems

been troubled

have

been

addressed
was

as

if he had

supposed to be off ; and, perhaps,that was the general a long way antiquity. It recalls Elijah's style of heathen to mockery of the priestsof Baal tellingthem and must sleepeth, cry aloud : peradventure he
deafness,or
"

with

"

be awakened." It
were

be may fixed so of the

assumed much human

that

the

Greek the

key-notes

higher than
voice with

conversational

tone

object of being audible to a more distinctly large assemblage, in the open air. Modem to one especially speakers, about to address a crowd, often adopt the same though, perhaps,in a modified form. They course,
*

the

De

Musica,

cap.

6.

HIGH

PITCH

or

THE

VOICE

FOE

CHANTING.

109

assunie

the be

high pitchin
are

not

mixed

those The

who

up and around or mode

that their voices may lost in the conversations of beneath

may

order

them. well have from sounded the chest

Phrygian
or
"

"enthusiastic"

"bacchic," if sung
"

It would cause key note. a great strain upon ordinarylungs; and, as to the "mournful" and "plaintive" character attributed to the Lydian, it can but have been mainly,if not of employing the altogether, owing to the necessity head voice to squeeze the high notes. The out have resembled the high tenor, who singer must sings the accepted lover's part in modem operas. could avoid resorting Few to the head men voice, if they were to sing with such a key note as the high """ sharp of a tenor voice. Plutarch states that the reason why Plato would not tolerate the Lydian
tenor
e as

voice, with

mode
to

was

on

account

of its acuteness

and

fitness

express affections.* On the

and

excite

plaintive and
not to

mournful

other

hand, it is

be

any largemajority of voices could A in the below audible notes our

"

supposed that have "distinctly

base modem all
;
so

that

the
cannot
a

variation have
was

between been the very

ancient material. unless

and In the is

pitch probability
voice
not

tone

extreme,
in compass, Aristoxenus extensive is much

himian
a

has
to

diminished be

which and voice

same

theory
fixed

upheld.
of the
most

Euclid
at
as

the

limit and
a

two
now.

Octaves There

Fifth,which
this included far ia

the

is also
was

against the theory :

Dorian, and, for
to

that

Hypo-Dorian generalvoices,it
of

answered

better
I"

the

character
cap. 15.

firmness

De

Mmica,

110

THE

SISTORY

OF

MTJSIC.

and

raaiJiaess ascribed

to

the

mode,
the

tHan

its

principal. The Hypo-Porian

would
"a"

have been
for

compass upon from E to e," with

"

Octave

lyre

the intermediate

key-note, which
of men's
lower
to
a

was,

and

still is, quite

within

the reach
tone

ordinaryvoices.
be

Suppose
would be

only
but

half

allowed

for variation

between
an

ancient

and

modern

there pitch,

low base voice that could not exceptionally Moreover, EucHd sing to the highest of the notes. of the Hypo-Porian scale with prefacesthe name the title of Common," as well as of Locrian (for which Locrian songs,) erotic,or Anaoreontie." were
"

"

"

Aristotle
as

and stable of modes and ;*" stately Athenreus says that Hypo-Porian songs were sung by nearlyeverybody." tjieGreek compassi For ordinary purposes, therefore, the same that of to-day, and we as was very much might add that Plato's advice to the singersand be just as apphcable to reciters of his time would would wish to sing ballads well, as if given any who by the highestmodern authority. It is to make
"

says it being the most

was

most

suited

to

the

Kithara,

the the

metre

and

the air subserve

not

to

the

sentiment

of

words, and
words
to
or

to

allow the
to

due

of expression

the

be

subservient
*

the. time- beats of

either metre
In order to

music."

the obvious defect of too high ir'eniedy Greek scales,Claudina key-notes in the principal and carried out, the lowering of Ptolemy proposed,
"

Introd. "'H

Harmoniea,
Sib

p. 16.

"

Athenseus,lib. xiv.
"Tbv itoSa

cap.

19.

/ifyoXoTTpEWj Si ivoSiiipurri
"

Kcu

araai/wv

Kai

KiSapt^SmniTami avayKa^uv
"

Iffri tUv Sect. 19.

^Prob. ap/ioviMV."

xlviii.

Tif rotovTOv Xoyifi Kai rb 'iirtoBai, fiiXog, AXXA koI fii\u." foj \6yov iroSi n lib. iii. p. 400 a. HepvAUc,
"

TKANSPOSITION

OF

SCALES.

Ill

the

seven

scales
of each
a

extent

by BaccHus, to the particularized Fourth ; to bring, as he said, an

of the voice

Octave its

of all into the middle

instead

of

The advantage thus gained will higher extreme. be better brought before the eye of the reader, by first presentingthe scales in musical in their notes originalkeys, and afterwards as transposed by Ptolemy. The eight inner stringsin the following diagram, the notes of which are bounded by a line at each end, for the Octave are lyre.The added notes, both before and after those two for the fifteenare botmdary lines, was or stringed, two-octavej lyre. The instrument tuned which in the usual

waty, first to

the

Dorian

scale,

occupied the centre of the seven, and was always esteemed to be the principal. The sharps here repeated with and flats at the signatures are the notes, but only in order that the eye may catch of those that would the number or re-tuning, require additional to change from one an string, key into
another.
It will be found that
to

modulate

fi-om

principalkey to its Fifth or Fourth, (Hypo or Hyper,) required only the change of one stringfor each of these two secondaryor accompanying keys, that a ten-stringed Kithara, would enable or so lyre, the singer three keys at command, to employ those if he chose so to arrange his lyre. Just so a singer of to-daybegins to singa ballad, the accompaniment say in the key of C, and wants the of chords in the keys of F and G, which are
Fourth of that
are a

and

Fifth, or
The

Subdominant
additional F
same

and
notes

Dominant

key.

only
one,
are

required
other.

B flat for the

notes

and the

sharp

for the

All the other

in the three

keys.

112

THE

HISTORY

OP

MUSIC.

It is thus is all that usual

in all could

keys.
have

The been

addition of two

strings
the
two

requiredfor
notes ascent

changes or modulations. the Stars are placed over

mark
:
"

of the has

following
but
a

scales,to
semitone

where

the

been

Miio-Lydian, or Hyper-Dorian ((iMinor).

OCTAVE
AT THE

LYRE,
ORIGINAL
PITCH.

."^-^-gfe-Ci-

^
Lydian (F J Minor).
"

m
."2.

ISZ

Mese.

S^
11
Dorian

31^

r#z2=

W=^t^^ -t)
"

Phrygian (E Minor). jj^i

_(2_-S'--'=-nMese.
^

22Z IZ2:

y-Hfl^

(D Minor).
"

.l=^^^d?i

i2z:

ii:
Mese.

3Z

"^"-"=^

Hypo-Lydian (C# Minor).

"S-^-Cit *=t

l^tzs

i l5zs#=:"Si:^
Mese.
*

4=2:

Hypo-Phrygian (B Minor).

r,5rsJ^

122:

i
Mese.
.."2.

^5:^*=

Hypo-Dorian (A Minor).

^
In from

H:
-IS-

Z2r

^=s
above' "a"
to

ICZ

all the
tenor

scales the treble

Octave

lyre is
in the E
to tenor

tuned

"a," and
from bass

ing follow"

the

pitch is

lowered

e."

THE

LOWEKED

pitch

01*

SCALES.

113

Each

of the

seven

scales'starts from

diffei'ent part of

its Octave. is in turn

note

and E, in the following, A, in the preceding, second,third,fourth, fifth, sixth,and seventh

of

scale,and, in the lowest, it is key-note.

The

Dorian

Occupies the
all the before. other The

diagrams,and
same

place in key-notesfoUow
same

both in the

order
same

as

semitones, too, occupy

the

placesas
SEVEN

before.
AS TKANSPOSED PTOLEMY.
A

THE

SCALES, BY LOWEE,
or

FOUKTH

CLAUDIUS

Mixo-Lydian,

OCTAVE

LYRE.

Hyper-Dorian (D Minor).

Mese.

m
Lydian (CJ;Minor)

r22i
22=

I iirar^
^
Mese.

^z:

.4-^=lfel#^
IZZ

i=2M
:^hrygiau (B Minor). yE m.
Dorian

1^
Mese.
*

I m^^^
f"=

?*== (A.Minor).
*

MeBe.
32: :c2=

"

Mz

m^^"^
Hypo-Lydian (G| Minor).

Mese.
:c2:

* -"2.

S?i"=fc
ijsr:

^gfflPtSg^

;:"2=i?

fe
a^.

Hypo-Phrygian (FjfMinor).

Mese.

*
^^

j^zi^

^
,

qS^ Hypo-Dorian nypu-i-'uria (E Minor),

Mese.
I,

11
f^ ^

.rj--0
^^
"

.C2_

'

114

THE

HISTORY

OF

MUSIC.

The
called

Greek of the various Octaves, description other, by Euclid, Lydian, Phrygian, or other ancient

Gaudentius, Bacchius,* and

will be found
to

writers,

tallywith the intervals of their the Octave modes, as they begin upon particular position Transthe preceding sets of scales. in both lyre, makes no change in that respect. If the the mode tuned for any one specially, lyre were only Greek Octave that could be included, on the Octave lyre,would be from the Fourth below the in key note, to the Fifth above it, as here shown
the Dorian. It would have
no

Octave

up

from

the

key-note itself;but then, the Hypo-Dorian, being always timed a Fourth below the Dorian, would, by the same its key-note and include on rule, commence
the A Octave above

it,and

no

other.

of fifteen-stringed lyre could only include one the two-octave scales complete. As there are seven scales of different pitches, six more stringswould have been required to include fifteen notes of aU. of the highest notes of the higher scales, So, some and of the lowest notes of the lower, are necessarily omitted in the preceding diagrams, as they were omitted the lyre. on The Octaves, which names given to the Greek thus derived from the changingpositions of the were eightnotes of an Octave in the different modes on the lyrewhen the Dorian was the central one, have been Greek music. to writers on of the greatest puzzles one inferred that each particular kind of Octave belonged Some to,and was identical with,its mode; exclusively

whereas, every
mode
"

kind

of Octave

is

common

to

every

or

key, and
15 ;

the

scales transposed
pp.

prove

that
19.

Euclid, p.

Gaudentius,

19, 20

Bacchius

Senior, pp. 18,

EXPLANATION

OF

GBEEK

OCTAVES.

115"

the intervals of all

begun upon the about same part of their scale. It is a misconception Greek Octaves that underlies the Greek names given called Gregorian. to the old scales of the Church, now They are not scales^but Octaves in the Dorian or as Hypo-Dorian mode, and yet had such names Lydian and Phrygianassigned To be reaUyLydian to them. or Phrygianthey should have been taken in Lydian or Phrygiankeys. If their Octaves had been properly selected from their respective keys,they would have had the same and flats as other music. sharps One continuous proof runs throughoutall ancient

keys are

alike if

treatises
was

on

Greek in

music, that

every way, that

mode

or

scale

tuned
own

its

the same precisely Mese, or key-note. For

no

viz., always to alone,if reason

same

there
must

were

Greek other,identical

scales of the
as

genus
are

have

been

to

intervals, just as
that there ancients. of
a was

modern I

scales.
no

already remarked complete major scale among

have Greek writer
at

the the

Every
whole

insisted

upon

interval the

key-note. The distances of tone or semitone, for every string, are given by ancient writers, and they invariably make There is no major scale. a completeold minor Third, no major Sixth, no major Seventh, among
tone,
them
;

least, immediately below

and

if

one

Diatonic

scale had

differed from

another, the mathematical

could others, The
not

diagrams of
to
one

of Euclid, and proportions have been givenas applicable to all. Alypius,of Claudius Ptolemy, and that of

others, down
that but from Greek
"

Boethius, all alike prove

scale differed from The

pitch.
one

tones," says
in
no

nothing Bryennius, differ

"

another

in

another

other

respect than
i2

in their

116

THE

HISTORY

OF

MUSIC.

as positions

to

acuteness

and

as gravity,

has

already

been Yet

shown."* this has been termed

"

assertion laughable" He
to
a

by Boeckh,
there could

in his Metres be
no

of

Pindar}
attached

fancied Greek of

character

mode, but
tone

by changing the
semitone in the

order

of the intervals
are

and

scale,as they
or

changed
must

in

ecclesiastical

modes,

tones.

It

be

supposed that
said to be
on

Church upon Greek

knowledge of what was Greek music, through over-zealous writers formed his judgmusic, and had entirely ment
them. treatises He
on

he derived

his

cannot

have

derived

it from

the

music."

It will be
as

that observed, in the preceding diagrams,

to
on

the

key-note shifted
was
a

the the

another right, and left,

so

note

of

the

scale

taken

in

the Octave

began

upon The form

different of Octave

part of every
that

scale.
on

began

the

second

called Mixo-Lydian, ascending note of its key was just as here ; that which began on the third was the fourth, Phrygian ; on the fifth, Lydian ; on Dorian ; on the sixth,Hypo-Lydian ; on the seventh, Hypo-Phrygian ; and the one beguming on the hey note, or its Octave, Hypo-Dorian.

The
"" "

difference

between

one

kind

of Octave
showed

and
the he inhad

ydp oiihvi knpif ol tovoi si jir) r"f diKKiiKiov Sitvtivdxaatv,

Kai Kal jSapviipif) ii^uTspij) roirifi Ttjg
'

mediseval
ts

music, and
' '

ferior character been

"

of .the books

re

Kai TQV opydvov i)e Iv role ipiitvrje USeiKrai." (Bryennius, i/iTrfioaBiv p. WaUis'a'edit.) 481, fol.,
"

Jam Gruido reading vero Aretinus, qui reoepta temporibus nostris sonorum nomina, siglasque musioas invenit."

{Idem,
cause

p.

214.)
of
to

vulgo quum modes sententiainvaluisset,Teterum aeuminis et gravinisi ratione non tatis differre." {De Metris Pindari, vii. 217.) cap. p.
"

''"EteTiim

ridicula

I shall hereafter show

as

to differ version

widely from
about music. had

Boeokh's

the

discoveries he here
his

attributes

Gtuido,as
of Greek Boeckh

interpretations
is clear Guide's that works.

It

"

Boeckh

sometimes

touched

upon

not read

NAMES

OF

NOTES

CHANGED

WITH

KEY.

117

another
occur.

was

.as

to where

the

twa
on

semitones the

would

If the

Octave

began

key

note, the

being minor, the semitones would be found in ascending from the second to third, and from the fifth to the sixth strings. If on the second of the key, as the Mixo-Lydian Octave, they would occur in ascending from the first to the second, and from the fourth to the fifth strings. That these are the true
distinctions between Greek Octaves
may

scale

be

verified

of by comparing the above with Euclid's description them of the of the strings (pp.15, 16). The names lyre have been here dispensedwith, as they would only perplexthe reader ; but they may be tested by the curious upon the preceding Greater System (atp. 97). There was old plan of teachingsinging to boys an in English Cathedral schoolsiand one that has been revived Ut, (or Do,) as a novelty of late, in which of the was always the key-note, like the Mese
" "
"

Greeks

This

system

was

identical with
note

that

of the its the With

Greeks, for every

name

other

in

the

scale
to

took
as

from did to

its

positionin respect
had
no

Ut,

Greek every
every

Mese, and
followed

fixed
a

sound.

change of key,
other

Ut became suit.

different note, and chorister thus

The

acquireda little knowledge of harmony at the time he was it was to read music learning supposed ; and to teach harmony to choristers in those necessary days,although it is sometimes dispensedwith at the
present date.

Although
unfixed and

the

Greek

names

for notes

were

thus

variable, they accordingto the positions mode,

or

might
and

in any occupy distinctive marks

key, they had signs for all notes

or

fixed when

118

THE

HISTORY

OF

MUSIC,

written

down

upon

paper.

These letters of

"

music the

{semeioimousikol), were
turned about in various

signs" alphabet,

directions,and

sometimes

The used. Greeks only parts of letters were in at least, as practised writingdown music as early, the fourth century B.C., for Aristoxenus complains that too much had been thought of it,and too much credit had been taken for what was purelymechanical, and not part of the science of music (p.39). The followinggracefulfigureof a girl reading music from a book, is given by Dr. Burney, from an ancient bas-relief ia the Ghigi Palace at Rome.

Reading

Music

Aristides musical three

to

Quintilianus attributes
for the fifteen

the

system

of

notation genera.

modes, and

in the

Diatonic, Chromatic, and

we

Enharmonic,

28), "Whenever Pythagoras(p. we improvements by Pythagoras,

to

read of musical

them The

have

been
of

derived
Tuning the

System

first taking a

pitchfor

fairly suppose fi?om Egypt. the seven scales was by key-noteof the highest.
may

WRITTEN

MUSIC,

AND

TUNING

THE

LYRE.

119

the

Mixo-Lydian, alias Hyper-Dorian, and then tuning by intervals of Fourths down and of Fifths Suppose that key-note to be "d," as in the up. Fourth for Dorian tune below it, a transposedscales, then another Fourth down to Hypo-Dorian ("a"), (E),which is the lowest of the scales. From that, tuning a Fifth up, wiQ give the Phrygian pitch(B), and thence a Fourth down, the Hypo-Phrygian (F jf). From this last another Fifth up givesthe Lydian and lastly, Fourth a down, the Hypo-Lydian (Ctt), (G#). These are the directions of Claudius Ptolemy divested of their Greek technicalities. (Lib. ii. cap. 10.) the time of Aristoxenus, and, perhaps,long From before it,the Greeks tuned their lyresby a Fourth
down, and
the The distance thence of
a a

Fifth

up,

because the two

it measured upper notes. tone, it being

tone

between

Pythagoreantone was our major the difference by which Fifth overlaps Fourth. a a This tuning will afford an easy experiment as to the ancient major Thirds, called Ditones, to show how discords, instead of concords, and they were
the value of the introduction of minor
tones.

nor harp to be at Supposing neither violin,guitar, be asked, on his next hand, let the pianoforte-tuner four notes visit,to tune viz.,from C, a perfectly,

Fourth for the

down first
up
to

to

G, and

thence,
then second

Fifth from D

up

to

D,
to

major
win be

tone, and

down

A, and
from The and

E, for the
will be

C to E interval

Thus, major tone. a Pythagorean Third, or Ditone. for a true major Third, too wide
"

be not asked to If the timer quite discordant. the intervals perfectly, he will them tune temper aU, so as to bring the major Third just bearable to
"

120

THE

HICTOEY

OF

MUSIC.

the

ear,

Thirds

are

longerttm^ d perfectly upott

ar"
are

beoaiise tHe notes pianofortes, keys,and keyed instruments

tuner

fpr many If the jpiperfeet.

wanted

perfectFoiirth above C, the hearer could judge also of the Pythagorean Umma called by the Ari^toxenjlinsa remnant, pr semitone, as between ^ and F- He wonld thus all that oan be written abput know practically of the systems of PythagQirap, pf the Rpmana,
wpiild then make F
?^

Bpethius, and
semitone

of all the

mpst
or

anojjent tone
instrument.

and The

scales

fpr

voice

aji3.d Fourths, Fifths, Qetaves

same
as now.

were

9,t aU. tinaes the

Claudius

Ptolemy
scales, pr

argues

against having
but admits

more

than

seven

modes,
Octave.

of

an

eighth,to complet9
a

an

He
a

says

that, in
"

Fifth,there

are

three tones

and

Kmnutt
"

which
a

they,"(meaning the Aristoxenians,) denominate

seniitpne;" that, in
a"id
"If
a

Fourth, there
notes

are

two

tones aU.

Zmmo-^thus

seven

for scales in

ypu

add

tP

them," says

he, "you

can

but

within multiply divisions that you have aljfeady the seven SQales." (Lib.ii-cap 9.) If the moderns
woxild

but

be

contented "with

seven

they might have instruments, imperfect

in tune,

scales upon them better

of up the

Before tpuching upon the improvement scale by Ptolemy, it is expedient to take

thread of the Qhromatic
of the ancients, The
and

the

Fnharmpnie
well

systems

They

are

of considerable interest
as
.

pf the science, in the history as Crreekg

seem

of the art.

to have had but one originally kind of Qhs.qmatip Scai"e,as one Diatonic and one EiJaapapnio i but they made experiments many

THE

GREEK.

CHROMATIC

SCALE.

121

upon

new

ones,

which

were

modifications of the
any durable
success. one

first two,
For

although without

but instance, Bacchius Senior names each kind, so the varieties had all died away he wrote.

of

when

and scale, the original principalChromatic the most the called,for distinction, was enduring, Euclid placesit (JhrQma4 toiwion, by Aristoxenus, 9(lone in the list of scales in the earlypart of hia treatise, although he afterwards mentions the others, called Chroai, or colours. We should, perhaps, as "diflferent shades" (p.10). The principal term them scale ascended by semitone, semitone, and Chromatic On minor Third. the Octave lyre,taking a for the key note, it stood thus :

The

"

"

"

i
.5
but in. our
=#*i

"

--$wr-

Ogtave

scale it will

begin thus

:
"

IE
The
without either

?^ii

^^
it includes
a

is, that peculiarity

Fourth
or

minor also
"or,
a

scale

Seventh, and
and

major

scale without

its Fourth

Seventh

in other

words,
"

truly the ear guided of the Fourth to the omission ascending fi'om the and of the minor Seventh, is a subjectto key-note, be explained hereafter. Dividing the above scale thus :" into major and minor, it st"iiids
a

major scale of pentatonicscale.

a

five tones, without

How

semitones

KEY

OF

A. MAJOR.

KEY

OP

MINOK.

i Mz

^^

122

THE

HISTORY

OF

MUSIC.

This Chromatic
on

scale

was

of very

simple formation
lower the the

lyre. It was and string, forefinger

tetrachords,half
so
as a

the

only necessary to ia its representative

below interval between
next to

tone

their Diatonic the

to

make

the

higher pitch, highest strings

stringof a tetrachord and Third,instead of a tone.

of

the The

it,a minor
Diatonic

other
as

three the the

remained every tetrachord scale. This be termed may scales. which Greeks It differs widely from includes could every semitone

in of

one

the modem in the

skipping Chromatic,
The

Octave.

tones only have obtained the extra semiStiU, they by changes of key, or mode. might have included all upon the fifteen-stringed lyre. If the Chromatic scale portion of the Greek which is in a major key, be played ia the Lydian it will be identical with the short mode, our FJf,' a keys (usuallyblack) on pianoforte, according but mistaken, test of ancient' Irish to the reputed, and and Scottish
times
""
"

"

mistaken," because

the

Irish

the Scotch

had this them

as

and neighbours, of many among As the to

account

scales as perfect but was peculiarity for the shorter

any
a

of their

preference

scale. the

Enharmonic

Scale,

following
his De

of its

is given by Plutarch,in origin,

"

Musica, cap.
"

11:

"A
"

famous A tune

man

was

Robin Ohroan

Octave All notes

higher
are
on

than the

here black

written.

Hood."

in the if

Greek

keys

of

matio-Lydian mode,

played

pianoforte.

^^^^si^iq

THE

ENHARMONIC,

OR

COMMON

GENUS.

123

"To

Olympus,
of the

as

Aristoxenus genus

informs is

us,

tlie

invention
ascribed
"

by

the

unanimously scientific .world,"(the "Mousikoi,"Y

was

Enharmonic

for,before his time, aU

a

Diatonic

or

Chromatic.
to
"

They conjecturesuch
been made in the

discoveryas following manner

this
:

have While

in the Diatonic preluding up and down genus, and Bb,*" and from A frequentlypassing from down to F [the sixth of the [the key-note] directly key,]and thus passing over G, [the minor Seventh] in the descent, he observed the beauty of the effect; astonished and, both at, and approving it, he constructed a analogous to it, in system strictly the that Dorian
was

mode

"

for

there

was

no

sound

in

it

to the Diatonic scale,neither any peculiar that belonged only to the Chromatic, nor to the Enharmonic the first of the was genua." Such Enharmonic scales that of Olympus." This scale of Olympus was considered not to be Enharmonic either by Aristoxenus, or by EucHd. Common it the Common Genus, or They name to all" scale,because it included only sounds that
"

"

of Paramese in the name Synem(ifthe detetrachord of the not Conjunct imply science) men5n were organihoi, (instrumentalists,) system was changed to Trite ages before Plutarch's or time, and remained pMnasHhA (teachers of singing and declamation,)not motmioi. only in the Disjunct system ; but he (See for a story Didymus apud Porphyry, p. 210, was quoting Aristoxenus WaUis's of edit.) going back nearly to the time * of Plutarch Plutarch's this use the can only mean Terpander.
"

Practical

musicians

does Bignation,

ancient

Paramese B

of

the the

Conjunct eighth lyre,)for

with
as

word,

Paramese,
to

has

been

diffi-

system, string was

no

1?, (before
added
to

culty
"

immusioal Teubner's De

readers, edition the for of Plu-

the

In

ears

could of such

be
an

struck

the the

tarch's has the been

Musica,
substituted

word, TJSii,
the ovSt of
tuv

beauty
Tritone

interval
or

of the from have B

Disjunct
natural B
a

Octave
to

old text, in

"aXX'

ovSi

Trjg

system,
It must have

down

F.
so

been

t"to F,
Fourth.

and

been

the fall of

The

to tell note without apfioviag," any of the arbitrarychange. It has been and injuriously, made unnecessarily,

124

THE

HISTORY

OF

MUSIC.

were

common

to

the

three genera.* It lacked

of the the

the

feature distingxxishing

Enharmonic,
two

viz.,the

quarter-tone between
was

lowest minor The

but

the and in
or

old minor every

Diatonic

strings. It scale, wanting its

three

Fourth sounds

Seventh.

tetrachord, whether
were

permanent Diatonic,
extremes,
semitone

Chromatic,
and
was

Enharmonic,
above the

the

two

the semitone

lowest. the

That

usuallyoccupied by
the down Enharmonic
to

but, in
moved

Parhypate string ; Parhypate was genus,

a

within took

quarter-tone

of

the

lowest, and
reason

Lichanos

why this scale of of one a puzzle,is simply because this movement iuto the place of another was not string thought of. indirect As to the story about Olympus, it is an him the first discovery of fixingupon that the way Seventh Fourth and minor do not properlybelong to there was the scale of the key-note. But Egypt, long before him, and hundreds of cases after him, in made which that discovery was by the ear, without what Olympus may have effected. any knowledge of discoverers These by ear were strictly correct, as Those notes belongonly to will be proved hereafter. the tetrachord,and not rightly to the Octave system.
upon who
an

Parhypate'splace. The Olympus has been such

old

by Burette, suggestion
his Greek is not
see

systems.
one

In the up

Enharmonic
the
so

admitted,
of

imperfect

know-

stringtook

scale, relinquished
were

ledge
musical
Burette
can

the
sense

system. The clear, although

it. there
Plutarch
was no

place of another,
three notes
That is alike what Herr text

there

still

in all tetrachords.
Burette did should be not
sea re-

did

sound

only mean peculiar to

and that
"

that amy what of

observe. that stored and

"

Volkmann of

of the

three

the

Plutarch

genera,
"

he

calls the
was

in the
case

next

both edition,

here

Eijiarmonio

Olympus,
of the

in the

before p.

simply
sounds
three
were

composed
retained

three

of the Diatonic scale, which in

Aristoxenus, and BucUd, edit.,

pointed out. 44^, Meibom's

p. 9, lin. ult.

aU the three

THE

TRUE

ENHARMONIC.

125

to Plutarch, was a fluteOlympus, who, according playerof Phrygianextraction, must have flourished after Terpander," in other a short time says Miiller" to the words, after Egypt had been thrown open
"
"

Greeks.

To
a man

have
must

found have be

out

the defects of those the Octave

two

notes,
his
as

had

ear.

It is to
as

remarked

that omits the

system in the Chromatic,

Fourth and
was

well

the

Enharmonic,
and than that

the

minor

Seventh,
been shunned

Chromatic
two

admittedly older
have

Olympus. Those ears by susceptible

notes

i^ simple

melody, in
and
sure

all ages. When the ancient Chromatic Enharmonic scales fell out of use, we he may that music had advanced beyond simpleunaided of

melody into the stage vaiied harmony.

Now,
as

accompanying the
for the While

voice with

to

the

reason

introduction the

of

an

Enharmonic scale made

a

quarter-tone.

Chromatic

of a minor Third, (as skip downwards from key-note A to F #,) the the Enharmonic made greater skip of a major Third, (as from A to F t]). But there was a stringalreadyupon that note, and the question would should arise as to what naturally be done with the unemployed string. It was not requiredwhere it stood, and there remained but the

interval

of

one

semitone

into

which

it could

be

useless packed. So the otherwise string was eventually placed at a quarter-tone between the two to give an is occasional grace-note. That strings, the simple originof quarter-tones in Greek music. It could not have been employed practically in any other "As way
to

than the

as

grace-note. Aristoxenus,

quarter-tones," says
"

Literature

of Greece,p. 202.

126

THE

HISTORY

OF

MUSIC.

"

no

voice

could

sing three

of them

ia

succession,"

(p. 53,) "neither can the singer sing less than a the hearer judge of it," nor quarter-tone correctly, the comments numerous (p. 14). There are upon
quarter-tone to this effect,and to its unfitness for monic harmony. When, therefore,we read of the Enhartime

having been so much genus of Aristoxenus, as almost to

we

in

use

before the

the

exclude
an

other

genera, without thereto

tone

should either

think Fourth

of it
or an

the the
to

by

of possibility singer. the

ordinaryscale Seventh, adding only attempt at a quarteras

of

"As modern
seem

intermediate

quarter-tones of
"

the

Enharmonic,"
to

have

these do not says Plutarch, invention constituted any part of the the difference between the
any
manner

of

Olympus,
may

and be

two one,
;

methods
on

hearing a
adds that

immediatelyperceivedby piece played in the ancient

no

as, in that

case,

division is made division in have

a

of the semitone." semitone

came

He

"the
use

of the

afterwards modes."

into It

the

might
such

Lydian and Phrygian been suspected in the

was

Lydian only, for

for When had

refinement

best

fitted

tearful,or very amatory ditties.

Aristoxenus the

complainsthat
Enharmonic

his

predecessors
of the

taught only
the

division

scale,and

be understood

of but one Octave, it is to compass in a general sense, and of immediate In

only. predecessors
the and has cap.

proof, Archytas
the of the

of

Tarentum,

cotemporary of Plato, defined

a new suggested been preservedby 13.) Plato did not

division

genera, which intervals,

three

Claudius

Ptolemy. (Lib.i.
genus ; it be understood of
to
one

limit himself Nor

can

neither did

Aristotle.

HABMONIA

AND

ENHARMONIA.

127 wliom

still earlier

men,

such been here

as

PMlolaos, from

have quotations When in vogue if the as the

Enharmonic

given. system
the
name

was

greatly in
of

Greece, it took

Harmonia,

Aristoxenus, who only system of Music. at complains of this, himself calls it "Harmonia" the beginning of his treatise (pages 2, 7, and 8),
and In and
own

Enharmonia the last-named

at

pages page, he

19, 21, 24, 25, and

uses

26. once,

Harmonia

Enharmonia treatise
more

thrice. Aristoxenus
for

entitles

his

Harmonike,'^ and that became

name

the

general
confusion word.

prevented
the have of earher used

between Aristotle where

eventually "Music proper,"and the two meanings of to seems occasionally

be understood
;

Harmonia,
one

it is to

only the
limited of Sect.

branch, viz.,Enharmonia
that distinguishes of

but,

at

other
more

times, he
name

system
as

by

its

Enharmonia,

in Problem tell him.

XV.

19.
two

It is not

which Euclid After

of the draws the

the time

have may line between of

always possibleto been intended by

the
two

words.
was

''

Aristoxenus, there
the and Chromatic but the

little

else than that the

complaint in
Enharmonic that

viz., oppositedirection,
scales Diatonic
were
was

and neglected, used. dominion This

nothing
tiU who

continued

Greece

fell under

the have

of the
no were

Romans,
than certain

employed
There Diatonic

other

be said to may Diatonic scales. variations from the

a

usual

and of the

Chromatic

scales,through
These
were

different

tuning
^

intervals.

called

Chroai,

StoixUihv 'Apiaro^ivov 'A()iwviKi!iv

and in the first sentence,

As

"

sv

oi ivapfiovioi" jjiiv ap/wviif

"

Trpws-ov, rrjv

Kd\ovfievrjv. apiutvuefiv

Sk, ro (p. V-). and ivap/iiviov Ivapiiovtip" (p.9).

"

rg

128

THE

HISTORY

OF

MUSIC.

or

shades

of

colour. that

The

notice

of

them had

by
been

Aristoxenus
at

proves
an

mathematicians
to

work,
the

at

early date,

obtain

new

sounds

from mode

scale; but, owing to the vague Aristoxenian the notes of describing thirds,or quarters as
we

of tones,
were

cannot

tellwhat

mathematical

adopted, except through the of Claudius late work Ptolemy, who preserves the of of Archytas, of Eratosthenes, and divisions the Octave Neither itself, nor Didymus. any musical interval within it, is divisible into equal thirds and quarters of tones never parts ; therefore, could be ; but there was an approach were, and never of the scales. in some to those proportions had The Diatonic two Chroai, or shades, viu., called the Diatonon or suntonon, {" strained tight,") simplyDiatonon, it being the chief characteristic of the genus, as before described,and the Diatonon the forefiiiger Soft" Diatonic, in which malakon, or relaxed about a quarter of a tone, so as to was string of a tone leave,roughly speaking, only three-quarters instead of a between it and the next lower string,
"

proportions comparatively

tone.

Plato aUudes
even

to these

two

kinds
must

of Diatonic have had

an

therefore

the second

of them

earlyorigiti.
The Chromatic had

three

Chrdai,

or

shades.
.

ordinary Chroma, or Chroma tonalon, the Chroma before described. hemi6lion,or Secondly, Chromatic, in which intervals of about Sesquialteral
of a tone (an eighth added to each three-eighths substituted for the semitones were quarter-tone) ; Chroma Soft Chromatic, and mahMn, or thirdly. in which

First, the

intervals of about

third of

tone

were

employed. similarly

THE

CHROAI,

OR

MODIFIED

SCALES.

129

There
To
a

was

but

one

Enharmomc.
one

know

of only thfe proportions

a

Fourth, in

Greek

is scale,

sufficient index scale

;

to the

composition

of the

entire two-octave
was a

of each Octave after iu

our

because, at the base "diazeuctic," or major tone, and

two it,

the Octave tetrachords completed conjunct it upwards from the key-note. form,i.fi., counting the divisions of
one

To

show

of these

tetrachords,

without

plan of Claudius Ptolemy to (hb i. gap. 13,) is here adopted in preference that of Aristoxenus, or of Euchd. (Introductio Harmonica, pp. 11, 12.)
"

the fractions,

Aristoxenus and made

30.

and
for
a

Euchd
tone
;

count
so a

six for
a

semitone,

twelve up

that

of two

tones

and

Fourth, being semitone, counted as

Ptolemy doubled those numbers, because the Chromatic otherwise have been must Sesquialteral him, therefore,a quarterexpressedby 4^. With is 6 ; a semitone is tone, (or Enharmonic diesis,) the complete 12 ; and a tone 24 ; thus representing tetrachord by 60. The here placed side by side to six scales are facihtate comparison, althoughthe three principals, here in largerletters, have already been explamed.
DIATONIC

12, 24, 24=60. (Didtononmntonon)... Soft Diatonic" ...{Diatonon malakon)... 12, 18, 30=60. CHROMATIC 12, 12, 36=60. ...{Ghrma tonaion) Soft Csrouaiic... {Chroma malakon) 8, 8, 44=60.
... ...

SuSQUIALTERAIi
Cheomatio ENHAEMONIC
'

(Chroma

hemidlion)
...

9, 6,

9,42=60. 6,48=60.
dia
;

The

word been from

"Diatonic" from scale dia

has and

Rather,

then, from
of
"

and

the

usually
tonos,

derived the

verb, teino,to stretch

the movable than

passing

stringsbeing

higher tension
SiaTeiviTcu."
K

through
not

five tones to

apply

; but that would soft Diatonic. the

in other genera airo kut ij ^invii

"iiruBv (KpoSponpov

130

THE

HISTORY

OF

MUSIC.

Aristides
as

QuintUianus describes
whickj

six

other

scales

according td all earlier rarxed modes, having Enharmonic autliorities, are quarter-tones. He reportsthem as "very ancient."*
Entarmonic,
The Meibom

internal

evidence too have of the

of this treatise shows

remote
a

that

ascribed
seems

date

to

the writer.

Meibom
the

to

been

desirous he

of
was

magnifying
about
to

importance
to

addition

make

musical

history,by b^g

the

first to

publishAristides' treatise. He ranks the author as preceding Claudius Ptolemy, quite overlookingthe
fact that into
60

he

borrows

the

above I

division
can

of the

scale

parts from

Aristides
the
or

Ptolemy. QuintUianus to have

century, and
to
our
own

hardly suppose
earlier than in

lived

fourth
two
nearer

more

probably a
In the

century

time. writer

first

place,

he

is the the

only
writers

Greek

who As
to

Gjf at
there above it
as

base of his scale.''

places G and this G, (which

because

mediaeval
was

Gamma, as distinguished already a capitalletter,G, an

Guide scale,) the

Octave
describes

it,in the ecclesiastical

a

"note must
one

added

by

moderns."
when

Next,
all scales

Aristides
but the

surely have
Diatonic

lived
were

forgotten.He would Plato not otherwise have misinterpreted in musical of the forgotten term a relatingto one that he intended scales ; or to apply the suppose Enharmonic division of s4ntonon, to an adjective,
common

the
"

when tetrachord,
"Ale
K"' "' traw

there

was 25 p. of

but

one

Enharmonic.
translation.) At
marks this Gamma double the squareG- sharp
next

irdkaioraTOi
"

Meibom'a

KEXpijvrai." (p. Trpic riiQ apfioviag

21, 1. 4.)
est gravissi"Si, qui omnium in tonum Hypodorium per mus, Omega remittamus, ipsum grave sumimus notarum principium." (p.
^
"

27, Aristides

of Churoli scales

by

shaped Omega;
half
a

and

tone

above

line of double with

a

it,in the signs,by double

Chi,

stroke

through each.

ARISTIDES

QtriNTILIANFS.

131

is tlie very opposite to siintonon, the malakotaton of all scales ^the first meaning viz.,
"

The

Enharmonic

tightlydi'awn, and the second the softest or most relaxed in the tuning." Plato refers to the two kinds of Diatonic-Lydian, and, therefore,he adds the otherwise to the prefixof suntonon unnecessary malakon to the other.'' principal applies one, and The Enharmonic scale,to which Aristides Quintnianus has given the name of Suntono-Lydian, is what writer,earlyand late,has every other Greek termed Hypo-Lydian ; and the inference to be drawn with the is, that the mistake originated copyistof the old manuscript which he used, and that he lived at too late a period to detect it.
He himself
says

that

the

Enharmonic

scale

is

have (p. 133); therefore,there cannot been kind, and no prefixto the name any second could be required. A third argument for the late date of this author is, that his system of musical notation has many changes from the system of Alypius,so that the one will not serve the other. The throughoutto explain indivisible
" "

^uvTOvioTOTq Stdrovig tariv."

"

of the passage

is this.

If you

take

key note, and principalnote, your so high as tenor "g," or tenor "f Aristides Quintilianus'description sharp, (i.e., Mixo-Lydian, or tightlyof scales,at p. 20 of his treatise, tuned mournful Lydian, ) you make Even music {BptiviiScie ap/ioviai). agrees with the preceding diagram, both the with the relasced tunings of "f and and there are to be found and the malakdn laatian and soft f suntonon didtonon, of sharp, (soft but no other kinds of sOjntcmon. Lydian, ) your tones are still either b TiW f obv BprpiiiSfiQ or as if excited by wine. apjxov'uu; effeminate, the pitch of Koi ffuwovoYou should bring down Mi^oXviiori,l^ij, (Aiistox., p. 25. See also Euclid, p. and Claud. 11, Ptolemy, p. 30, fol.)
" " "
" "
. .
.

XuJiori

(cat

TOicdiTai nvtg

Ttveg

your

music

more

within

the

natural

Kai (TvinroTucai tuv 5" Kai f /v 8f 'laari, Xvdurri, apiiovidv; dlnviQ x^^P"' Kakmnirai." (ReThe Ub. iii.399 a.) meaning public, oiij' fiakweai "
,
"

voice to fit it for of man's compass of warlike the men utterance

"

Dorian alone

and snited

Phrygian (D
for them.

and

E), are

k2

132

THE

HISTORY

OF

MUSIC.

is a universal system of Aristides Quintilianus all modes, and in the but

one

one

for

he

givesthe
This
to

notation is
a

for every

semitone

entire unknown
"

scale."

great improvement,
wrote

Boethius, wlio
not

ia the sixth

century yet Aristides does but system, or as any novelty,

The been

give it as his own the recognised as plan. has date that Meibom has assigned to him so universally adopted by the learned, that it
show necessarj^to Aristides of scales
cause

has become

for dissent.

The the

Bcal^ that
ancient

in %"rmed Silntono-Lydian may its be

seen on

set

to

be the

Hypothird

Lydian, by having ascending stringof its Scales were hardly

would have discovered EucHd
to

key-note
on

Octave Meibom's

this to

be

lyre. forte, or else Hypo-Lydian.

a

the

he In
so

his notes

upon

he formed the

set

of scales

erroneouslyas
inner fixed movable sounds.

base

tetrachords of upon

instead strings, Again, in his

the upon the outer, this upon ancient most

one

comments two

author, he tells the reader that the

tetrachords
common
were

joined together'by
that of the
not

to

both, and
lowest that had In
.

it

was

called

string Hypate
It is

Meson^
Aristotle clear that and
was

"the says

the

middle

tetrachord." Mese.

string was

Meibom

read Aristotle's

Problems,
jectural con-

guessing.
emendations

the
are

scales his following not in infrequently

the

he might have discovered if he had as places, out a diagram of them, according to their key-notes on the lyre. The text of Aristides is undoubtedly very faultyin the copy Meibom used," wrong drawn
"

See

p. 27.
on

"=

The

Harleian

MS.,

No.

5691, of
some

Notes

Aristides

Qnint.,

p.

15th

century,

would

supply

209, col. 1-.6.

emendations.

SCALES

OF

DOUBTFUL

AUTHENTICTTY.

133

but laws

still,all
about wMcb writers.

scales

were

formed
no

tbere

is

according to disagreement among

ancient Tbe

scales of the six "ancient" are following Aristides according to the inaccurate revision of Meibom. The for the figure of ^ is intended

Enharmonic

diesis
COEKUPTED

or

quarter-tone :
"

MIXED

SCALES.

Lydian

DOBIAIT

Phbygian

Iasiian

Mko-Lydian

Syntono-Lydian
..

1*

In the is in its with from the

above, the Dorian

as rightplace,

interval of the
ascent

to

its

key-note
tones

fourth
an

ing accordseries, of two

the

text.

It has

and its diazeuctic tone is string, forefinger the Phrygian is in the wrong above it. But next place. It should be on the stringnext above the Dorian, and so pne degree to the right in the scale. Meibom fiU up another added its
one

of
so

the
as

above
to

quarter-tones
it agree

to

Octave,
in the

make he

with have

line

text,

but

ought

to

instead of placedthe added quarter-tone to the left, it now to the right,of the key-note. As stands, and Dorian Phrygian key-notes are on one string, which was impossible. The curious may pursue the further by comparing the Greek text with analysis

134

THE

HISTORY

OF

MUSIC.

his translation p. 22.* scales I

the diagram at p. 21, and with, Enharmonic seven subjoin the principal
at

accordingto their proper order. The diagonal of 2 to another shows the ascent line from one figure its diaeeuctic to the Mese, or key-note of each, and of it. division to the right is in the next tone because The lastian has no placein the following, of one of the seven the position it could only occupy for such reasons it was scales alreadyfigured ; and the reduction that Claudius Ptolemy recommended
of the number of scales to
seven
:
"

TKUE

ENHARMONIC

SCALES.

Mixo-Lydian

"/.
Lydiau

7
Pheygiaju DoRIiN

Vi

Hypo-Lydian

7.
K
. . "

Hypo-Phhygian

y.
Hypo-Doeian
......

The is but

value

of the treatise of Aristides

Quintihanus
fanciful fallen had

little affected
as

by

about slip
term

ancient which

scales,and
"

to

musical

The

text found

is very

faulty^
to

and

tone,to thePhrygian ; the

same

to the

Meibom many
one

it necessary in order another.

pose inter-

Mixo-Lydian;
to what These

and

the

final Ditone

intervals

to make Thus
"

is called

part agree with

alterations
the

will

Syntono-Lydian. be seen by
text at
p.

he twice into

changed "Ditone," in
a

the word the

tone" scale.

comparimg
with his his notes

Greek

21

Lydian

Latin
upon

translation,and
it.

by

Again,he added

dk'e"i", or quarter-

DIAGRAM

OP

ENHARMONIC

SCALES.

135

into wotild learned of

disuse

at

the

time

when

he

was

writing.
to

It

not

be who

impossible,
conld and
not

even

now,

find. musical

veryscale be

man

define

Chaucer's with

age,
one

who of

might,
the time

perhaps,
of

puzzled
Elizabeth.

even

Queen

136
.

CHAPTEE
Greek

VII.
"

Harmony.
"

"

Fetis's Music
"

professed solution.
education.
"
"

A passage

in Plato

re-considered. mixed
an

in Greek Horace.
on

Practice of discords music in

with

concords
"

Seneca's
"

of description The modern

amphitheatre.
ancient

Cicero
"

harmony.

controversy
in it.

about

harmony.

The

distinguishedmen ancient music

or

engaged

No

subjectconnected
with
more

with

lias been
at

discussed

earnestness,
the

greater
or

length,than as to whether simultaneous not, practise

them modern The with

Greeks

did,
and

did

consonances,

intermix in the

discords; thus
sense

making harmony
word. in the

technical

of the
arose

great discussion

seventeenth Greek

century, from the discoverythat the is not for a Harmonia, synonyme

concordant sounds
;

word,
been

simultaneous had

although
in

the

world

taught to regard it incorporated it into

sense.

So

far is

the

Hght, aijd had modern languages in that discoverers were right, for
word for the
consonance."

that

Symphonia
But

the

Greek of

then, instead

pursuing
of the

inquiry by
some

definitions comparing Greek of the disputantsjumped to that the word

Harmonia,

had,

at

no

hasty time, the

meant

conclusion
sense
"

of

simultaneous succession
*

consonances,

but

of

intervals,in
definitiona
or

single notes,
here cited from Euclid

a only according
:
' '

There

are

numberleas

"

'Ban

ii

of

SympJwnia
and that sounds have

aiid Diaphonia,

concord sounds and'

discord, i.e.,differing and mix please the ear,

that

dio av/i^bivia jdv KpaauQ ^Boyyuyv, saX fiapviipov iS,vTkpov Aia^iovia Si

'

Tovvavriov

Svo

aju^ia, firi ipBoyyiav Tpaxuv"rjvm

Several

grate upon already appeared

one more

it.

uVW

aWd KpaOfjvai, t^v dmiiv" (p.8).

rt
"

but incidentally,

may

be

HAEMONIA,
to

MEANING

MUSIC.

137

their

scale." of

Next, they

defined

Melodia

as

"a

succession and cadence from

sounds, according to time, measure, ;" and, thirdly, Symphonia as "differing

Harmonia and
to

only

Melodia such

in

that
as

its

sequences make up it did

were

limited

intervals Octaves
;

would
that

Fourths, Fifths, and

and

not

permit
or

they denied simultaneous to Symphonia. even consonance the investigators Thus, from a promisingopening, rushed into error If the in the oppositeextreme. enquiry had been pursued in the only proper way, for,and comparing,Greek definitions of by searching have been Harmonia, its meaning would inevitably traced be the Theory and Practice of Music, to
Thirds, Sixths,
and identical with the later

intermixture any Sevenths." So

of

Seconds,

word,
with
a more

Harmonike.

Harmonia
not
sense

includes

poetry united
so

music,' but
restricted

poetry alone, and

than Mousike.

it has

Again, poetry, though unregulated by

is

the

chanting

of

musical

intervals,
but it is

Melodia, and
the Harmonia. word

the

metre

of the of the
our

poetry brings it
translation

within
not

denomination So Harmonia that is

Mousike;

primary
"Music."

of the The

original question might, at any time, have been settled by referring to the preciseexplanation The only point to have of Harmonia, by Philolaos.
been recollected science
;
was

that, in the
Greek that the

time

of

Philolaos,
limited could
to

Greek
an

and and

were practice

Octave
a

but
*

of repetition
TO IK

other Octave any first. Therefore, as

Keiske's edit. See

be

Plutarch
aJso Aristides gave

Sk "'Ap/iovta
.

SuKSTHinaTuni ifSiiyivtrai Kat

.

xal ip96yyii"v Si tovtw, juxOivToiv jiiXog." (Plutarch

"

Quiutiliaims, p. 91.
to Harmonia PoUux
"

Eupolis
of cap.

the

name

'Apfioyii,

Comment,

on

Timcetts, p.

252,

says

(lib iv.

8.)

138

THE

HISTORY

OF

MUSIC.

the says, Pythagoras limited within that are to the sounds The passage in Philolaos

science
an

of Harmonia

Octave.

was

of account on by and neglected, understandingits technicalities. To those who had of the learned not anything of Greek music, some would have been intelligible. words not Although it is popularly supposed that men
.

probably passed of the difficulty

who

undertake

to

write

about

Greek

music

are

of the elementary treatises, acquainted with some Harmonia the clearly proves controversy about of the disputantshad that many not thought it The passage from Philolaos might have necessary. been found, quoted by Nicomachus ; and his treatise is included upon
1652.

in

the

collection

of

Greek

authors

music, edited Therefore,the

by Meibom, and printed in extract was accessible, perfectly

and

might have read it for himself. every one The controversy has been carried on intermittingly
two

for fuU

hundred

years.

In

the in

last

century
among

English scholars engaged warmly

them,
and of
some,

it,but

rather to show from

than classic lore,

their powers of argument any reasonable expectation the

throwing

new

lightupon

meaning;
formed
no

for the

Greek their

authors

sion reading. century,the discusin France, in Belgium, has been going on chiefly It is not even and in Germany. yet concluded ; for, form since the harmony of the ancients the must of the present chapter, it becomes subject necessary the hallucinations of the controvert latest to strange writer upon ancient mu"ic
"

music had upon In the present

part

of

F,

J.

Fetis, of whose
volume has
been

History a third and recentlyannounced.

posthumous

F^TIS

ON

GREEK

MUSIC.

139

The himself.

theory of
It
was

F^tis that

was

perhaps peculiarto
Greeks
an

the than

had

no

other

simultaneous of
a

harmony
Fourths,
a

cession uninterruptedsuc-

similar

succession

of

Fifths,or
to the

succession This would

of Octaves. Greeks bring the polished of down middle

to
seem

barbarian Such
a

level

Hucbald,
authors

ia

the

theory is
"

in absolute
two

contradiction whose works

ages. Plato

and to Aristotle
to have

entered of

into F^tis's

if at reading,

only all, through

are

the

medium

translations, many

of which

not

remarkable those

hung
any but As

for accuracy to the musical as parts of authors. The slender peg which Fdtis upon his extraordinary theory was not derived from

Greek

author, but this,not

the the author

from

two

Unes

of Horace.

Further
even

than

F^tis held

the idea borrowed, only was was misinterpreted. of Director of the high position in

Conservatoire
to
as

of Music

Brussels,he
his fluent

was

looked

up

of

some

to

have

had

and authority, a larger share of learned

seem writings

than He

those

of currency in France French and Belgian writers.

says, in his Biographie Universelle des Musiciens, he devotes twenty-five columns in which to his own

Ufe, and
he
wrote

but

three

and

a-half to that articles for often

of

Auber, that
French
three

the the
a

musical
same

three

joTimalsat
criticisms

time, and

penned

new work, and aU night upon one different points of view. from Add to the three the Biographie des Mv^iciens, in which he journals included living authors and well as as composers,

in

the
to

dead, and
be

we

have

formidable

man

; one

not

needlessly provoked by

musicians

who

hoped
with

for favourable

report of their

works, either

140

THE

HISTORY

OF

MUSIC.

tlieir

cotemporariesor \vith posterity. This must why his extraordinary surelyhave been one reason such free sway. allowed to have were vagaries of all stylesand all the music F^tis wrote upon ancient theories about ages, but it is only with his
music that I have here In Greek Aristoxenus Hebrew upon instruments.

music,
and

any concern. F^tis had the

other words F^tis and

Greeks, as
and
was

to correct courage well as Josephus

upon

Jewish

musical that
not

Aristoxenus,Juba,
understand who
seems

quite persuaded other great writers,did

the forms
a

Greek
not

musical

instruments, but that he,

of the Greek ia
a

to have

known
out

letters sufficiently to look

could
at set them

word

Lexicon,
selves thembeen have late
men

all

right.* He
certain
an

had
men

arrived evidently consider has

the

when age infaUible

"

age

that

hardly

recognised symptoms sufficiently ; indeed, the not always been so developed as in the strongly have We Fdtis. M. a proverb that young
"

think
men

old
are

men

but old fools, For that Fdtis

we

men

Icnow that have been

so."

must

young indebted
as

to
as
"

an

infallible. He

asserted

his claims in his

1850.

then

announced the which definite the

early journal that

to

he

would

give

solution

the

genius,and learning such "of the greatest men, as Descartes,Leibnitz, d'Alembert, Euler, and Newton, Lagrange, had
difficulties before

succumbed.'"*
F^tis
'

has

new

way

of

making

Greek

tetrachords.

Histoire

Oerierale 8vo.

de la 1869.

Mmique,
de diffi^chou6

i. 38.3 to 386.
"""

homines, tels qui Descartes, Leibnitz,Newton, d'Alembert, Euler, et

La

solution

definitive

Lagrange."
"

cultfe le

devant

ont lesquelles des

Mars.

1850.

(GazetteMusicak, No. 10, p. 79.)

10

genie et

le savoir

plus grands

PiTIS
It differs

CORRECTING

GREEK

AUTHORS.

141

authors.
two

wholly from They all made

and
a can

that

any tetrachords his

are

of

of
to

the

Greek of

consist of

tones

half, but

only
to

two
own

tones."'

only have attained has system by inspiration ; for there

He like

his

been is

it, either

before

or

since.

He

nothing equally

the present musical in his teaching about original of Boethius, ("Bofece,") scale. In writingthe memoir he praiseshim for not having adopted "the false proportionsof Didymus and of Ptolemy." If we grant that F^tis may be supposed to have knovra. the what he was writing about, he recommends world to give up consonant major and minor Thirds, and of
to return to

the

discordant

Thirds, or

Ditones,

Pythagoras. These are slightsamples of the peculiar teaching of the author of the most recently pubhshed general His horror of mathematicians in historyof music. music is sufficiently proved by the careful way in the greatest of them which he singlesout for his supposed triumph. Didymus and Ptolemy were
mathematicians named.
as

well
no

as

the

other

great

men

F^tis felt

need books

of mathematicians.
on

He

could, and
without

did, write

the

theory of music,
to

troubled himself having even intervals, or proportionsof musical natural sounds.

to

learn laws

the of

the

F^tis ascribes of
"

the Greeks
"

two
one

different for
a

systems
who
quarter, and

music
His first
was

at

different

periods
one

those
one

making
tone,
two

and
tones.

thirds
two

of

attempt at tetraohord by quarter-tone, quarter-, and tone half, making second His by twotone, two-thirds, and a
third

quarters of
tone,

tone,

again making
of two and
et d, M.

only
a

two
"

tones, instead

half."

(Eipcmse
de
son

F"is,
par de

Refutation
A. J. H.

M"moire,
Membra 8vo.

-thirds, ) also making thirds,(six

His

Vincent,
21.

I'lnatitut,p.

two.

attempt,

three-

Lille.

1859.)

142

THE

HISTORY

OP

MTJSIC.

Pythagoras to that of plaia Aristoxenus,when, accordiBg to him, all was or "Gregorian music;" and, for those Greeks song who had the good luck to be born at later dates, of harmony as successions he allows charms such This successions of Fifths. of Fourths, and complimentary untheory has no support from any
lived

from

the

time

of

Greek

author.
upon

Fdtis from

derived Claude

the

idea

that
one

he thus of the

harped
numerous

Perrault,
ancient Perrault lines of

disputantsabout
century;
and

harmony
took
an

in the idea of

seventeenth from

his

misunderstanding two
Sonante
Hae

epode

Horace.
mixtum tibiis
carmen

lyra,

Dorium, the
"

illisbarbarum.
"

F^tis

pursued
had

illis barbarum his

own

all round

the

till he circle, that "barbarum"

proved, to
must
mean

satisfaction,

Mixo-Lydian mode, and that it was employed with the simultaneously as so Dorian, (or the keys of G and D together,) Dorian to make perpetualFourths ; or else it was and Hyper-Phrygian (D and A,) so as to make a
the
constant

succession

of Fifths. Perrault had

not

It is clear that 19th and Section

over

read it is did

Aristotle's

of

Problems, in which
the Greeks did
not

said, over
not

again, that

sing
shall
M.

of Fourths, and sequences As to the two of Fifths.* refer F^tis

to

sing successions
Horace,
we

lines of

but will no farther again, solution of the through his "positive them
xxxix. xvii.,xviii.,

follow

difficulties

'

In Problems xl.
"

and either

of

Sect.

19, where
irtvri

it is Koi SiA

Ai Si iv

TipSii

xviii., Aid tI "^SiA iraauiv ^hmi miujiioiia nayaSiZovvi TaiiTip/, aKkrjV fiovr); yap
"

^Sovmv avri^tova."

In Prob.

oiic t^ovinvoiirws," reaadpiav or, "oiic

Si

oiSifuav."

PASSAGE

IN

PLATO.

143

before than the

to

which
to take

genius and
one

medium show that

passage of an indifferent it has the

learninghad succumbed," that he employed, through

translation of

Plato,

oppositemeaning directly he employed it. to that for which The translation one by adopted by Fetis was Victor Cousin ;"^ and, to strengthenpubHc belief in it as that Cousin was an authority,he added assisted by Nicolo of Smyrna, who Poulo, a Greek was employed in the library of the Institut de
France. la he Also that Poulo
was

"fort does the

instruit follow

dans that of first

"

musique." Nevertheless, it
should have understood

not

technicaHties the

ancient word he
;

music, and for, where

in unison
to

it appears at so, almost Plato recommended the with the

played

voice,"(so as
"

lyre to to guide

Poulo missed the right notes,) of the word proschorda, which means a sense string in.unison." Again, to suppose that Plato could have intended estabhsh "to symphony and antiphony between and rarity, and between quickness density and slowness," imagines some peculiar process quite unknown the moderns. to As Whately says : is likelyto be thought deeper than muddy water it is,from your not being able to see to the bottom, while water that is very clear always looks' shallower than it is ; so, in language,obscurity is often mistaken for depth." That seems the reliance to have formed of the translator in his rendering of this passage.
"

the

learner

the

It may
more

have

been

crux,

because

deeply into ancient music have usuallypursued the subject. is an The following attempt to give the
the author rather than the
most

it goes a little than the modems

sense

of

literal

translation,

144

THE

HISTORY

OF

MUSIC.

because

amplification promises to render trifling have hot it more to those who intelligible generally The original of ancient music. taken up the subject Cousin's translations and are subjoinedin a note.* this account, therefore, both the Plato says : On and the learner player on the Kithara ought to of the lyre, of the sounds for the avail themselves of its notes, to play in unison sake of the exactitude with the voice,note for note. But, as for playing different passages and flourishes upon the lyre, when
a
"

the

notes

for for the

the

instrument
"

intended the
to

voice

or,

when

from those vary close intervals of scales

are
"

Chromatic the wider

and

Enharmonic of the

intervals

Diatonic''

opposed also,when
certains

"

"TovTiav

Toivvv

Set

")(apiv toXq

loTsque
traits que

la

lyre

execute dans

la comsont pas ne position, ^floyyoie TfJQ \vpag Trpoaxprjadai, qu'on ^tablit la symphonic oa^vdag htiKa rStv x^P^^'^t t'ov re et I'antiphonie entre la density et la tov "n'aiSivofisvov, KSapurrriv Kui ra anoSiSovTOQ irpotrxopBa ipOkyfiara raret^, la vitesse et la lenteur, Sk et le grave, et qu'on arrange mpo^uiviav Kai I'aigu pOkyfiaai rriv Toie de la lyre toute sorte TToueiKiav r^g \vpag, aXKa jxtv jisKri aiusi sur Sk variations il n'est a^Xa tov rhythmiques, rrfv Twv xop^wv UiffutVf
'

SKvOkfTog fu\tf)Siav
Kai
irvKVOTTiTa

iroirfrov,

ml

Sn

)mv6rrin,
Kai

Kal

raxog

besoin d'exercer pas finesses des enfants

ans

toutes n'ont

ces

jipadvTrin,

bi.intr"- /3apwr))ritrois

pour

qui apprendre,"

que

"c."

I'ffarmtmie swr (F^tia Memoire Kai avri"puivov irapexofiivovg, ^Vfupiavov TTavTodaird "c., p. 12, 4to; Brussels, sm,uUa7i4e, Kai tSjv pvQfiwv b}tTavTiag (Euvres de roiai 1859, Platon, quoting TTOixiXjmra wpoaapfidTTOvrag traduites Victor oiv tu Cousin, Les iravra par Trjg \ipag (j"96yyoig Lois, liv. vii. p. 59.) ToZg /liXhovnv ToiaVTU Trptapspiiv fiii "" Here, in the two words, truKvohiai ri Trig pmiirue^g xpffi^ftov iv Tpvaiv
"

SiA lKXrpj/ta9ai kvavTia

"

raxovg

aXXjjXa TapaTTOVTa
H,
dans

yAp dvafjiaSiav
to.

njra

fuivoTtin,

Plato Three

compresses

much of the the

substance. four of

stringsout

(Plato De Legg., lib. Trapsx"-""

cap.
"

vii.

16,

or

Stephens, 812, D.)

la nigme
son
vue

Chromatic

in every tetrachord and monic in the Enhar-

C'est done de cet

que

le maltre

lyreet
du

ilkve

doivent

jouer de
se

de la nettet^ contentant
sons

instrument, i la cause des cordes, et en son

de rendre par le iidyement

scales, being brought closely vals, at compressed intertogether,were therefore were puhnoi. By lowering the forefinger string in these scales, there remained but the
intervals of two
the semitones between in the

les

marques
aux

compositeur.
sur

Quant

variations

la

lyre,

lowest

three

strings

Plato's there

directions

foe,

teaching

boys.

145

to low notes, thus to slow, or higli qiiick making varied harmony, or running together ia And to Octaves. in Uke as adapting manner, of the manifold diversities of rhythm to the notes that all these the things lyre,it is unnecessary have should be learned by those who to acquirea serviceable knowledge of the art and science of three years, on of the speed within music account for opposite that is demanded principles, confusing slowness ia learning."* another, cause one Three have been not reqviired only years would
are
"

to

learn

to

lyre.
from

That

accompany but was itself but

we

the
one
one

voice branch branch

in. unison of

with

the and

Harmonia,
word

Harmonia which

of that

Mousike, "Music,"

have

taken

the

Mousike was through the Latin Musica. reputed of learning.'"* by the Greeks to be the "encyclopaedia of general education, Although, in the course boys were only taught so far as to play in unison the voice, the Greeks with practisedevery variety of vocal accompaniment. Aristotle's opinion was
Chromatic,
tones

and

but

of two

quarterThen the tetrathe

in the

Enharmonic.

highest. Manotes,
scantiness width

"

(Aristoxenus,
on

p.

50.)
to

the of

contrary, refers

lowest

in strings of all,
were

each

chord,
next

barupuhnoi, mesopuJmoi,and the forefinger strings,oaaupuknoi. (See Euclid, pp. 6, 7, 14. ) 'iSiov Sk lari Kal Tov Tov ^ev ivapfioviov ^titfiartKOv
above them
"

called

of the

Diatonic Chromatic short

sense

notes, through the and includes intervals, scales, as opposed to

and Enharmonic. Greek is The of the two

words,
*'

ri

KaXovjievovtwkvov.
in

"

(Ptolemy,
those There

fiavoTTjri, ones." intervtils against wide

TrvKvoTTira
"

close

p. 30, fol.) So Plato

two

includes word.

The the

late Dean

Alford of this

also mispassage, Greek

one systems scales. no puimoi in Diatonic The definition 14. of (Euclid,p. ) when the piiknotes was forefinger were
"

took See Music

meaning
upon

his article in the

Ancient

Philological Museum,

vol. ii. p. 437.

string was
interval of the

so

lowered the
was

that three less the

the

between

lowest than
one

"tS.ovaixiivTnviyKvickiovTraiSiiav lines 188 and on fqai." (Scholiast

"

'"'

tetrachord
the

\9i9m.

The

Knighta of Aristophanes.)

between

and forefinger

146

THE

HISTORY

OP

MUSIC.

that

"

all

consonances

are

more

than simple pleasing that His

"

sounds," and
consonances

he

justly adds
Octave."*

the

sweetest

of

is the has of been

estimate modems

of the
;

Octave the
sets

fullyshared

by

the

for,

variations

favoul-

years incomplete if there devoted specially Greek in

ears, to

some

ia air, so much an upon have been thought ago, would them had not been one among

playing passages
of the

in

Octaves. cide coin-

and. those

modems,

again
or

in

forbiddingthe playing of Fourths and in only allowing them sequences,

with The other intervals.

Fifths be termixed in-

to

less development of harmony was ^JlJch favoured of me Greeks by the national instrument The lyrewas than it is by those of the moderns. the triple of the rhapsodist, made to serve purposes of
now

the

orator,

and

of the

the

musician. of

Orators

speak
every
more

without house

accompaniment
with
a

music,

and but

is furnished

less than

musical complete,
some

instrument others

portable, the lyre.

ancients,

Plato, Plutarch, and

valued music
more

of the

highly for educational than for the knowledge to make any other purpose, and, desiring the return to universal, they advocated a ancient have simpHcity of style. Plato would aU musical instrubanished from his model ments republic
that
to objected

had

an

extensive
as

compass

of notes.

He

flutes

having too
the
sound duce. it is have chord often

Plutarch
Si ^vji^avla

commended
ajrXov riSiuv SiA iraaHv i) of Sect. 19.) is the word

sounds.*" many ancient Nomes

such It

of

"

"

iraaa

as

string"would
evident

pro-

06(5yyow,xal tovtiov (Prob. xxxix. TiSiffTti."

"

is made

here, (as
could tetra-

UoKvxopSoTarov
lib. not

elsewhere,) for flutes no strings. Again, a

means as

"

(Bepub.,

iii. 399
a

d).

x^P^
also
a

four

sounds

quite as

means

only

string,but

four

strings.

SIMPLE

TUNE

AND

VARIED

HARMONY.

147

Olympus, wMcli were upon his expressed regret that the

of compass in his own time.*
to the
a

three

notes;
become

and

lie

limitation of melodies had obsolete

few Yet

sounds the

instrumental

ments accompani-

refers with strict

as
"

he played by the very ancients to whom were certaialy compounded of concords mixed occasional discords
;

for he

states

that, in the
such
notes

spondsean mode,
"dissonance" with A
one

they played
with

D, in

C,
next
on

or

B,*" and
the of the

in

harmony"
of

or

G."

In these

were

passing
minor of the

discords Third

tone

the against discord the

(esteemed a and imperfect tuning),

and of the Fifth.
to the to
;

account

concords

of the his

Fourth,

In

however, of spite,
suitable attendant
art

advocacy
admitted ality convivimore

of Umit music

njimber of notes, Plutarch

on

be

also "a

and, in his judgment, the

than in He
seasons

is

never

beneficial

of festive relaxation

and

thought, too, that music has of allaying the stimulating "the effects of power wine" ult.). (cap. of the employment of harmony proofs Many more might be derived from Plutarch's Dialogueon Music he states that the reason when for the as assigned Diatonic and Chromatic exclusive use of the ordinary of all such scales in his own time, and for the rejection indulgence."
" "

refinements

as

Chromatic
was

thirds, and
the

Enharmonic

quarters,of tones,
minute divisions in his references

of such inappUcability for harmony (cap.38); and again, to Plato and to Aristotle (caps. 22

and
"

23).
De

Mmka,
of B
was

cap.

12.

Synemmenon
tarch's before
"

tetraohord and
even

in for

Pluages

""

Burette

said

"against B flat,"
he

time,
it.

instead that

natural,but
no

forgot
in the

there

Paramese

De

MvMca,

cap.

19. L

148

THE

HISTORY

OF

MUSIC.

and singing speaks of playing Mese the key-note and Paramese; i.e., singing striking discord. tlie tone above it* necessarily Plato, in a the to playing or preceding quotation, alluded singing one of the small intervals of the Chromatic In both Enharmonic scale against the Diatonic. or those would be discords, made, as we commonly cases Gauinterval to another. do, in passingfrom one dentius describes Para/phones as holding a middle and dissonances, but as consonances place between when played together sounding like consonances Aristotle
"

"

and instrument."'' He classes Ditones an upon them. Tritones among (He is the only Greek author who includes Tritones.) Plutarch speaks of a the lyrists, in his time, of altering practiceamong of invariably the tuning of the lyre,and flattening the forefinger strings." This is strong testimony The to the goodness of their ears. objectwas, no and minor doubt, to get rid of the Fourth Seventh, better melody with other parts of and to make so He the scale. the fixed adds, that they lowered sounds to suit this system.* Athenseus of one quotes Pheenias the Peripatetic, of Aristotle, the immediate disciples as saying,in

book
the

ii. of his Treatise

on

Poets, that

"Stratonicus,

Athenian,

troduced
the iu

the first person reputed to have iafull chords in simpleharp-playing, (without

was

and voice,)

that he who

was

the first who

took

pupils
;""

music, and
Prob.
"

composed diagrams
" "

of music

"

xii. of Sect. Si
"

19.

Aokei

n)v irohixopiiavsic rqv

'Ev

ry

Kpovaci

^aivofiivoi

i^iX^kKidapinv TrpSiroQ (laeveyKuv,

irpHfog naBrjrdg t"v apjioviR"v xal Sidypamia IXa/8E, avvearriaaTO." (Lib. viii. Sect. 46.)
Bai
"

(p. 11.) aiH^iiivoi."

"

De

Musica,

cap.

39.
a

Intervals foreignto

scale

were

termeA

aloga, or,

"without

ratio."

CHORDS

IN

HARP-PLAYING.

149

the first who wrote perhaps meaning that he was down his wood or compositions upon papyrus. The credit of having been the first instrumentalist is is, however, disputed by others.* Harmony imphed in the one fact of Stratonicus having played chords upon his instrument. Again,the Epigoneion instrument of the an was harp kind, witk forty if it had but half that number, some strings ; and even of them could only have been useful for harmony, as the voice would beyond fifteen very rarelyextend notes. "Although the Epigoneionis now transformed in the uprightpsaltery," says Athenseus, "it still preserves it. use
was was

the

name

of the

man

who

was

the first to

with

Epigonus was by birth an Ambraciot, but he subsequentlymade a citizen of Sicyon,and he of great skill in music, so that he played man a his hands, without andrians a plectrum; for the Alexhave

great skill in all the

and in all kinds of that of the
an

above-named This

instruments,

flutes."'' the

quotation is another evidence of playinginstruments custom

both hands had
to

Egyptian

extended,

at

Alexandria
on

the

the

first who

Again, to of Philochorus, that he authority between introduced duets harp

instituted from the
a

Greece.

harp kind with early date, firom buted, Epigonus is attriwas

and

and who flute, Several been

chorus." Latin authors about ninth have also

passages brought into and

discussion the

ancient

harmony,
Horace,
celebrate his
"

before the
"

them among referred to. Actium the

epode

of
to at

Horace with

proposes

victoryof

Maecenas,

villa, the song with

See AthenEBus, lib. xiv. cap. 42.

lyrebeing intermingled
"

Athenseus,

lib. xiv. cap.

42.

AtheniBus,

lib. iv. cap.

81.

150

THE

HISTORY

OF

MUSIC.

"with, flutes for those Sober

tastes

"

Dorian

strain
"

on some

tte

one

side, and
suited there the
were

yonder,Phrygian and manly Dorian

and of

or

other."*
have

might

of Maecenas

Horace, but

others, Horace
more

"for It

something thought, who would prefer erotic even enthusiastic, bacchic, more or lively, ^ch a joyous celebration;
seems

almost

needless

to

remark

upon

this

is of the voice,the. passage that the "intermingling" and lyre,and the flutes,and not of the Dorian

Phrygian
the words
was

are kept apart by sufficiently songs, which hac" and "illis." Yet the F^tis theory
"

built

upon

opposite construction. directly

to

He

omitted, however,
he and
were
more

elucidate

one

system, viz.,how

proposed that
two to

the

part of words,

his the

rhythm,
character

the
to

time, of
be than made
a

of songs harmonize

opposite together.
and
was

Something
Fifths
upon
was

succession that he

of Fourths Yet
an as

requiredfor

this

system

that passage of music for the

was

purpose. built up

it

imaginary
it
was

Greeks, and
the

his

he only proof, together les

"

under
et

Grecs

les

of coupling necessity Eomains," in the title of

his book.*"

subjectof the Romans, there is a 84th Epistleof Seneca, that was long passage in the him from after borrowed by Macrobius," and which refers both to the ancient chorus,and to harmony, it gives a curious while picture of music at the
While
on
" "

the

Sonante Hac

mixtum

tibiis carmen illis barbamm."

lyra
"

Dorium,

""

M"mmre

mr

I'llwrmonie
les Grecs
to

shmdet les

Proem. Seneca lonim

Macrobius
in this fashion: illic latent
...
"

abbreviates

tariie des Romains.

"

Sons, chez

"/tosiuguex

(pp.

16

36.

4to.

1859.)
"

apparent
Conviviorum dissouis."

e"

omnium voces, fit concentus

SatwrrwMorum

SENECA

ON

ROMAN

MUSIC.

151

publiccelebrations
tlius
"

of

Imperial Eome.*
of how

It

begins

:
"

you not observe cborus consists ? and aU. One voice

men

Do

yet

voices persons' many sound is produced but one

from
a

has
;

voice,another high,
tones
are

low,
are

third
to

middle of

the

of

women

added

those

intermingled. No siagle voice is distinguishable only as a portion ; it is heard of the whole. I am speaking of the chorus with which the ancient philosophers were acquainted ; for, in our public celebrations,there are more singers than there were formerlyspectators in the theatre. When of singers has filled up our every array the between ia the seats amphitheatre passage when the audience part is girtround by trumpeters, and all kinds of pipes and other instruments have the sounded in concert from stage out of these sounds is harmony produced. Thus would differing
;
"

flutes

"

I have

it with

our

minds."

Another

allusion to

which Epistle,'' adversity. He

"

is.on
there
to

harmony is found in his 88th the subject of consolation in

says
"

:
"

And low
"Non

now

music

you

teach
"

how how

voices concord

high
may

and
"

make
vides,

harmony together
quam multorum
unns

genus

orgamormnqne
ex

consonuit,
Talem volo." transeo.
se

vooibus
ex

chonia
sonus

oonstet,

tamen

fit concentus animum

'
"

dissonis.

omnibus

redditur.

Aliqua

esse

nostrum

iUic acuta media.

est, aliqua gravis,aliqua

Tiris

Ad

musicam inter

Doces
et

Accedunt tibise.

feminse,inapparent. veteres phi-

me

quomodo
voces

acutse

terponuntur
latent De
voces,

Singulorum ibi

graves
nervorum sonum

consonent,

quomodo potius
con-

omnium

disparum
fiat concordia:
mens mea

reddentium fac
secum

chore, dico, quem

In nostris theatria
omnes

losophi noverant.
bus in quum

commissioniest quam

quomodo
sonet,
:

animus consUia
TtiiTii monstra

plus
olim

cantorum

nee

discrepent,
modi fle-

spectatomm
ordo seneatoribus
omne

fuit

Monstras biles: inter

qui

sunt

vias
cavea

canentium cincta

potius, quomodo
non

implevit,et
est, et
ex

adversa

emittam

flebilem

pulpito

tibiaruni

vocem."

152

THE

HISTOEY

OF

MUSIC.

arise from how my

of varying sounds strings

may

"

rather, ^teach,
and itself,
my

mind

be in concord discord.

with You

thoughtsbe
show rather

free from

fittest for mournful how

pointout modes strains,but, in my adversity,

restrain, the utterance of any from

I may

mournful There

note." is another

equallyunequivocal passage
music book in

Cicero, relatingto
found
"

parts, which
"

will be

in the second
as

of his

For,

in

stringsor
is

Republic: in vocal music, or pipes,

be maintained
or

certain different

consonance

to

out

of crepant, disthis

sounds, which, if changed

educated
ears

made and
as

cannot

endure

consonance,

is voices,
so, out

of

arisingfrom the control of dissimilar yet proved to be concordant and agreeing the highest, the lowest, the middle, and the
"

intermediate becomes

orders

of men,

as

in

sounds, the

state

through the controlled relation, and by the agreement of dissimilar ranks ; and that which, in music, is by musicians called harmony, the
of accord
same

is concord Cicero's
mere

in

state."* of the word

definition

concentus, in

ought to have been enough to prove the Republic, Hie [sonus] whole acuta : cum case qui graviconcentus bus temperans varios sequabiliter efficit." had read vi. 18.)Again,if any of the disputants {Rep., of Aristotle's Problems, and Section 19 especially
his
"
"

""Uteniminfidibuaauttibiis,atque
ut in oantu

et
vi

ipso

ac

vooibus, concentus
ex

mediis, et interjeetis ordinibus, ratione somis, moderata civitas,

quidam sonis,quem
est

tenendua
inunutatum

distinctis aut disore-

consensu

diasimillimoruui, concinit;
a

non aures pantem diaex concentus, iaque poasunt; simiUimarum moderatione, vocum et contamen efficitur, concora et Sic inflmis, aummia, ex gruens.

eruditse

ferre

et qu" harmonia in cantu, ea est dia."

"

musicia civitate

dicitur
concor-

in

lib. ii.cap. (Ciceroi)ei?ep"6.,

v.,

42,

vol.

p.

28.3,edit.

BoniUet.

1831.

8to.)

CICERO

ON

HABMONY.

153

No.
are

39, in which
more

he says that all concordant agreeablethan singlenotes, and

"

sounds that of

concords

the
to

Octave

is the
to

most

that agreeable," the Greek of music

case.

ought
been

have

sufficed

prove

But, in truth, floating upon

the

surface

has

for ages more popularthan diving. It is now curious to look back the upon about the

ardent

discussions of the

harmony,
to

or

the

no-harmony,
of

ancients, and
names

read

the

number

tinguished dis-

Burney History of Music

and
not

Dr.

among devotes
to
a

those who

took

part in them.
of his this

nearly forty pages

dissertation
own

upon

subject,
is

concludes

with

his

smnming

up, which

the least curious The

part.

of names from his followingis the catalogue eighthSection of vol. i. It does not include those who

enlisted, or
who

were

drawn

into the discussion be

after
as

1776, neither
those French.

does

it affect to date
:
"

complete

to

preceded that
"

Charles La

Perrault, Claude

Boileau, Racine,

Perrault, Bruyere, FonteneUe, Abb^

Mersenne,

Fraguier,
Cerceau, and

Abb^

Roussier,

Burette,

Chateauneuf, de Chabanon, Father

Jean

Boujeant,Father

Jacques Rousseau. Franchinus Italians. Gaffurius, Glareanus, Marsilius G. B. Ficinus, Zarlino, Vincenzo Galilei, Doni, Zaccharia Tevo, Bottrigari, Artusi, Tartini, Bontempi, and Padre Martini
"

Spaniards. Germans

"

Sabnas

and

Cerone.
"

Athanasius ^Kepler, Kircher, Isaac Yossius, Meibomius, and Marpurg. Dr. John English. Wallis, the mathematician ; Sir WiUiam Isaac Sir Newton, Temple, Wooton, Boyle",Dr. Bentley, Swift (in The Battle of the
and
"

Hollanders.

154

THE

HISTORY

OP

MUSIC.

Mason, Dr. Jortin, and, lastly, Boohs),Stillingfleet, Dr. Bumey. There would be no difficulty in adding largely to but it suffices to show tbe great Dr. Bumey s list, interest formerly taken ia this subject. In his erroneous summing up, Dr. Burney adopted an The definition of Harmony of the Ancients," from the he missed Aristotle, Mason,* and in translating distinction between the Greek and Sumphona Antiphonay of literature there is perhaps no In the history than that, with the number one thing more singular
"

of learned have
one

of all ages, and of all nations, who enquired into the historyof ancient music, no
men

of them

should

ever

have

to as adequate investigation every-daywords, which have modern languagesthrough the Latin. have been faith implicit cause may

thought of making an the meaning of the been incorporated into

In some, the in all Church is
an cause
"

usages

and
excuse

traditions; but that

;

alone

cient insuffiare

and it?
to

yet,
One

to

what

other

we

to

attribute

mainly owing
"Mason's
succession of

that
is "The

lack

thing is certain of enquiry that

icai icpdms."
"

it is

Greek
Oxford.

definition

irTutne

(p. 82.

ing

to

their

acuteness

simple sounds, scale,with respect to and grayity." (Burney's

accord"

8vo.
*

1673. )
He translates the

Aristotle thus

"

History, i. Dr. Bumey thing

above? himself
nearer

125. ) did to not

How

was

it that
some-

encounter truth

Fifth nor Fourth, though concords, were sung together in concert' Instead of "in ^(i. 137).,
"

"Neither

the

than

the

concert"

"

he

should

have

written

Even

without

troubling

to look to primary sources De information, in Vossius's have he Poematum might Oantu, found the following quotation ;ready Si hn hand to SvoXy : 'Sv/npuvia
"
"

a"iisuccessions," as or, "not phons." By translating"in confer cert,"he has made Aristotle contradiet himself writer. It and must every have other been Greek Dr. the to

"in

nXewvuiv

fQoyyuni b%vr")Ti
KarA. rb

(cat

ISapdmin Sm^tpovriav

aiirb

Burney's misunderstanding of word antiphon that .led Viim definition. accept Mason's

THE

MODERN

DISCUSSION.

155

music

has

so

long
to

remained music in

mystery,

and authors

that have

passages been There

so

relating
long
are

classical

misunderstood.
extant

no

specimens
but which there will

of remain form

ancient three the

Greek of

or

Rqman

harmony, hymnal
melody, chapter.

Greek of the

subject

next

156

CHAPTEE
Three Greek

VIII.
"

hymns
Greek
"

with

music.
"

Assistance three

to the

learning rendered only trustworthy

hitherto.
"

by

illustrious Oxonians. of

The
"

hymns
modern

remains
Eeasons

music. Now

^Not

duly represented
notation.

given.

published in father

ViNCENZO and

Galilei,

of the

great
with
e

astronomer

mathematician, Galileo
Greek Musica

Galilei, was

the first to their

pubUsh three ancient in his Dialogo delta

Florence, in
1581.

hymns
Antica
were

music,
at

Moderna,
a

They
then

manuscript that was St. Angelo, at Rome.

A
same

in

copied from the library of

Greek

Cardinal

second

Greek
was

manuscript,which
found

included

the

hymns,
Usher,

the among in Ireland, after his

a

papers

of Archbishop
was

decease, and

bought by Bernard,
who from Rev.

College, took it to Oxford. The hymns were printed that manuscript,under the editorship of the Edward of Christ Church, at the end Chilmead
Greek edition of the astronomical poems of

Fellow

of

St. John's

of the

Aratus, publishedby the Universityin 1672.

During
earnestness

the

seventeenth

century there

was

great

ancient When

the learned at Oxford in reviving among Greek that of music. literature, including

Mark

Meibom,
authors

or

Meybaum,
edit
a

(in Latin,
of the
to

Meibomius,) undertook
works them of Greek
at

to

collection

Antwerp,

upon he received from

music, and
most

publish
of the from

heartyencouragement
members

and

assistance

eminent

University, and

from particularly

Selden,

SELDEN,

LANGBAINE,

CHILMEAD,

WALLIS.

157

Young (who had been librarian to James I. and Charies I.,) and from Gerard Langbaine,Provost of Queen's College, of and keeper of the Archives the University. They lent, or procuredfor him, the loan of valuable Greek manuscripts from private and both Selden and Gerard libraries, Langbaine copiedand compared transcripts ; the latter collating with the best of the numerous Greek manuscriptsin the libraries of the University. ChUmead gave up his prepared edition Gaudentius of in Meibom's favour, and all concurred in promoting and in giving have been to his work. must publicity Many copies bought in England, for no books upon ancient music have been more commonly found in privatelibraries, when sold by auction, than the Antiquce Musicce Auctm-es of Nevertheless, for want Septem. suflSciently general encouragement, and, as Dr. WaUis adds, (" propter rem angustam domi,")scarcity
of means, series SavUian Meibom found Then of himself Dr. John unable
to

Patrick

further. Professor

WaUis,

carry the who was

Geometry in the University, included the remaining unpubhshed treatises of Claudius Ptolemy, of Porphyry, and of Bryennius, with his own with texts works, (givingthe Greek and with large and useful comLatin ments translations, pubhshed by the upon them,) and these were therefore be said It may University in 1693-99.
that, within
towards ancient music that half the has

century, Oxford

did

more

advancing
than

knowledge of this most been accomplishedby any

before
a or

Universityin Europe, whether

In

after.

1720,

M.

Burette

found

third

manuscript

containingthese hymns, in the King of France's them at Paris, No. 3221, and he reprinted in library

158

THE

HISTORY

OF

MUSIC.

the fifth, volume 1720. The but the Florentine French

of Mimoires

de

I'AcadSmie

des

scriptions In-

edition edition

agrees with that of Oxford, adds six introductory lines,

to

-without three
or

music,
four

to the

Hymn

Apollo,and supplies

missingnotes. These remaias of hymns are the only trustworthy ancient Greek music; for although the first eight of the first Pythian of Pindar were verses printedby Athanasius Kircher in his Musurgia, in 1650, and asserted to have been discovered were by him in the famous Sicilian library of the Monastery of St. the port of Messina, he was Saviour, near by far too be followed with to imaginative ever safety,and in this case. especially Although every possible search was made for the aforesaid manuscript soon and all the manuscripts in the after his announcement, this could never be found. Monastery were catalogued, The Te Deum Laudamus that Meibomius printed the of his Antiques'Musicce commencement at
Auctores, and
an

which

Sir John but

an

Hawkins exercise Plain how

mistook

for

ancient

copy,* was

of Meibom's into Greek

ingenuityin turning Church musical notation, justto show

as

Song
it would

look; and

it

was

then

flat in the Te in the Plain

Germany to sing the B Deum, although the flat was not marked Song, he adopted the Greek sign for B
custom note

the

in

but flat, notation. there make

left that For the

natural

in the

ecclesiastical

of English readers understanding flat at the signature, should be one to so as with his Greek music.'' it correspond

"

Hawkins's
Meibom

i.p. 49. 4to. flistoJT/, has

given
the

-wrong C

Greek
on

syllable populum
to the

"Sal" tuum."

in He

"Salvum
there

fac turned

characters

for

note

the

wrong

scale.

GKBEK

HYMNS

WITH

MUSIC.

159

The the

first of the

three

ancient

Greek
an

hymns
address

is to
to

Muse

and Calliope,

it includes

The second is a Apollo, as leader of the Muses. addressed to Apollo, and hymn of greater length, cated the third, which is imperfectas to music, is dedito state

Nemesis.
music from

No

fair estimate

of the be

former

of

formed music
no one

in any country can the remains of its been in

arrear a

adequately Sacred hymns.

secular,and
of

has

always

of the

would music

hymnal

represent the

although
even

such

ordinary fairly century would in Europe, present state of music similar a specimen might, by some
that suppose of the present

piece

chance, survive
these
state

for many hymns throw

centuries
some

to

come.

Yet

Ught
were

upon

the ancient

of the art. Burette's without the time

Before

they

Chant,
He
was

any attempt at first who reduced

printed as Plain timing the notes. them according to

them and barred after so ; and length of syllables, others. The him. Dr. Burney, and plan they to mark long vowel, or syllable, adopted was every As by a minim, and every short one by a crotchet. the this aiTangement often irregular, metre was threw them be objected of rhythm, and it may out that it
was

not

the

system that
music of the

should

have

been

adopted
notation.

to

represent ancient
In the time

in fairly

modem

andrian Ptolemies, the Alexthat of the poems of

Homer which those

grammarians discovered included a largenumber they then set themselves held were irregularities
for and
"

to

Hnes,' irregular to rectify ; but be sufficiently

the poems
were

accounted

excused, because
xiv. cap. 32.

lib. Atlienseus,

160

THE

HISTORY

OF

MUSIC.

written

and were intended always to chanting, be rhapsodised, chanted. In music, it is not or that the exact of syllabic reading-length necessary words should be adhered It would to. thereby be and become in monotonous deprived of all variety, the extreme. Music has the power both of prolonging and of shortening the duration of words, and in metre. For thereby of covering irregularities'

for

instance,we
the Psalms
as

chant

the

Te

Deum,

the

Jubilate,and

written and How

even

much

to as music, although rhythmically Rhythm is the parent of melody, prose. beat regulartime to their songs. savages then must more rhythm have been an

essential Greeks

part of
copy

Greek of
now

music, when

it

was

from
!

the

that the laws is

rhythm
but

were

derived

Burette's

little in the

hands

of

English readers,therefore further remarks, although of general appHcation, may be limited Dr. to Burney's later version,which is in the same styleas that of Burette.i. 86, et seq.) -{History, First,as to the imaginary difficulties in adding a base to the music of these hymns. Dr. Burney are so Upon the whole, these melodies says : of harmony, or the accompaniment little susceptible
"

"

"

of many parts, that it would base to any make a tolerable the first."" (i. 97.)

be
one

even

difi"cult to

of

them, especially
this
to

Seeing
selected
added
to

no

sufficient first of

reason

for

comment,
have
a

this it.

the

hymns
and kind

base

My

learned

Professor friend. of

G. A.
has
"

Macfarren, of the
in the Greek So view reader

Royal Academy
two

Music,
in the

contributed obligingly

kinds

of

harmony
himself

one

of the will
now

modem.

the

key, and one judge for

SCALES

DECIDED

BY

THE

KEY-NOTE.

161

liow

far Dr.

spoke of the for harmony. Dr. Burney printed all three in the key of F discovered sharp minor, because, says he, It was of that these hymns were sung in the Lydian mode the Diatonic by comparing the notes with genus, those given by Alypius." (i.95.) That all the is be found in the to notes are Lydian mode undoubtedly correct, but a little further comparison would have shown that they are equally to be found The in the Hypo-Lydian mode, with C # as Mese. that a modem musician note one might not expect d" natural in the upper to find in the key is it is essential to the Conjunct, or Octave, but Therefore Sjmemmenon, tetrachord of that mode. has to be determined the question the modes between of the two which notes, F by Aristotle's law nearly comphes with the sharp or C sharp, more ? In required conditions,as the Mese in question that view there can hardly be a doubt but that C Mese. is the nominal So sharp,and not F sharp, the hymn is to be taken in the usual hymnal scale of the Lesser Perfect System, with a semitone, instead of a tone, above that string. above the keyof the semitone The paxticular use note, of this d" natural in a mode having C sharp (as as Mese,)was that it enabled the playerto modulate the from Hypo to its parent key, as here from Hypo-Lydian to Lydian,the latter being a Fourth higher. If we look back to the tuning of Terpander's seven-stringed lyre,and of Ion's ten strings,
"
"

lie when from the mark Burney was of these Greek hymns insusceptibility

"

"

"

semitone above find the same Mese, and so may the tluree scales,. Ion's, and this, may Terpander's,
we M

162

THE

HISTORY

OF

MUSIC.

be fairly this

said

to

establisli the
favourite
trace

ancient
we

and

Herein, too,
above Church allowed Dorian. noticed "a"
;

the Plain

of long continuance hymnal modulation. b flat" originof the

"

in and

the

Ghant

of

the

Western

how,

in

its most from for this

ancient

form, it
to
im-

of the
If it

modulation
were

Hypo-Dorian
one

but

hitherto would

link between

the two, these

hymns

be

of considerable Another

historical interest.

point to be observed is that,even in the seventh century B.C., Terpander had exactly the number, and the same series,of notes down same jfrom his key-note as in these hynms, although he but had Fourth the hymns above a it, whereas extend Seventh. to the minor to the Sixth, and one The lyre for the hymns was perhaps one of ten since the compass does not of the voice-part strings, exceed ten The of the Hypo-Lydian Mese notes. mode is the tenor c ledger sharp,that is, one line above the base staff and one ledger line
" "

below Fourth
to
"

the

treble.

The

vocal

below

to G it,viz.,

compass sharp,and

extends rises

to

a," the
to
"

minor

Sixth, and, in the

Seventh.

upwards Hymn to

Nemesis,
In

b," the minor

to writingout the Hymn to Calliope according the strict quantity of syllables, the metre being Dr. Bumey adopted the system of making irregular, and four changes of time, from to common, triple

vice

versd, within
two

the first Kne

of the these

music*
seven

He

included
and

lines of

poetry within
with
a

bars,

began

the

eighth bar

rest.

Si, Movaa,

/loi

^i

Xij,Mo\

Trijc

flAjeKUT

"(vol.

xo^' ap i. p. 86.)
-

lEREaULAR

METRES.

163

Dr. or puzzledany chorodiddskalos, ia time with Bumey himself,to have kept singers such interruptions of rhythm. It is strange that he should have printed it so, after having remarked but
a

It would

have

few

rhythm."*

pages The
"

before time the

that of

Greek

music

was

"all

notes," says

Gaudentius,*"

rhythm of the poetry."There is not a shade of probability that the hymn can have been intended to be simg in the hobbling, Even if unrhythmical styleadopted by Bumey. by
it had been
as one

"is to be ruled

desired
way

music,
no ject,

ridicule upon ancient of disposing of a troublesome subto

means

throw

more

effectual

could have

been
"

The iambic"

hjam. is described in the text as and the {Jambos Bdkcheios),

the second
"

adopted. irregular irregularity

was

beginswith
called of
"

line.

The

first is what

Dimeter,

or
"

Two

Measure" This
was

iambic,consisting

four

poetic

feet." in

formerly called

Minstrel Measure"
A

England."
philg.

I eldg, Mousa, | moi

is
a

poetic foot having the first short and the second long. The spondee syllable has two long syllables. In irregular metres, the law which overrules the
i.,p. 66, of his History "What a of Music, Bumey says : barbarous music ! all noisy and This is a rhythm and no sound." the employstrange comment upon of the ment foot, the hand, of oyster shells, or of bones, only
"
"

The

iambus

In vol.

mark

the

rhythm,

but

do

not

con-

stitute the music,

*

Gaudentius, p. 3, edit. Meibom.

to

beat

time.

Have

not and

castanets, tambourines, drums,

cymbals
for the

been
same

used

in modem

times

might, perhaps, with equal "Stemjustice have been named hold and Hopkins' measure;" stiU four iambics employed unare by no means for lyric poets. In metre common be barred from music, they would the down beat, or strong accent,
"

"It

thus: purpose? They all DSs I cend, y6 nine, dSs | cend Sad sing, Th6 Ibreathing Instrtl | ments Inspire."
"

164

THE

HISTORY

0"

MUSIC.

strict timingof syllables is the Measure

A
not

of the

verse,

Measure

consists the

of two
same

of necessarily
to

poetic feet, which are kind, and is the equivalent

one

the bar in music.

The

difference between

the two
or

is that the bar of music

beginson

the

thesis,
That

down
was

beat, which
once

is the

stronger

accent.

or dancing,as the arsis, the strong one that began the movement was up-spring, with the hand, as ; whereas, in beating time the and for music, the strong beat is downwards,

order

reversed for

arsis is weak.

In the

case

of iambic

verse,

or

other

with the arsis, i.e., beginningwith a weak syllable, that syllable is placed before the bar. So or up-beat, of iambic, has the appearance of the reverse of trochaic, the firstsyllable viz., or long and the second the music short.
to
or

The

has quantities syllabic lengthof irregular and down

to be fitted into the

subserve up and

arsis and
verse,

thesis,
in the

beats been

of the

foot of

adopted. Instead, then, of such constant changes of time as those adopted by make Dr. Burney, which equallyconstant changes of the rhythm, one rhythm should have been preserved. The syllables should have been brought into the beats of the bar,in the best way the sense would permit,and with aU the regard that could be paid to relative when exact Proportion quantities. may be preserved ^it is but as quicker slower speaking. or lengthcannot and music will go together. When Thus verse number of beats can be brought into each the same lines of stanzas, line of a poem, or into corresponding be no in writing out should there the difficulty A musician will be further guided in this music. by the notes themselves, which often indicate to him the author's design. Therefore in a musical system
measure
"

that

has

RHYTHMICAL

BARBING.

165

SO

identical could

with have have

our

own
one

as

is the best

Greek,

Dr.

Bumey
and the

been

of the

if he would less of
state

in

thought more the equal diu-ation which the hymns have

interpreters of musical rhythm %f syllables.* In

hitherto been

presentedto readers,it is doubtful whether any one have noticed a singlephrase of tune in any one can of them. Those phrasesof tune are now brought out.
There found which many in old timeless
are

,so

cases

in which

music
over

is to

be

notes, but written

that

poetry,

gives
may who

the

measure,

melody
musician
as now

yet be
wUl

rescued

fine old a many obhvion from by a In the

adopt this

course."

there has been little printed, in their time, Burney's copy as to notes, but much in order to preserve rhythm. the Long and the Breve in music wei'e Anciently, the long and the short in duration to equivalent and they took their names from in recitation, syllable But the system of musical the longand short syllables. notation has been changing century after century in
the Dr. Burney haa measured syUablea in the opening of the Hecuba of Euripides,and has given them a comical by timing appearance
"

hymns change from

mitted. trochaic

As

with

iambic, except
fifth of
were

so

with the
to

metre,
and

that

first,third,
and

be

trochees, instead sixth, and

varied.

second, fourth,
rest

them

in
"

the

same

fashion
are

as

the tri-

the

might
or even

be

hymns.
meter,
was

(i.72.) They
or

in

Perpetual trochees,
iambics, without
have been
too

per-

six

feet, iambic, which

petual
would for
ears

stops,

employed in the dialogue of tragedies,and required that sixth feet the second, fourth, and should be iambics,leavingthe others to be filled up so as to give variety. be rated not to Greek plays are
Greek like modem operas, in which every

monotonous

long time, This was the course I pursued in ancient out copying English manuscripts, and it was songs from often proved to be right by the fact
*

to bear

for any

that

the

airs

were
as

in

many
as

cases

syllableis set to varied music and to be chanted, timed. They were and in chanting,greaterlicense than
this

country-dance,
times.
must

well,

baJlad,

To have

be been

dance tunes they strictly rhythmical,

might

have

been

well

per-

166

THE

giSTORY

OP

MUSIC.

favour be
more

of notes

that will occupy rapidly written, and

as

less space, that can that be tied can for the

notes
even

together so glanceas to
last,the
and

to

form

gmde

eye
;

at

one

the dtiration of several and

,

until

at

crotchet

quaver,

or

the

semiquaver,now of ancient syllable

that the
notes

represent the
I

long
the

quaver and short

times. first

therefore

recommend words
as

be

crotchets,and that the

determined be
or

copied over time of precise

Then

the former

be

afterwards. into in

that the line of

divided
accents

or two, by scanning, a

poetryby the ictus,*

to the

and reading,*"

bar drawn second

music
one

before bar is

the
a

down-beat

of the

half

This
as

sufficient division for short metres,

in the

first Greek of

hymn,
the Then

but

in the

case

time, triple

divided. bars the the

cases

lines may let the notes

longer lines,or requireto be further

within those

of

be timed

accordingto the reading of the words, and as of phrasesof music appear to require. If some should fall badly,there are accents stiU parallel
in modern Httle music. With such
care

there

seems

of material variation from the probability design,and it is perhaps the only way of original To bar music at it. is a comparatively by accents arriving modern bars were first practice. When of time, therefore introduced, they were mere measures old barringis not to be followed implicitly. but
" "

The

structure of each
as

of

verse

is such words

but

what for

their the

names

viz., indicate,
and fall of the The for

division

line form
to

by
a

the

marks

rise

comprising it
most

movement ear."
"

voice,or pronunciation marks.

Greeks had also other called The
to accents

agreeable
D.D. the

the

(Theatre of the
Donaldson,
*

Qreeks, by J. W.
p. three

quantity,
which

of irpoaifdiai,

37.)
Greek
accents and
were

hereafter.

practice
grave

of

of

by printed books,
Not accents

giving quantity
acute accents in differs from

the modem

and

for the

grave

Europe
use.

acute

in ancient

Greek

ancient Greek

CHARACTER

OF

THE

HYMNS.

167

of the the first word Calliope, second line is marked spon,"for "spondee,"or for two spondees, in the line. The two long syllables of a spondee cannot be brought into iambic metre, but iambics can be brought into spondaicor common time, by addiag on to the long syllable, or by a

In

the

Hymn

to

"

pause

between

each

foot. which

There

are

several

other be in

lines in the
common
"

hjonn

equallyrequireto
the iambics
must

time.

Thus

become

as irregular," they are said to be. The long,or accented accented" in the syllable, using the word modern of giving quantity,may be further sense lengthened by a dot or rest, as required in Greek
"

verse

for

katalexis be

to

make

up

the

time,

or

both

syllables may
to the

shortened, according proportionably

of metre.

necessities music

The

of the

hymns

is included

in five

more

known to Burney. Fac-simUes manuscriptsthan were of them were printed in Berlin in 1840, by Dr. F. From Bellermann, who added a collated text. this, BeUermann corrected A several wrong few notes are
are

notes

in earHer in aU

printed versions. and manuscripts,

type.
Greek
"

deficient

they
were a

here

suppHed

in smaller

hymns
of

tranquil kind
at

of

music,
was

emblematic

mind

ease."

There

no

gehenna in the creed of the heathen to disturb their ected equanimity. Every banqueting party was subj to wore a men god ; and, accordingly, garlands to the gods, and appropriated greeted them with odes.* and Eomans Thus, Greeks hymns and the at emulated Egyptian ladies, seen p. 63, in of cheerfulness and festivity. a subject making religion
' '

"

Athensena,lib. v.

cap.

19, p.

192.

168

THE

HISTORY

OF

MUSIC.

in the is printed Hymn to Calliope following lower Hypo-Lydian modej as transposeda Fourth by Claudius Ptolemy, in order to bring it within the So G sharp is the Mese, reach of ordinary voices. distinguished by the A natural above it. At 'the have taken the placeof G old pitch, C sharp would sharp,and the voice part would have ranged up to a requires high tenor voice : a, which
"

The

EI2
erZZ
'

M0Y2AN.

"la/i^oi BoKxeios.
"'

(p
t

(}" 4*
M cj"

'^

AeiSe, M.ov(ra, fioi (j"iX"i, Sing,0 Muse,

enrov

dear

to

me

MoXttw
Z Z Z

^' e/x^sKorapyov,
E
(Twv

My
Let

song

lead thou

Z
air

i'

Se Ajjpi]
M Z

oKireow

the air of

thy groves-

cr (f) p M(p aSoveiTCO' 'E/ia? (ppevas "r p Mp "T (p (T KaXXtOTreta a^ocpa,

Excite

my

mind

skilled in art, Calliope,

'R

d"

"r

(T

cr

(T

a-

n.

Who

leadest

the

gladsome

Mouffft))/ irpoKaQayeTi Tepirvuiv'

R
"r (jf)

Muses

I'M.

And

thon, wise initiator into

Kat
M

crod"e
r
E

fivarroSoTa,
Z EM

mysteries,

|0

o-M

A.aTOvs yove, Ai^XteTLaiav,

M

Son

of

Latona, Delian Apollo,

i' Z

o-

or

Ev/xevelg irape(TTe fioi.

A

Be
THE

at

hand, propitiousto
OP THE HYMN.

me.

SCALE

TO

EXPLAIN

INTEKPEETATION
or

R0C

o-jo

ill P m
Since Dr. have

wm
Bumey's time
been the first

^
other

^
the the

hymns
deficient
over

discovered.

manuscriptsof They supply

vary

"p in

line,and

the letter E

the fourth and

sixth lines.

HYMN

TO

CALLIOPE.

169

No.
With
an

1"

HYMN

TO

CALLIOPE,
G. A. Macfabben.

Accompamment
'A
-

in the

Hypo-Lydianmode, by
ad,
jioi

Mov Bi,

^i Xij,
-

MoX-tt^j S'l /iijg

-

^
rt

m
A

3E
-ei-de,Mou
-

sa,

moi

phi-le,

Mol

pes

d'e-

mes

Kar

dp-xov,

AB
w-^

pij
""
"

li adv
P- p
"

av

Sk

ai-iav

"E

fi^^kat
-

0-

4:
Au
-

=62=;
re

^3^
-

^
B

ar-chou, SI

de

son

ap'
"

al

se

on

-fTrti
.

..",..J
.

^J

i^ J

"

hr

fidg
-"
"

fpi

vas

So

vei

"

n"

"

KaX-

Xt

o-ira

s-

"1
do
-

^
Kal
-

mas

phre- nas

nei

t5 ;

li -o-pei
-

f^'-ii-jn-.ii^m
^is

"

^f5^
(TO
-

?f=y
-

^
T

i^
'

0^,

Mow

cuiv

irpo-Ka -da

"

yk-Tt

rep-irvuip Kai

^=lil
so-pha,

^
Mou-s5n

iF^

pro-ka-tha

ge-ti

ter-pnon;

Kai

^#-^^-JH^
Si

^s
^-^-^

170

THE

HISTORY So

OF

MUSIC. Aa

fJL

(TO 00

^k
OE

UV fiv

BTO OTQ

Ta,

tovq

yo

vs,

so

phe

ma

sto

do

ta,

La

tous

go

ne,

^^^^^^^m
T r
#

aa
A^
-

^
"J
.
-

^
-

Xj

"

Ilai

dv,

Eu

ps

vets

jrap

ffre

/iot.

*l m'H-^^^
w
De li
-

^^=r4^^-J^
e

Pai

an,

Eu
J

me-neis

par

P^m
^
THE
The the
as

Si_

s
#
SAME HYMN TO CALLIOPE.
in

friend G. A. Macfaeeen, by my melody is again harmonized has G sharp as its major Third, and to which key of E, which the progressionspoint. key-note, aU ^E t'A i SfeH^^^b^
-

E,

El

Mow

(Ta,

fwi

^ir^Vi

MoX-7rqf

fl-p^c

^H=F
-

ei
!

de, Mou
I

sa,

moi

phi-le,

Mol

-pes

d'e-mes

M ^m

:fc=5
4

^^
4

rt=sR=*

Tim
^^
ate

^i
ffl
-

^SP

F=P=F
ap'XoVy
Au
-

pij

^f G"v
^

a\

wv

'E

^?
kat
-

p
son

"

:^^^
ap'
al
se
-

ar-ohon, Au

re

de

=1^
on

^^^^^^^m
pa^^^=

^^m

HYMN

TO

CALLIOPE.

1/1
KaX Xt 6-7rei

ii*i f"r- j'.i. Ji.i. j^j riij J-JJ J

-

jUiJs

0p| -vag

So

vd

n"

'

mas

phre-nas

do

nei

to ;

Kal

li -o-pei

m^-nf#Tt""i4i4
sfi a
Mo"o-uK

m
irpo-Ka-Ba
ye
-

^
rtp-TnimV Kai

Is* g7~J
BO
-

^^4^-^-^^=^
pha,
Mou
-

^"=
ge
-

Bon

pro-ka-tha

ti

ter-pnon

Kai

li* m

^^^^^^m
S?^?^=^
CO

Mi* W^
(pi fiv

"TTo

do

ra.

Aa

rows'

yo

v",

p'*j."J.
phe
mu

J'l
sto
-

"g

FLa

do

ta,

tou3

go

ne,

g^Jj:
^%7^Aq
-

Jl^f' ^^^
"

M
Xi
-

;S
av,

:^==t

Hat

Eir

^e- V"if

irdp

ark fwi.

p^tr ^Tj
De
-

J
-

J. J^j
Eu
-

li

Pai

an,

me-neis

par

ste moi.

ffiip}^\i-M:t^m
^
1
r-

*4

^^m

172

THE

HISTORY

OF

MITSIC.

precedinghymn proves two points. First, that it was that there should be but not indispensable in Greek note to a syllable music, for here are a single vowel. several cases of two to one notes Secondly, that a long note might be given to a short vowel as weU to a long one, for over as spondee"is marked short vowel. These are strongarguments in favour a of the system of bringingthem into rhythm, for
"

The

which freedom There

I contend. exercised is
a

In
as

b oth cases, in music On

we

find the

same

of the the

present day.
a

Greek

passage

Phrasing of

Composition,by Dionysius of HaJicarnassus, that would have and to been of advantage to Burette remembered it. It or Burney, if they had known is But rhythm and music diminish and augment the quantities of syllables, often to change so as them to their opposites. Time is not to he regulated but syllables hy syllables, by time."*
,

"

"

That

there

may

be

mistakes

in the

music

cannot

that repeated transcripts have been requiredin so long an interval of time. of the manuscripts from which the above No one is older than the fourteenth is derived century,and they are mostly of the fifteenth. The musical notation of Aristides Quintihanus, of like that Alypius, is altogether in capital In the hymns, the capitalE. represents letters. broken Beta; the small Sigma (o-)represents a the capitalC, the older form of Sigma ; and the small Eau Greek for the {p) is a substitute The Greeks letter. noted music capital by letters
"

be wondered

at, after the

"ij Sk pvO/uKrlKai fwvaiieij fuairdc

Kal fitiovaai rdvavria Eif

ra^aXKovaiv
"

av^ouffm, Saari iroWaKie

oil ydp \HsrU')(ii"piiv

rais

ajjXKapalg

xp^^ovg, oKKd rotf avvmJWajiae." (Ilfpi rag "xpovoiQ Keiske's volBiaiwe ovonarov, edit., v. p. 64.)
Tovg
"

avtvOvvovai

PROBABILITY

OF

ERROR

IN

MUSIC.

173

inverted,jacent both on upriglit, the face,turned and right or left,

letters. Such notation would be misconstruction

the
even

back

and

on

stand undernot copyistwho the musical the broken system ; especially most letters,as he would likely attempt to set them of the manuscripts there are right. In some "letters that do not even belong to the scale. The to begin correctly, but to be Hymn to Apollo seems in the after part. The authorshipof the first wrong two hymns, if not of all three, is attributed to in the Oxford Dionysius, manuscript,by the words in Dionysiou Hymnoi at the commencement ; but other manuscripts the third hymn is attributed to The Mesomedes. Mesodmes, or rhythm of the and third second is of twelve their or syllables, in point of time, for each line of the eqtiivalents poetry. The Hymn to Apollo, duction, savingthe six hues of introis set to music throughout;and it rambles than the other two. about in a less tunable style In to Nemesis, there are the Hymn only six lines with

by

very did

by parts of subject to

music, which

is written in
one

over

the

first

part of the

hymn, except
consists of

and manuscript,

yet the poetry

to

twenty lines.
verses,

The
so

Greek

which

are

not

set

music,

are

accessible to the

and in of Music within it seems to subject, directly my imnecessary With the same motive of avoiding reprintthem. needless extension, the reprintingof the separate and third hymns with the Greek text of the second Greek music-letters over them, in addition to the

curious,in Dr. Burney's History other that, not being sources,

modernized

version, may

be

excused.

The

one

174

THE

HISTORY

OF

MUSIC.

the Hymn example of Greek musical notation over to Calliope will probably be tbougbt sufficient. There but little difference of notes tween beis, again, the but Dr. Burney's copy and following, much in

the

time

allotted The

to

them,
is

as

well

as

difiference of

key.
treble the real

hymn

printedlike
an man
a

the

last, in the

clef,and
as pitch,

therefore if for

Octave

higher than
music from

reading

the

treble,or G, clef.

In this case, however,

scale of Alypius, CJf original minor, to show how high Greek hymns were, and the Ptolemy's system of necessityfor Claudius transposition.

it is left in the

No.
Xt

2."
0
-

GEEEK
vo
-

HYMN

TO
pov wd

APOLLO.
-

(Ski ^d

rep

'A

ovg.

^m
Chi 'Po So
-

t2=t:
o
-

pi
-

?2Z

no

ble

pha
oq

rou

pa
tv

ter

A irii

ous,

ta

sav

dv

ya

\ii"v,
?2I

l#l m
Ko do
-

?2Z

es

san

hos

an

tu

ga

po

Ion,

TLra

voiQ

vie

i;)^

vt(s

oi

pte
Pta-nois

M.

hup'
oeat
-

ich

nes

si

di

keis,
k6
-

Xpw

oiv

a-

yd\

Xo-fie-vog

jiaig,

li^ m
Chru
He

H^^^l-l
seai
-

sin

gaj

lo-

me-nos

ko

mais,
-

pi

vS
0

Tov

Tret

pi

rov

ov

pa

vav

tt $ ii
Pe ri

m
ton

^
pel ri
-

no

ton

on

ra

nou

HYMN

TO

APOLLO.

175

'Ak

tT

va

TTO

Xv

arpo

(pov

afi

ttXI

"

KtaVf

^m
Ak
-

^
ti
na

"z kon,
.

po

lu

stro

phon
kI

am

pie
irii

At

y\ac

"JTO

Xv

Sep

yav

i
m

Isl s^
Ai

'"^^=^\^m
glas pi yai
"
-

po

lu

der

ke

pa \ia

gan

IIe

av

ira

aav

mav.

^il* gf

r
Pe

kJ-il^
ri

rw
ha
-

rll
son.
-

gai
Se Ce

an

pa

aan

he

lis

TIo-

ra-

fioi

(f" "fe

Bev tfsv

TTv

pbg

dfi (3p6

row

fm^
Po- ta-moi de
se
-

*t

^Erf
"Z
then pu
-

-f2-

ros

am

bro

tou

TtK

Tov^aiv

I
"

iTTt

pa"

tov

fu

'

pav.

Mi gag
Tik
-

P-=

m
-

^
me
-

zE:
ran.

tou

sin

pB

ra

ton

ha

2ot

fi^P

%o

pbg

Ev

St

og

ark

pfjiv

ls*i SE

PZZK

T2Z

^
men

^^
03 a

Soi

cho

ros

eu

di

ste

r5n

Kar

'O

Xwjn
-

vov

voK

ra

x"

"

P"

"

^^

it iteg
Kat' 0
-

m
Imn
-

pon

nak

ta

cho-

reu

ei,
ei

*A

VI

TOV

fii

Xof

cd
.

iv
0
"

6.
."
.

Si"iv,
f2-

m
A
ue
-

"f"

":
ton
me
-

1
don,
p"f,

los

ai

en

ei

St

np

iro

ue

vog

\i

IS
Phoi
-

^^
be di
ter
-

^
po
-

me

nos

lu

ra,

176
rXow

THE

HISTORY

OP

MUSIC.

Ka

Si
0

ira

pot

6e

Se

\a

va

1^1

frj^-f
Glau
-

ka io

de

pa
ov

roi

the

la

na

Xpo

vov

pt

ct

1*^ as
Chro
non

m
lio
-

:?C3

i
on

ri

ha

ge jia

mo

neu

ei,
axiav'

Aew

Kwv

wo

(rip
-

ffi

iio

tt
"^

^
Leu
-

P^^?^ m
po
n
oi

kon

hu Ss

sur

ma

si ei

mo

schon;

Bav

rax

v6

of

fie

vf/Q

i^^f-f-i^ i il
Ban
rto
-

-Y-rrfr^=^
te

nu

tai \v d

de

hoi

no

os

eu^

me

nes

fio

"

va

k6"s
'"

\U)v

Xiff

(Si""v.

Isl m
Po lu ei
mo
-

^^
na

^
mon

\^\{^ ^^
he lis
-

kos

son.

able; Hymn is,in one respect,very remarkfor, although noted, like the others, in the is pitch, Hypo-Lydian mode, which, at the original its term C sharp minor, it is rather in what we relative major, viz., in E. It is so, according to The Third Aristotle's laws would
must
as

to

Mese, and, except for D

laws.
a

natural, laws, D

be be

by sharpto
so

modem make

By
Greek

modern

major Seventh
of
a

in the

key

of it

E is

and

as

is natural

in the

because scale,

onlya semitone, instead minor Mese, or key-note,

of E

tone, above, the ancient

the modem that

therefore

key
one

would

lose

one

of its four

and sharps,

If,then, D is to be natural, the major Seventh. instead modem key is A major, with three sharps, The hymn is essentially in a of E major,with four. major key, and is another of the many instances in
its

HYMN

TO

NEMESIS.

177 the is right against could not be

a

which musical

the

ear

has

guided to
under

what

laws of ancient

times. Greek

There

complete major key

down which
to

musical

laws, even

the

close of the

thirteenth

century, after

Biyennius wrote, but every old minor scale had a major scale within it, the third on by beginning in A minor note instead of upon the first, as ascending to begin on C. So this is irregular music that would have been condemned by the critics of the age, but such as would, nevertheless, please the ear, and which has been sanctioned by the laws of later times. And to the date of this Hynm to Nemesis, as now therewith of how far back and the practice of a major scale may be traced. The earliest evidence about the hymUj according is to Burette, is that it ancient than Synethius, a father of the Church, more
"

who after

flourished

four and

hundred

and

twelve

years that

Christ

who, in his ninety-fifth letter,

from time
to

quotes three
was

verses

it

as

firom sound

hymn
to
a

sung "It
. .

in his has

the

of the

lyre."
poet,

been

attributed flourished thinks

by
the

some

named

Mesodmes, who
Burette and

under
name

the emperor

Justinian, but
from Antoninus
name,

corrupted

Mesomedes;
from whom

in his life of Capitolinus, a Pius, mentions lyric poet of that that

withdrew a part emperor of the pensiongranted to him by Adrian, for verses he had written in

which

praiseof

his

favourite,

Antinous.

Eusebius, in his chronicle, speaks of

as a a

Mesomedes
he calls

of poet originally of Nomes for

Crete, whom
the

composer

Kithara,

(KiOapwSiKwv vofMwv

fiovcriKos

well with the author

"

of

which TToii/Ti/y) agrees very the hymn in question."*So

i. 92. N

Bumey,

178

THE

HISTORY

OP

MUSIC.

says

the autliorDr, Bumey, quotingBurette, but still for these hymns are free certain, ship is by no means

in a very different stylefrom Nomes. compositions, musical gi"ounds, An4 now, to judge upon strictly which
account.
seem

not

hitherto

to

have

been

taken

into

The here

scale in which
to
a

extends

Seventh

they are upon the Lesser of a tone, above the they have the semitone,iiistea.d key-note. No such extension of the Lesser Perfect System is mentipned by Claudius Ptolemy, writing in the first half of the second century of our If the compass note had extended era. yet one above Octave the keyto make so as an note, higher, not have been a Lesser it would System, with the Greater; and but of equal extent one to it,as not being two Octaves Ptolemy'sobjection in extent, and, therefore, not being "Perfect," would
_

hymns are noted above the key-note;yet Perfect System, because

the

have

been

removed.*

It resembles

more

the scale

adopted by the Christian Church, which combined the Greater and Lesser Systems, but which they only employed in the Dorian and Hypo-Dorian modes. A second inference against any very considerable in which the music Greek antiquityis the mode We should of the hynms is written. hardly have be addressed in to expected Apollo or Nemesis the Lydian or at Hypo-Lydian mode early any but these modes of Greek history, were period very later in times.. Boethius much used comparatively only the musical notation of the Lydian and gives' Hypo-Lydian, and so does the author of a late treatise of an Greek writer,published anonymous The hymns appear, then, to have by BeUermann.
"

Claud.

Ptolemy, lib.

ii.cap. 4.

INTERNAL

EVIDENCE

OF

DATE.

179

been written after the once-attributed

of modes had been

characteristics

found and they were forgotten, to be mere differences of pitch. but These remarks not offered as sure guides, are they lead to inferences that the date of the hymns earlier than from the second
to

is not

the

fourth

The poetry has been considered century of our era. bear strong marks to of having been written at a
"

and it flourishing;" that Paganism must would appear, from the subjects, also. have been at least surviving, if not flourishing, The translation of the music of the second hymn is printed at the old high pitch of the scales of to a but Claudius Ptolemy'stransposition Alypius, lower Fourth is here adopted for this third, as for the first hymn, because they are sufficiently curiosities at this day. melodious be sung to as time when Greek

poetry

was

stiU

Both be

Euclid

and

Gaudentius

transposedto any The harmony has been kindly contributed by my G. A. Macfarren, who is the first person who friend, taught a system of harmony founded upon publicly the laws of Nature, in this country,or in any other.
NEMESIS.
"sa,

say that the scale may within Octave.* semitone an

No.

3."
fie
-

HYMN
TTTc
-

TO

pSi
Ne
-

Nl

at

p6

ta

/3i
-

ov

po

wA,

F rir
me
-

r crir
-

m^
bi
-

si

pte

ro

es

sa,

ou

ro

pa.

flH"li: lil^i^li^^^
p
#

1^

I*

d7ro ttjs fitra/loKai Sia fiixpirov ^lUTOviae apidiuvai,

"

Vivovrai

Si al

vaaSv.

180

THE

HISTOEY

OP

MUSIC.

Kv

n-i/fi

jri

9e

d,

8v

ya-rep

At

sag

"

"A

p%-^?=f=ff^^^f-f+r-^
Ku
-

41

-no

pi

The

it,

thu-ga-ter

Di

kas

Ha

fag-H^H^dd
m
T

(coS

0a

j"pv -ay

/ui

ra

Bva

tSiv

'E

lit S
kou
-

?^
pha phru
-

ag

ma

ta

thna

-t5n

*l pm^. "

r^

^m
k^

:g=

f=f=F=

^^^
"""
"

X''?

"

^''"A"*"

"

"

X"

^'

*
"

"V

'%

"ag
pe
-

^^
cheis
a
-

da-man

ti

cha

li

no

Ech

P^
^
flou
-

^
^
(7a

^'.

;i j^i
f"

rr

fe
;3piv
6 Xo
-

f 6

av

/Spo

?^^
thou
-

sa

d'hu

brin

lo

an

bro

t8n

W-4^
J
J

J IJ J=^=f^
J

gi

,J

,J J_

SECOND

PAUT

OF

THE

HYMN.

181

Me

\a

va

"p96

vov

Ik

rbg

\av

vuq.

M^.
Me
-

J
la
-

j-^^ii^
na

m
-

phtho-non

Ek

tos

lau

neis.

^l i 'jr^^^-^j--^^ ^au^TJ-i-U-^^^fJ-^ W
The Nemesis
music
to

the

second been

part of the
found

has of

hitherto the

Hymn only in

to
one

manuscript
the
as

fifteenth

century, which

is included

in the other
to to

Royal Library at Naples.' Like all manuscripts,it is in an imperfect state

music wondered
cannot

the be

for

some

few

words, but
than second the
or

this

is

not

at,

consideringthat
be later

the

date fourth third.

of

the

author

century, and
Several

is, perhaps, of the

had, in aU transcriptions made. been some Again, there are probability, notes that, in three cases, I so evidently wrong of the have changed one, giving a memorandum
intermediate
"

The

reference

mann

is No. MS. of

given by 4, c. 262, iii.,

the

Bellerfol. 83.
on

Ptolemy,
Bacchius No.

an

anonymous

Peri

Mou-

sikes, Aristides
"

Quintilianus, and

This music

includes

treatises

the

hymns
1544.

at

fol. 457.

Aristides

Bryennius, Bacchius, and Quintilianus. Another

aJso the of
same

4, in Paris, No.
Petrus in

2458, written

manuscript,
century,
includes
c.

the

fifteenth

in the

collection,
It is 259, iii., In this
are

No. 5, in the by University Library at Leyden, is No. and of 47 of Scaliger's collection, sixteenth

hymns.
verso.

century.
of St. Mark,
or

No.

6 is in the codex
tury cen-

218 i., fol.,

Library

Venice,
fifteenth

Claudius

Ptolemy

with

Porphyry's
on

318, of fourteenth
"

Commentary,
The other

Plutarch

Music,
Bacohiua.

241

folios, including the

of Nioomachus andDom-

and Aristides Quintilianus,

arithmetic

Bellermann Bavarian

manuscripts quoted by No. 3, in the Royal are Library

at

nius, Ptolemy, Porphyry, Manuel Bacchius, Bryennius, Nicomachus,

"c.
to

Munich,

codex

This music

215, fifteenth or sixteenth containing Porphyry,

century, Plotinus,

manuscript is for the hymns.

deficient

as

182

THE

HISTORY

OF

MUSIC.

change
a

at

the the

foot

of

the

little of

Greek
to
so a

Having learnt its system, aiid especially

page.
own,

strong
them
are

resemblance been of

our

cannot

conceiire There the tention in-

to have

writtea

by
so

the author.

other

cases

doubtful
cannot

nature,

but

These In the

of the composer await the must

meantime,

be discerned. easily of another manuscript. finding the continuation of the hymn first

is not

equal

to

the

part.

THE

CONTINUATION
'Y iri abv rpo

OF

THE

HYMN
"

TO

NEMESIS.

x6v

ara-rov,

an

jSrj Xa-po

"

f^m
Hu-po
Trd
sou

^
tro-chon
a
'

7=^
-

sta-ton,
-

sti
tv

bS
"

Cha-ro

"

$ $ $ i

ill m
pa

/a

p6

TTbiv

orpl06

rai

%"

Afi

"

-"-

^i^=^
me ro
-

f^
tu
-

pon

stre-phe

tai

cha

L5

fei SE

r
thou
Fav
-

"

g r
sa

r^
par po
vov

~rj ("3
"

r-

de

da

bai

neis,
veig
'

poi

/ic

va

kKI

tit m
Gau "T
-

22

^^
au

rou

me

non

cie

na

kli

neis ;
New
,
-

iro

Trq

xvv

si

/3"

tov

lei
Hu
-

/le

rpcif

ry

"
Neu
"

po

pB
-

chiin KoK

ei i

bi

o-

ton
Bar

me

treis,

iS eg

"e

ffv

irb

irov

El

^piv

s
eia d'hu
"

po

kol

pon

ei

kat'

phrun

CONTINUATION

OF

THE

HYMN

TO

NEMESIS.

183

Zw

ybv

/it

ri

i^
i

i"l
Zu "I
-

XH

pa

Kpa

tov

aa.

iP5S
gou 01
me
-

Z2r

ta

chei

ra

kra Si

tou

\a

fia

xai

pa

xa

ffiro

Xe

"

lil ii

r
Hi Nl
-

r
la

f
thi
ma
-

f^?
kai
-

ra

di

ka

spo
o"

le ;

jKE
0

(71

Trre

po

eir

oa,

/3i

fJo

ffd,

*A ss
Ne Nl
-

^
me
-

^
bi
ou ro
-

si 6e

pte
-

ro

es

sa,

pa, Ni

fic-

ttiv

uv

ai

lo

fti

va

00i

riv,

Mrjg r"rNe

.-T

g r-pir ^
me
-

^
na

^-^^-t

sin the

on

ai

do

me

phthi tan,
-

Ni

i i

is m i* m

Ktjv

ra

vv

fft

7rr"-

pov

6fi

^pl

juav,

Nq

^
k5n
ta
-

nu

si

pte -ron
wd
-

cm

bri

man,

N5

flip

rk

a,

Kat

pg

Spov

Ai

Kav,

^
mer

te

a,

kai Xa

pa
vo

re

dron

Di

kan,
-

Ha

tAv

fiB

ya

pi

av

|8po

t"v

N"

fii

i ite
tan
me
-

^
ga
-

^
"=^
la
-

no

ri

an

bro

ton

Ne-me

"

ow

aa

ipk

ik% m
so
-

peif

ica-ri

rap

ra

pov.

i
sa

w=^
-

phe

reia

ka

ta

tar

ta

ron.

This is

would

be

A, accordingto
wrong.

the

manuscript,

but

here

the

script manu-

undoubtedly

f D,

in the

j This
the

manuscript, which cannot be right. be B, according to the manttscript. should

of the music is deficient.

After

the

next

notri,

remainder

184

THE

HISTOBY

OF

MUSIC.

to anticipate a discovery hopeless of genuine remains of ancient Greek music, any more that it may be sufficient to point out the scales at Meibom's Antiques p. 27 of Aristides Quintihanus, m MusicoB Auctores, as the more probable of the two In the lower part of that page clues in such a case. the enquirer will find,in Greek notation by letters, a complete scale,iucludingevery semitone exactly in our modem Chromatic as scale,fi:om Gamma,

It

seems

now

so

or

the
"

on

the

lowest

line of the Octaves and

base
a

clef, up
and clue

to

the

b," which
it. The letters
over

is three

major Third
the be

above under

line is for the voice upper for the are lyre. If this the notes which the letters

copiedout
the

represent,
than

far less tedious process will be found turning from one mode to another, in the

by
of
can no

Alypius
also be

in the referred

same

collection in
case

but

pages his work

to

of need.
two

There

is

great difference
more

between that the

the

systems, but

it is

given by Aristides should the than seemingly earlier one by serve, Alypius, of whose date nothing certain is known, but which has been variously conjecturedas of the second, and as of the fourth century of our era. probable
The been difficulties of Greek often musical notation have is one who exaggerated. Burette this hyperbole, and Bumey quotes the

clue

indulges in
passage : "It is
"

astonishing," says
so

M.

Burette, "that

the

ancient
course

Greeks, with
of
never

all their
as

genius,and
was

in the

them,

ages many invented a

music

cultivated
more

by

shorter

and

ous commodi-

sounds in of expressing way and twenty notes." 'sixteen hundred

"

writing than by i. 19.) (Burney,

EXAGGERATION

OF

DIFFICULTIES.

185

Bumey
neither whose the their there
sent at
men

argues

gravely against
nor

tliis assertion historian

to

but

he,
works

Burette,
I
am

any

later
seems

with

acquainted,

have
was

observed under

table
eyes,
are

of

Aidstides
at

Quintilianus,
of his of treatise. those and

which

p.

27

Besides which

this,
were

other

copies

scales Gerard
notes. turn

to

Meibom
243

by Selden,
and last
244

by

Langbaiae,
Learned
to

pages of

of

Meibom's did
not

the

century

original

sources

overmuch. entire notation Aristides in of all the modes is hended compreletters but each
more

The

by

thirty-eight
are

double

(gramimata).
as

Quarter-tones
but
one

not

included,
added in

there

was

such in

sound each

tetrachord,
double total

and

so,

two

Octave,
In

eight
any
case

letters
must

would far

have short

sufficed. of sixteen

the and

fall

hundred

twenty.
There which is still in
some was

is

Greek

notation for the the

or

by

another

set

of

signs,
system

employed
in of

rhapsodizing.
services world. of the A for

This Greek

employed
parts

Church kind of

similar

notation the Western the middle

by

neumes,

signs
was

raising
once

and
use

ing lowerin latter from

a

voice, (pneumata,)
Church. of and The music will

in of the

the
to

conversion
seems

purposes ages,

to

date

only
of

the later

form

the

subject

chapter.

186

CHAPTER
Basis of of the
"

IX.
laws. of

science.

"

Its

fundamental divisions

"

Earliest
not

uses

music.
"

Mathematical Minor
tones
"

strings

alone

sufficient.

introduced Neither

hy Didymus,
scale
nor

and

followed

by
is
were

Claudius

Ptolemy.
one
"

the Greek the

the modem Elevenths

properly in
concords.
"

key.
"

Hence
to test

question whether
"

How for of

intervals.
and

The

true

proportions
"

for scales. of The

Eules
and

adding
"

deducting
of the
"

intervals.
modern

Scales

Bidymus
law
of

Ptolemy.
the Seventh
"

Defects
true

scale.
"

Nature minor

only

guide. Objectionsto present

low for scale.
"

the

Fourth Concord science.

"

and
and

of the

Causes

of

Discord.
too

^Pythagorean ideas high

and
too

realized
our

by

modern

Sounds

hearing.

The in
a

discussion
measure,

of ancient go
so

and

modern
;

science
our

must,

hand

in hand

for,as

present
times science

scale is is

Greek,

whatever

to applies

ancient No

to the present. equally applicable estabhshed fixed and clearly has more

fundamental them
as

laws

than

music.

The

wind

will teach

it

plays upon the although tuned

to

emit in

exists
or

stringsof an ^olian harp ; for, them to one pitch,it will cause law sounds of every variety. The same the nsiturai sounds of a trumpet, horn,
of any
same

tube open follow in the the tube

so

kind, and
succession..
as

all the

notes

wiU into

By blowing
make the

slowly
the the

just
or

to

soimd

continuous,

lowest,
entire

fundamental

note,

produced by
heard of the
; ;

foUow

length of the pipe is first the rapidity then, by gradually iticreasing breath, an ascending series of notes will of which be predicted as one may every

THE

SOUNDS

OF

NATURE.

187

they
extreme

rise

of the

gradually, higher and higher,up to the pitch that can be obtauied from the breath mouth. The same risingsuccession of notes
in the harmonic sounds

is heard
one

of the

fundamental of

long stringsof a note, produced by

upon after the pianoforte, the whole

that

follow

has been the struck, and when string, subdivides itself into smaller and smaller gradually nodes before finally coming to rest. They then follow so rapidlyas to seem into the to run one other. From these

length string

laws,

Diatonic, and a perfect The proportions of musical intervals any given note. either by the divisions of a string, be measured may or by the gradual cuttingdown of a pipe. Results be foretold with certainty either in harmony may as the proportions of the good or bad, by calculating intervals together with the roots of the sounds, and without ear. Again, the any appeal to the the eye be stopped, and will tell,from ears may the sounding the motions of sand scattered upon board of a pianoforte, surface, or any other vibrating
whether instrument the be former the chord has
case,

deduce both a may Chromatic scale from perfect

we

that
a

has

been
or

struck
a

upon

the In will

been the

concord

dispord.
sand

movements

of the

symmetricaland regular; and, in the latter, they that will show discord reigns by their disturbed state, and by their seeming to battle together." The Octave is the first ascending sound, after the scale of nature, and primary one, in the harmonic subdivisions all subsequent sounds of it but are at higher pitches. The Octave system, with its
"

The

following optical represeuintervals of the

tation

of the musical

as shown Fourth, Fifth, and Octave,, by sand upon a vibratingsurface,is

188

THE

HISTORY

OF

MUSIC.

included and

and and

harmonic-foUowingFifth,
minor
as

and

Fourfcli,
of exist brain
not

major

Thirds, is the
is well

foundation

all music. in the

Sound,

known, does
of

atmosphere,but is an affection produced by succeeding elastic waves

strike that
upon
reason

of the

air that

the

drum

of the called from

more

ear,

and

which, for

only,are
this,and
can

"sound-waves."
more

From

all

much

that

might

be

said, there
was

be

no

evident Creator

fact than music

that it should from

the the
we

be

design of the companion and

may be deduce
no

that

the

solace

of man; mouth

and

this there

that, in the
medium fitting

of man,

can

more

for the

praise

of his Maker. The their which

are

ancient

heathen

attributed

divine earliest

to origin
uses

the music, and, accordingly,

we

to

find of

those
was

applied by them religious worship. At a later period,

cultivated for educational purposes, the with chiefly

it to

have

been

music

also

the Greeks, and especially among the mind above its too frequently view of elevating "The noblest first and grovelling tendencies. is in offering of music," says Plutarch, application the next of praise to the immortals the tribute : and is the purifying, regulating, harmonizing the
"

souL"

Speaking
copied 25.)
The from for lower
Octave.

of times
Quwrterly
of each

past,Plato
is middle

"

says
C,

Our
0

music
below the

the

Journal

or

the
:
"

of Science

January,
note

187Q.

(No.

lines ia the

treble

interval
Fifth. Fourth.

THE

EARLIEST

USES

OP

MUSIC.

189

accordingto certain speciesand kind of one figures. Prayers to the gods were of hymns. which to they gave the name song, another Opposed to this was specieswhich might be called Threni" (FuneralDirges), "another, Pceans" (Choral Songs to Apollo or Artemis), and another, The Buth "which of Dionysus (theGreek Bacchus), I hold to be the dithyrambic verse. There were also Nomes" chants a (or simple and severe upon few high notes), "accompanied by the Kithara, which others being were equallydistinct. These and some it was kiad of allowable not to use one prescribed,
was

then

divided

"

"

chant

for

another.

But,
unlearned

in

poets

introduced

process license

of
;

time, the

they, being

but unskilled in the rules of the poeticby nature its laws. Over-attentive to science,trampled down threni with the please, they mixed hymns, and with music intended dithyrambs, imitated pseans for the kind flute upon the Kithara, and confounded each with other." {Laws, lib. iii.)Add to every
"

this Plutarch's

account.

He of the whole honour

says

"In

the
was

yet more
unknown made and
were

earlytimes, the
to

music
;

theatre
art

the

Greeks
to

the the

subservient of purposes then unknown those sacred

of

being then the gods,

themselves music

to

education.
;

Theatres their

and

only
were

consisted in

of the

strains

which

employed
"

of paying adoration the to temples as a means Supreme Being,"(te tou theiou,) and of celebratiug the praisesof the great and good of our species. It is probable that the modem word Theatre,' and the very ancient theorem one (to look at), have their derivation from Theos, the Deity. In the present day, so great is our degeneracy,that
' ' '

190

THE

HISTORY

OF

MUSIC,

absolutelylost botli the knowledge and the notion of that system by which youth were and The virtue. formerly trained up to honour and hstened of studied to is that only music now the theatre." [De Musica, cap. 27.) Notwithstanding the divine originattributed to
we

have

"

music, it
civilized Nature
as

doubtful whether is very of antiquityknew nations

to

any the

of laws

the of

prescribedsuccession of musical sounds, or, perhaps, much beyond the general that high observation, such as that of Aristotle," of more notes are rapid vibration than \av( ones. So far as we are acquainted with ancient systems have been founded to of music, they seem upon instrument of the divisions of a stringupon some monochord movable the kind, with a bridge under it,for the purpose of measuring ; (hupagogeus) else to divide by pressingthe string against or a finger-board.Since, then, the science of music learnt from .a thus string,it must surely was of offer the most means simple and intelligible of explainingit. It will give the least amount trouble to the reader; and, although there must be figures in all cases, yet, if explained by a than the elementary rules of nothing more string, arithmetic can be required. is defective in Greek The one system essential point ^that,although the divisions of a the ratios that its parts or string will show intervals bear to the whole length,they will not in which those intervals point out the positions be placed in a musical scale,so as to make must of them within by keeping them one consonances
"

the

"

Aristot.

De

Audib;

p.

801

and

p.

80.3,edit. Bekker.

DEFECTS

OP

THE

GREEK

SYSTEM.

191

key, or from one root. So, a scale may look well and proportioned upon yet be practically paper bad. The same length of a stringmay be divided
off iu
rest ;
one

part,

so

as

to

be

concordant be

witli

the

and, in another
defects of this

part, to

discordant. many
own,

shown in are origin, the Greek in. our scales, and, among others, being wholly Greek. The

The

of it

Octave, the

Fifth, the

Fourth,

and

the

of a string major tone, {ie., sounding eight-ninths included in compared to the whole length,) were the Pythagorean system of music ; and the seemingly slightchange which created true consonant major and minor Thii-ds,and the minor tone, (of ninetenths of a string compared to the whole,) were improvements introduced by Didymus about the of the Christian era, and followed by commencement the Claudius 130 140. or Ptolemy, about year StUl, the Greek Diatonic scale remained a compound of and soimds derived from different

roots, and

was,

is, therefore, strictly speaking, in instance, in

of the the

different

keys.
For one-half
our

adopted
Octave,
from
or

scale the

of

major,
on

Diatonic

notes

the

long keys of
the is other

is in pianoforte, the

the scale of scale of F.

C, and
This

half is derived its

consequent upon
Greek

of two and

having been composed out conjoined tetrachords, B, C, D, E,

taken
as
as

E, F, G, A, which, when

major scale, and not of a minor, in their roots or key-notesthe one

in
same

parts of a of old, have

the other in the

C be

and

F.

If way,

minor

scale show

were

to

tested

it would

greater variety of roots,

from the

therefore greater deviation

rightpath.

192

THE

HISTORY

OF

MUSIC.

comparison with, the presentlyprove this ; but,

order that the

scale in the

of
mean

Nature

-will

time, in
may and F of be of C

purport of these understood, suppose that, in the

we

remarks

key
the

major,
in
a

sound

in the

base, and

with
at
a

it 0

the

treble,the
The But C. G

last two treble if

we

being
makes sound

interval with

Fourth. base the and from taken other

discord the

the

again

immediately below it,instead retain C as the base, it is a concord.

G
to

C with upper of the F above, And

yet
the

C, and
the

from

to

F,

are

both
'above

Fom?ths and

from below C

key-note,the one it,in our key of C.

to

The

difiference

is,
is of be

that from

is

an

disavowed artificial interval, of

by

Nature

in her interval.

scale The

C, but

from

G the

to

Nature's

former

is from Then

root

F, and
in the As I

requiresF
These

for its base.

cases

it wUl

concordant.

wUl

be further

exemplified
of

sequel.
my

present subjectis the

the
at

Science
our

Music,
scale.

speak freelyof
deficiencies

defects

of

adopted
system
what upon,
a

Its

may any

least be

made of
see

ever known, howbe. may dwarfed

improbable
Let
us

change
have the G
to

face the for

and difficulties,

melody we having copied from

scale The
two

work

tkrough
F,
were

Greeks.
to

intervals the

from

C and

from

to

puzzles to writers upon Harmony, not but even far into the present only for several ages past, They had no rule by which they could century. duly account for Fourths being both discords and considered to be one concords iti what was key, so they divided themselves into oppositecamps ; the that Fourths, and what have been conteijding one
of

MATHEMATICAL

SCALES

INSUFFICIENT.

193

called

"Elevenths," or Fourths, were concords,

combined and the

Octaves other
as

and

stoutly

of Neither discords. maintainingthat they were the two parties to the Harmonic thought of appealing scale for the solution of the difficulty. Harmonics trouble to until lately, looked upon a more as were, makers that ought to be got rid of,than pianoforte of music, and as as being containingthe essence therefore a necessary study for a musician. There is indeed little that
our can

be

more

instructive

than

comparisonof
with scale of Nature. Octave become
may
a

calculated scale,
most

by

Greek

maticians, mathe"

that

ancient

of aU

scales

^the the and

be

so

Every musical interval within misplacedas to leave the key

it is from each
are

discord,and
a

the scale of Nature has

to

only

that

fittingpositionfor
Mathematical scales

be

determined. without

insufficient in deficiency

it, and

yet this

material

them, and
but may in

in our scale, has been own especially choice of good intervals A little thought of suffice for varied harmony, but to be consonant from the same be derived one key, they must

root.

preceded the time of Didyof although usually coupled with the name mus, might equally be called the scale of Pythagoras, ancient Asia, and of ancient Egypt. It has already that the Greek scale began a been shown one-octave Fourth below the key-note, thus taking the interval
The Greek of the Fourth downward in its consonant form
to

scale which

the

key-note or Mese, and that it ended a Fifth above the key-note.Also that the Fifth above the key-note was compounded of a major tone, called diazeuctic, and of another Fourth. So the or disjunctive,

194

THE

HISTORY

OF

MUSIC.

skeleton remained intervals. Nature

of the but

Octave
to fillup

was

thus
two

the Greek from

were

and there complete, Fourths by smaller the scale of

So far the agree, These

two

scale and that

and

company. each into choice of the

Fourths

point they part subdivided, originally

a

major
tones

tones
was

and directed

remnant.

The of them and in kind

a
a

major
exact

by
a

one

being
Fifth.

interval
two

between them
were one

Fourth included

When

of

Fourth, the
semitone which the

remnant
was

became in the
a

of

that
to

of
to

which
name

ratio
was

of 243

256,

of

diesis
as

given by

the earhest later

Pythagoreans, such Pythagoreans named

of the
were

PhUolaos, but

which

interval taken
out

limmas, meaning "remnants" of the Fourth, after the two tones

of it.

Aristoxenians
remnants

and

Greek

musicians practical but such semitones

called these
are

semitones,
the semitone

diiferent from music.

was

of later When

Greek, and
the Greek

of modem scale
on
a

extended
at the
a

to

two

Octaves, by adding
of the upper at the with

Fifth

lower Fourth

extreme at

Octave original

scale, and
scale
own,

its

end, the

two-octave
our

key-note,like
law
as

began and finished and agreed equally

of the Octave.

Nature's

to

the

skeleton

Therefore, for the comparison of ancient with modern music, which

proposed,we will take one in this latter form. Octave Suppose the key to be Hypo-Dorian, or A minor, then from A to B will
the

is here

the tone, and there will remain disjunctive two Fourths, B, C, D, E, and E, F, G, A, conjoined just as on the long keys of a pianoforte. be The the way
to

test

such

intervals the

as

the

Octave,
and the

Fifth, the

Fourth,

major Third,

CONSTITUTION

OF

TKUE

SCALE.

195

stop* successively the half,the third part,the fourth,fifth, and sixth

a

minor

Third, upon
to

is string,

to

parts,and

sound

the

remainders

of the the

string,
sound

comparing
of the

each

of these We

intervals with have

no

equivalentin modem music the note to produced by stopping the seventh part of a string, which is the Harmonic length.
Seventh, but
It
was

whole

it is

natural

note

upon

the

horn. with

employed in the untempered instruments, such

in small and

last
as

century

fiddles and

basses,

bands,

as

well
no

as

horns

trumpets had

for ages before, when keys or shdes. It affords

additional

key.
Harmonic
we

It

in melody without change of passages the Harmonic is called Seventh in

to

reference

its

B
use

key-note, so, in C, would flat,and we might employ

our

be

called

it where does

cannot
a

because flat,

the

latter

effect in his

change of key. Swiss singers, says Spohr, Seventh employ the Harmonic Autobiography,
music,
as

in their which

weU

as

the

Harmonic

Fourth,

produced by stopping the eleventh part of a string. They are quiterightto do so, because they enlargetheir sphere of melody,
have Nature B
on

is the

interval

and

their side in both the upper into two

cases.

The

Harmonic G
to

flat divides

Fourth, from

aU-but-equal key of C, parts, and these might be called Thirds, but they to the minor of diminishing are compass, and next Thirds that we employ. Nature's Octave is divided the eighth part into eight tones, beginning with
C
stopping'' any part of a string is here mentioned, the stopping or meaning is absolute shortening the length by so much,
*

in the

Whenever

"

The

not string must lightly at a point, for make and it subdivide

be

touched would

that

itself

by nodes,
effect,

produce quite a

different

and

sounding

the whole

remainder. o

196

THE

HISTOKY

OF

MUSIC.

string up to the sixteentli part ; but we, the Greeks, Chaldseans, and Egyptians, following with their seven seven notes, have planets and
a

of

still but G C
to to

seven.

Natiire
same

divides of

the

interval,from
that from

C into G. the B

the

number

parts as

As

seventh

part
the

Harmonic the

flat, so

key-note, C, above that the stoppings of the ninth and parts of a string raise its pitch by of our major and of our minor tone.
the moderns
pass
on

string gives the eighth part stopped gives it. I have already said
of
a

of the

the

tenth

intervals

From

those,

to

the

sixteenth

part, and
is

by
now

stopping it, they raise the note by what termed a indifferently major semitone, or a
semitone. from Its from F
name

Diatonic
to

When
to

E,

from pass down it is by the semitone

we

C in

B,

or

question.

is from

the

Latin, and

that

of hemitone

they are equally improper ; because, instead of being a semitone, the interval of a sixteenth part of a string is really the smallest of the eight tones of Nature. It is too wide to be Its name should the half of even our major tone. have been Didymus and Ptolemy changed when enlarged its proportions.The Pythagorean limma, Aristoxenian semitone,was as 243 to 256, and Didyor mus changed it to 240 to 256, which is as 15 to 16. A true tonal scale is from the eighth to the sixteenth whatever the length of that part of a string, the fundamental string may be. Length onlychanges The two intervals to which note. we give the name the largestof the eight of Nature's. of tone are in the ascending Those eightdecrease progressively the Octave ; and we employ but three of them, viz.,

the

Greek, but

THREE

NECESSARY

RULES.

197 the
"

largest two,
"

and

the

least. least
we

We

name

first two

Tones," and
There is It

tMs

misname

major

or

Diatonic

semitone."

another, and
is
a

truer

semitone, in modem

music. fifth than

part of
G

produced by stopping the twentyless and therefore is miich string,

semitone. G It is the
true

the Diatonic and

interval C This It is is

between is the

sharp

in Nature's
or

when scale,

fundamental

sound, other, has

and
"

key-note.
names.

semitone, like the

called
"

two

minor,"
from

Chromatic,"
of F the

and

it

employed when unchanged, as G sharp.

All Greeks the
were

the

name

note

remains G
to

to

sharp, or
were

from

the in

before-named
some
one or

intervals other and

used

by

the

of their scales. the Harmonic

Even

Harmonic thus

Fourth

Seventh

included.

semitones were coupled major and minor scale of Didymus, and together in the Chromatic tone. the minor combined two are equal to one

Our

Hence, when
Third Fourth

he added the

the usual

interval

of

minor

between
or

highest
made

two

tetrachord, he

strings of the the best possible

With

scale. Chromatic arrangement for a Greek diazeuctic such the two tetrachords, and

ma^or
he

tone, he
His divided

completed
his

the scale

Octave.
was

Enharmonic

equallygood, for
into
a

major semitone, ^,
f^.
Then tetrachord.

its two

best

quarter-tones,|^ and

major Third, |,

completed
But,
are

that

before

three

there referringfurther to figures, musician simple rules that every incipient It is not,

should

know.

however,

to

be

assumed

198

THE

HISTORY

OP

MUSIC,

that

all do

know

them

for

although it
on

must

be

supposed that there are these rules,yet it has

met

books
not

music

which

contaiu

been

with

any

one

of them.

my fortune to have Musicians too appear information upon

generallyto have thrown and mathematicians, when

assume

such

aside, music,
kind of

writing
know

that

their

readers

every

rule

beforehand.
for indispensable able
to
a

"It is shall the be

real

musician, that
will

he be he

tell with

what certainty of

may he cannot

effect of any combination often wish ascertain to have the

intervals,and
himself

it for

when

It is practically. with can on even judge of them greater paper, than certainty by ear, however good that ear may be. convenient Indeed, it is by far the more way of testingunfamiliar intervals. The
to
one

opportunity of testing them how he to know well, therefore,

three
one

rules

are

"

How

to
;

add and

intervals How
to to

How

deduct with

from

another The

another.

answer

all

compare be may To
to

comprehended in a hue. deduct, cross-multiply ; To

a common

To

add, multiply;

denominator.
cases,

compare, these Still,

;

bring

them

directions
to

will be

not

be, in all

sufficient

and, in order

by all,I hope to be excused for further explainingand exemplifyingthem. add interval To to another, multiply the one numerator by th6 numerator, and the denominator If we say three-eighths, three ia by the denominator. and we denominate the numerator, eighths. Then the reduce multipKed totals to theii- smallest is their Greatest figures, by finding out what
"

understood

Common

Measure."

EXAMPLES

OE

THE

THREE

RULES.

199

ordinaryrule of the Divide arithmetic, which is thus expressed: greater by the less,and the precedingdivisor by the until there is no remainder, and so on continually
this,we
must

To

do

follow

the

"

"

remainder. Common This

an

The Measure."

last divisor

will

be

the

Greatest

or

perhaps be more by quickly understood example. The ancient Pythagorean tetrachord, of two Fourth, consisted major tones and a
or

will

limma,
Then

remnant

in
.^

other

words, of the
tones

three

intervals, f, f
for
X

and
,

||f
two
=

the
=

major
f
to

and

lirrvma
:"

f
are

HI

Mfll
For
256

be
8

explained thus
are

For
243

the numerator,
15552. 81

8 times

64, and

64

times
9
are

the
are

denominator,
20736. Divide it leaves
no

9 times

81, and

times

the
5184.

greater
Then fore, ThereGreatest

by

the

less,20736

by

15552;

15552

by 5184,
5184

and

it leaves last

remainder. the

is the Measure.

divisor, and
the
to two

Common

Divide

by

5184

it shows second

^"f ||
rule
"

be

sums original equal to f.

one

For from is to and

the

To

subtract

interval

the readiest way another, by cross-multiphcation, the figuresof one of the two invert ratios,
to

under the others. Then to place them This position of multiplythe upper by the under. is the more convenient for a simi. the figures To that the rule in the simplestway, we know prove ratio as 2 to 1. 4 to 2 is the same Cross-multiply, be equal. Again, we and it will show them to

it will stating these sums usual signs, save space to adopt the for for multipUoation, + X viz.,
"

In

equals,

"

for

deduction, and
As
4

for is

proportion.

is to
:

8,
::

so

9 to 18, stated thus

:^

18.

addition,

-h- for

division,

for

200

THE

HISTORY

OF

MUSIC,

know

that

Fiftt C

and
up

Fourth

togethermake
from G
to
an

an

Octave, as
"c." the the

from

to

G, and
a a

Octave

Therefore,if we
remainder Octave is The be

deduct
to 2

Fifth

from

Octave,
ratio of
to 1

ought
as

be in

Fotirth.

The
as

to

length,or
same

in
so

vibrations. the the

3 to
case

interval stated

is the

either way,

may

former, the Fifth

4.

either way. is as 2 to 3, and

Here, adopting
the Fourth
as

Therefore,takingthe

Octave

as

1:2

Multiplyby
The For The
most

the inverted shows rule

"

of figures

the

Fifth, 3
. .

remainder the third

the How

Fourth, viz.,
to

3:4

useful
to

example
a

compare will be to take interval

intervals.
our

present
its

scale,and
in C

compare To D is

every

with

note key-

tions to. 8 of the

or

5 vibrations

to

major tone, f, or as 9 vibra^ key-note. To E, a major Third, f, 4 of the key-note. To F a Fourth,

G B
2
: a

in in the

^ figures f. figures
Octave stands is

To To
as

Fifth, f

To
.

Sixth,

to

major Seventh, '^. Lastly, 1 of the key-note. So the

y.
C.

scale

thus

1, f, f, f, f, f, V,
C, D, E, F, G, A,
B,
as

As

the

Octave and of

here

includes

odd
are

mimbers,
two

four to

three,

five to
our

three,which
than

of the
a

imperfections
common

scale, we

cannot

have it

lower

denominator

ought to be 8. So we will must as multiply every ratio by such figures For instance,f is equal to 24. bring its under-figures to f^, multiplyingby 3. Next, we must multiply 24, |^, ff, ff, ff, ^, f|, ff. I by 6, and so on" Then the we dropping the lower figures, compare Octave of our scale as 24, 27, 30, 32, 36, proportions
40, 45,
48.

24, where

GREEK

COINCIDENCE

WITH

NATURE.

201

multiplying the ratios by 24, is Dr. Wallis's edition of necessary for understanding Claudius Ptolemy, and books. more many When the principal intervals are stated in figures, according to their proportionatevibrations, the
or

This

rule,

Octave
or

is written
2.

f,

or

2
as as

to

1.

The

Fifth

as

f,

3 to

The minor
as

Fourth Third

|. |.

The The

f, and
And

the

major Third as tonic major, or Diarules,

leave

semitone,
now,

^.

having given the three necessary I wlU. in future state and only the results, them to be tested by the curious.
One of the
or

Greek

scales in which

the

Harmonic

Seventh,
is

seventh

part of
of music.

exceedingly worthy
scale in Greek

was string, employed, note, and quite an tional excepa

It is the Even

Diatonic in

(Diatonon homalon) of the 16th chapter of his part is,that he follows

the the scale in all the

Claudius first book.

out

Ptolemy, given
The natural
are

remarkable division included of in

the

intervals

that

key-note upwards. Therefore he has so far a true major scale, with its major Third, of the perpetually instead recurringminor Third that minor Third being always consequent upon the the keyabove disjunctive major tone immediately note, and to the semitone of the tetrachord being above next it,as A to B, and B to C. They caused scales to be always minor. Jean Greek Jacques Rousseau's remark, that the minor scale is not given After the major by Nature, is a very just one." Third, which is in the placeof the old minor, Ptolemy
"

Fifth, from

the

"

"La par par

mode

mineur
;

n'est
se

pas

Tartini,
M.

ainsi
"

que

dans

celui

de de

donn^ que Cela

la Nature

il ne

trouve

Rameau." under

analogie

et renversement. le

Mimque,

(Dictionnaire "Mode.")

est vrai dans

systAme

de M.

202

THE

HISTORY

OF

MUSIC.

Fourth, or the eleventh part employs the Harmonic of a string, being a nearlyequal division between E and G. So, in the scale of C, Ptolemy has 0, D, F (instead of our E, Harmonic Next, as F), and G. to the tetrachord,or Fourth, below the key-note, he first divided it into its two legitimateparts B flat. had So far he proceeded by Harmonic to natural laws, but as that thoroughly accordinghiTin only three division of the Fourth one gave
notes
"

G, Harmonic
a

and flat,

"

and

four

were

required for
excellent that he had

Greek

tetrachord, he
in the

altered

that

arrangement, and

repeated the
Fourth

intervals above the

just employed

for the D, E, Harmonic viz., F, and G. key-note, that Before change, he had adopted Nature's scale so far as taking successively the sixth, seventh, ninth, tenth, eleventh,and twelfth parts of eighth, led to it by any insight not a string. Yet he was into Nature's laws, but by one of the Pythagorean neither Pythagoras nor doctrines which his school The doctrine was had carried out. to employ ever such as 10 to 9, 9 to 8, ratios, only super-particular
8 to

7, 7

Ptolemy
When

6, 6 to 5, 5 to 4, 4 to 3, and 3 to 2. As here employed them in gradually ing decreasto

he fell into the law of Nature. intervals, of limma Pythagoreans gave the name of 243 to 256, which less than to the proportions are the half of a major tone, they called the remaining the

greater part
awkward

an

apotome,

or

segment.
to

It had The

the
parative comwe

proportionsof
sizes of the two

2048

2187. made

will be limma

clearer if

of multiplythe figures it 1944

was

the

by 8, thus making
these two

to 2048.
a

The

difierence between
comma

called

Pythagorean

(komma), viz..

MINUTE

GREEK

INTERVALS.

203

Pythagorean be added to two comma one lirmnas, it makes major tone. But there is another point to be noticed about this comma. Fifths be taken If twelve perfect from they will end any note say from C upwards B sharp,and it will be a Pythagorean comma upon of The C. reason sharper than the seven-octave
524,288
to

531,441.

Therefore, if

"

"

this reversal Nature have

to

of order
not

is,that

we

make

Fifths the
are

where
notea

has
serve

designed them,

because

purposes. intervals. continuously perfect A few other be met intervals with

other

Octaves

the

only

sometimes

will peculiarnames with; and, being bound to explain

at
once

them,
minor leaves
125 to

it is better semitone what

128.

to

clear the
a

board.

deducted
now

from
an

major semitone,
diesis,
of the
=

is

termed

Enharmonic
one

This

diesis is less than

tones

Enharmonic-quarter
The modern C#
or

of

Didymus, |-^
interval and
a

]^.

Enharmonic and

diesis is a nominal The

difference
our

between

Db.*

between

Diatonic,
128

major semitone,
Enharmonic

major

tone

is

TWS'

Greek

diesis,or
Chromatic
a

quarter-tone, is
"

sometimes

called
a

Tetartemorion, meaning
a

quarterthird
two

piece" of
part of
intervals
a

tone, and

diesis,or
These mistaken of
a a

tone, is called
have
not

Tritemorion.

for lexicographers which is two A is two

tones. tones

been infrequently the much largerones and

a

by

Fourth,

half,and
to

of

Third, which
of in matheits

Schisma

is

an

iuterval
to have interval whenever

be
of

read

"

This made

modem

law

seems

one name.

the

two

notes

changes

been .'of a

to maintain

the

Diatonic

semitone,

204

THE

HISTOKY

OF

MUSIC.

matical

music, but
It is tbe A named

practice.
gorean of the
comma.

brought into approximate half of a Pythar

one

not

often

Diachisma limma.

is As

similar the

division of
a

before

interval

Diachisma have been

approaches to a quarter-tone, it may employed in the ancient practically

scale.
comma

Enharmonic

Lastly, the
referred
to
as

Didymus syntonic comma.

in modern
so as

of

is

sometimes This is
an

important
music.

interval

well
comma

as

in ancient of

It is far The
comma

more

than

the

goras. Pythainterval the

of and
a

Didymus
minor

is the
or

between

major

tone,

between

and the eighty-first eightieth parts of a string. So delicately organised is the human ear, that but this it was eighty-first part that worked the great revolution between the ancient scale of Pythagoras and the very present scale. First, Didymus, and, after him, Claudius Ptolemy, deducted this comma from of the two one major tones that formed the ancient Ditone, or over-sized major Third, and so changed it into our consonant major Third.

Moreover, the
was

comma

thus

taken

away

from

the tone

brought that interval into its present proportions as a major semitone. By Diatonic these changes the Greek scale attained its present improved proportions. So, the difference between a major and a minor tone, as well as that and a major semitone, is a syntonic between a limma of Didymus, or the eighty-first or comma comma, part of a string. To prove the effect of this apparentlysmall, but have but to add really very important,change,we together the two major tones of which the ancient
limma, and

added

to the

THE

EAE

COMPARED

WITH

THE

EYE.

205

Ditone, or Pytliagorean Third,consisted, by multiplying

the mimbers

f^.

If it had have been

been

true

major Third, the

the
same as

ratio woiild wiU

f^, which
did the
a

is
two

^,
16.

as

be found

by dividingthe
old Ditone
not

numbers for
m

Although the Third in melody, it would a harmony. Every ear found by

The
ear

pass
test

bear be

it to
more

harsh

discord.

is

so

much

delicately

organised than
sixtieth of

part
a

and hundred a eye, that even of difference in vibrations, second in one

the

which effect, rough and unsatisfactory the quickesteye distinguish ; whereas every ear can than twenty-four cannot or count, more distinguish, brief period. The deUcacy of vibrations in the same the one of the other. organ is quite as eightto one The improved major Third of Didymus and of Ptolemy consisted, like our own, of two tones, the the other minor: one fx^ 1-" |. major and Then the limma tone, being changed into a major semi"

time, has

H-, made
And
now

true to

Fourth the

f"
of

as

discordance

the

minor

Pythagorean Third, which must there is nothing like proof to

upon the memory.
=

also be fix

proved ; for anything as a fact

a

It consists
=

of

limma

and

fj. Twenty-seven ^^ major tone : |-|f x f indifferent proportions that carry to thirty-two are them. discord with as They are neither midtiple, number i.e., one super-particular, 2, 4, 8, 16, 32, nor is not the unit, or one particle above the other. them to make super-particular They want the comma
"

"

and
.

consonant.

The Third has then

ratio of

is identical between

with D

our

minor imperfect

to-day,as
tuned

and

F, when
C
;

the

scale it has

been
a

for the of

because

minor, instead

key of a major

206

THE

HISTORY

OF

MUSIC.

tone

in

it

if

3^

i|f
of
=

f|-.

TMs

defect The
a

was

inherited minor

from

Claudius consists
x

Third
:

Ptolemy's scale. a major tone and

.

true

major

seniitone One
to

-^ff f
laws

of the

musical

of

be

concordant, all ratios

the

Pythagoras was, that, be either multiple must

or

like {jpoUaphbsioi),

Octave, 2, 4, 8,
or

like the be super5 to 4.

Twelfth, 3, 9, 27, 81,

This doctrine is

else
3 to

they
2, 4

must to

as particular (epimorioi),

3,

or

referred Problem

to, among
of Section

others, by
19.

Aristotle,in his
bave

41st

We

it to have been derived to suppose every reason other laws, from Egypt, because, althoughit among held as a maxim was by the school of Pythagoras, it- was
or

by

acted upon very imperfectly his disciples, for a full 500

either

by him,

death.

Therefore, his
as
a

followers

years after his could have not

essential principle in music, really and law of Nature in the division of a string, a as of a column of air enclosed in a pipe. If otherwise, or in having too they acted inconsistently admitted only the Octave, the Fifth,and the Fourth, as They should have included simple consonances.

regarded it

intervals would their

in the added
a

ratio of 5 to 4, and the

to

5, which
Thirds
to

have

major

and

minor When

scales in

consonant out

form.

Claudius
so

Ptolemy followed true major and

twitted
the in inconsistency cap. 6.) Neither the

their

and doctrine, into his

brought

minor

Thirds
of

scales, he

followers that

Pythagoras with thenrespect. (Ptolemy, lib. i

"

Octave,
the

nor

any

interval

within

the

Octave,
consonant

can

be divided and

into

nearest

equal parts. The most to equal division of the

DIDYMtrS

AND

PTOLEMY.

207

Octave

is into
are

Fiftli and

Fourth, and f
=

the
=

ratios of both The Fifth and

f and super-partictilar,
in Hke
manner,
=

t^

i-

must,
minor

be

divided

into best

major

Thirds, |^x f
Fourth from would
=

f"
C

f.
the
x

The

division

of the

would G be We
to

be

by
f

Harmonic
=

Seventh,
The

making major Third

=

|-

If

into lack

major
the
our

and

minor of

tones, -f X T^
minor Greek
our

|.
of

divisions

Third, and scale, but

first Greek doctrine

major
divide
^

tone, in
the minor

adopted
tone

we

into

two

semitones, xf
of

i%%

t^to

The
out

who

is known

have

carried

ratios into all super-particular his scales is Didymus. He had been preceded by and Archytas, by Eratosthenes, but they did so after only in part. Claudius Ptolemy followed one Didymus, but made the same exceptionto this did Eratosthenes, by retaining true the as principle old PythagoreanDiatonic scale,am"ong others,either of respect for the out of Pythagoras, or name because it was in general use. Nevertheless, each offered improvements upon it. Didymus* wrote a the differences treatise upon and Pythagoreans, of which
some

the

between
we now

Aristoxenians know

only

tary quoted by Porphyry in his CommenClaudius Ptolemy. (See, for instance, upon p. 210, edit. WaUis.) As a scale designedfor the Diatonic system of the Greeks, that of Didymus had some advantagesover

extracts,

"

"

In

the

article

written for

by
Dr.

W. W.

Such but among who

at

A.

Greenhill, M.D.,

the

Smith's Soman
mus,

and Dictionary of Greek Biography, the only Didyand mathematician musician,

as

Didymus Didymus others, by

is to is

me unknown; largelyquoted, Claudius Ptolemy,

took

astronomical
A.r.

observations 139.

Alexandria,

is dated

of

the

fourth

century.

208

THE

HISTORY

OF

MUSIC.

Ptolemy's arrangement,
for the minor is but scale. The

because

both

were

intended the two

difiference between

the intervals being the same, and the slight, scale of Ptolemy seemingly copied from that of In Didymus, of which it is a mere transposition. every them
tones

Octave,
consonant.

two

minor each

tones

are

necessary,

one

being requiredfor
between C

of the two

Fourths,
other their and

to make

Didymus placed one

and

of his minor between F

to

D, and
between

the

and

G,
In Greek

while D and

Ptolemy changed
E, and
of G

places
A,
as we

between
now.

do

this last interval law

Ptolemy
full tone
not

broke below
a

through
Mese,
or

the the

having
he

key-note,but
means.

could

make

Didymus obtained A to D, a perfect minor Third from D Fifth from D to A. to F, and a perfect The imperfections of these intervals in our adopted scale have musicians. to modern been a great perplexity these advantages in But although Didymus had tages minor scale, they were a outweighed by disadvanwhen the key-notewas changed iu later ages from minor to major. To obtain due proportions for miaor scale,Didymus had made the Fifth from C a upwards, and the Fourth from C downwards, both imperfect. The of these advantages and the disadvantages No. 1 and two as systems, which have been ranked for our No. 2, by mathematicians present imperfect them seven planetscale,will be best seen by placing side by side,reminding the reader that every major have one minor tone, Third, Fourth, and Fifth must and but one, to be perfect. the disjunctive In both scales, tone, A to B, was

"other any Fourth from

novelty by a perfect

IMPERFECTIONS

OF

THE

TWO

SCALES.

209

necessarily major, accordingto Greek laws, but in the major scale of C, accordingto Nature's law, it ought to be a minor tone :
"

of the scale of Didymus are, imperfections that by having placed two major tones together, (G false major Third from to A, and A to B,)he made a G
to

The

B
was

also
no

false Fourth
tone

from

to
a

C, because
false Fifth
tones
are

there from it. minor

tones

minor

in had

it; also
two

to

G, because
B to

he

minor E
to

in false

Again, from

D, and

from made

G,

The
are,
a

they are instead of major. of the scale imperfections

from A
to

Thirds, because

up

with

minor

of Claudius

Ptolemy
D
to

that

is

false from

Fourth, from
D
to

false minor

Third, and
two to

A of

false Fifth.

Also, that he has

one

dijSerent
two
one

kinds

major Sixth,
in

from

C from

A, with
to

minor minor

tones tone.

it, and

another

F
were

D, with

judge between the two of major and mathematicians to the true positions as minor was right tones, she would say that the one Her law in the one and the other in another. place, between with Ptolemy as to the intervals agrees
If Nattire called in to C

and

D, and
tone

between G

and

E, but
a

she minor

wiUs
tone

major
between

between and B.

and

A, and

210

THE

HISTORY

OP

MUSIC.

Ptolemy, to whicb of the tightly-strung Diatonic" he gave the name is the one adopted by the {Diatonon syntonon), the best that has been It is, perhaps, modems. the inherently devised for keyed instruments upon defective system of making a true Fourth from the key-note upwards. Even by Greek laws, the tetrachords began on the second A note. or a singer, fiddle player, avoid the defects of a scale, but a may alter the tuning" cannot of a note pianoforte-player for any change of key. We Greek are so thoroughly in our hopelessnow system of music that it seems to get rid of the prime defect of having the half of scale in one key, and the other half every Diatonic
above
"

The

scale,by Claudius

in

what

is misiiamed above it. It

its

subdomina'nt,
Fourth of
are

or

just a
makes Such

Fourth
our

is that

which
one.

scale to be iu two scale

keys instead
in which
we

is,

therefore, the concerned;

we

immediately
the

and, with

all deference

to

into its to look perhaps,venture its advantages. We have infallible as as one guide to test it by, thoughit has been but little of analysis; A to thiat kind subjected thorough knowledge of oilr scale is a first requisitefor a to make good harmony. composer The will have shown that the figures preeediiig two B, G, D, E, and E, F, G, A, are tetrachords, are identical, jsqual that their proportions (16 to that the one follows 15, 9 to 8, and 10 to 9,)and ^in fact, that they are immediately upon the other scale of equal conjunct tetrEichords. The following that equal intervals, will show Nature within two consecutive tetrachords, cannot arise fi:om one root may, well
' " "

Greeks, defects,

in

Diatonic

scale,because

Nature's

Octave

scale

ANALYSIS

OF

THE

MODERN

SCALE.

211

diminishes
a

at proportions

tenth, an

step, viz.,a ninth, fourteenth, eleventh,twelfth,thirteenth,

each sixteenth

and fifteenth,

parts of a string. That interval, from'E to F, to which we give the of major semitone, is the interval between a name

major Seventh
to
a

and

its

Octave, and it therefore leads

F become becomes should it
a

its
new

Octave, and makes

the Second

Octave
to F
as

and its

key-note. Then
which
to

major tone, and A,

into' a minor the scale is Instead

be

is lowered major,
to

tone,

make

Third

F.

Thus

changed from
to

C to that of F. Third from

to

of all
5

this,the minor
or

to

being
divided the

as

6,

10

to

12,

ought
an

have

been

by

the true Harmonic

10 to

F,
11

Eleventh, making
to 12.

intervals

11, and

It

is the

change of the ratio of an Eleventh to a Sixteenth that bringsF too near it touch so to E, and makes that we omit E sharp closely actually upon E sharp, scale. But in our E sharp is wanted in Nature's
scale to make Seventh.
"'

Fifth and
two

Fourth

to

the Harmonic in this scale

The

of Claudius F
are

very wrong Ptolemy's that we The

ear

notes

and

flat.

has

adopted, are always told that they

have

wiU be farther shown. defective, as

G, the Fifth, retains its place either way, but A

ought
be
a

to

be

major tone
has been Third

above

G. of

Then

it would
a

proper D. above

Second It
a

for the

key

G, and
the Fourth the

Fifth of

altered above C
;

for

sake

making
E, and
"

it
a

major

F,
but

above

minor

Third
for E

below
these "vrill
a

alteration
is

Our is
to

nomenclature

Harmonic

Seventli
must

generally
As there

notes have Fourth

or

imperfect.
be called F

sharp
B

kno-wn
are

be

changed.

flat to make

to up-warda

Harmonic

flat,
the

eight Diatonic notes in Nature's we scale, require H after G, or else

them from 8 to 16, which

else

the

name

by

which

to number

p2

212

I
it: out

THE

HISTORY

OF

MUSIC.

takes

of

the Third

key

of

C' her
"

Nature

does

not

provide a
does A.
can

minor

under such
a

key-note,neither
miudr
"

she For be
so

acknowledge
Nature's

relative
to

as

relative minor

E. real

look a must we called,) According to Nature, every minor scale has its note key-note a major Third below it,so the keyof A minor is F. that This
as

C, (if any scale Third above it,to

In

other

words,
to

minor
on

scale Third The

is

merely one of the key.

law of Nature

is made will be
to sounds

begin

the
"

seen

further. known

is well

to

and very simple. When a stringis practical men, moved by a gentlebreeze,its whole length is sounded, afterwards, it divides itself into its and, inmiediately ahquot parts, with quicker and quicker vibrations. These tions more rapid,but comparativelyfeeble vibraand mix overtake with the slowly spreading of soimd waves produced by the vibrations of the whole the velocity of length of the string. When the air is greatly increased,or, as we term it,"when, the wind blows hard," the string is fluttered into these shorter sections, and lengths move many with multiplied rapidityof vibration to the whole in parts wiU length. This sensation of fluttering famOiar who be sufficiently has carried to any one
would be the

right names,
numbers The this. scale have

and

the

reference
or scale,

to the

foUowing Harmonic
If C be the

aemitones 16 will and

the odd 32.

between scale E
we

scale of Nature.

following
If
we

fundamental
wiU
are

exhibit in
our

had of

sharp
could instead val
to

instead the true

F,
B

C's sound, the Octave 8, 16, 32, 64, aU which indivisible by 3, and our minorbe 2, 4, A F
as

then of

fiat

toned take then

is not

in the scale of C.

But

the

interout-of-the-key
our ears name.

the fundamental 3 and and 5 wiU E be

note, and
our

which under

have

been

Nos.

C and of

reduced,
*

that.

Gr A, (like and but No.

in the

key

C, )

Our

5 to and

present A has the ratio of 3, but it is only to F, as a root, will be seen not to C, as by

give the required proportions;

in
a

different
never

3 will

part of the scale, be a key-note.

THE

MUSIC

OF

THE

WINDS.

213

an

umbrella the

in

Mgh.
or

wind.

The
are

sections
caused

into

wMcli

string is
nodes,

then

divided

by

are n(|des The^ nearly quiescentpoiats,and all equidistani;. number of sections increases as comes beeach;divi|ion shorter,while the pitch rises j^ropoAionably

self-made

divisions,and-thfse

is length. This dimirliition caused of the wnd. It by the increasing intensity is like the overblowing of a pipe, by wh|eh it is made to produce As the .sections very high notes.
to

their

diminution

in

become
as more

the united less,

sounds the

become

louder

as

well

acute, because

greater the number

a

of sections

to be thus divided string above the parts, their pitch will be four Octaves fundamental note produced by its whole' length.An extraordinary part of this arrangement of Nature the ,^hole of is, that in every progression the nodes it are changed. Thus, from sii:teen, divides into seventeen equal parts, from slfeventeen and so on. to eighteen, | blow into a horn, or pipe of So, too, when we and graduallyincreasingintensity any kind, with of air within the the column subdivide we rapidity, pipe,and raise higher and higher notes, just as the wind the string. In a flute, which is acts upon almost blown of air, at a rightangle to the column
;

higher the pitch the emittingit. .Supposing by nodes into sixteen

and than stiU

so

the

action
were

of the
at

breath the

becomes

less direct

if it draw

blown

end, the player may

from
one

eight different
or

sounds

mental fundaa

note,
to

generator, without
column of air. the

removing
lower

finger
note

shorten which

the

The

the

upon number

he may commence, he can of Harmonics

will be the larger produce before reaching

214

THE

HISTORY

OF

MUSIC.

tlie limit to The

are
"

sounds called

in Breathing. iacrease of rapidity possible so They produced have three names.

"

Natural upon the

a

Notes"

upon

horn, and
because whole

Harmonics"

also, according to string ;

Helmholtz's

nomenclature,
above
a

"Overtones,"
the prodiiced.by

they are length of

These

tone

string.
Notes, Harmonics,
order whatever of succession fundamental do
not or*
as

Natural
same

Overtones,
to

rise in the

musical

intervals, from
be may because chosen when reach derived. the

note

they
order been

vary the fundamental of pitch

or

They
;

in their
note

has

high
some

low

and

of the
ear.

low
one

this may be proved, even be too low to sounds may

the

The

provisofor

Nature's

scale

"is that

in size, and string shall be uniform and the pipe be an open one. quality, the Fqr exemphficationof these rising soimds table is subjoined. The fundamental note following
'

the

selected and

is

C,

two

Octaves
on a

below

in the base

staff,

pianoforte.It is the C C C It is stiU pipe of the open diapason of an organ. popularlyreputed to be "16 feet C ;" but neither 32 feet C are now so 4, 8, 16, nor long as their to be. names Owing to difference represent them of scale and to elevation of pitch;also, perhaps,to of wind insufficient pressure for pipes of enlarged
diameter,
and
"

the lowest

nominal in

"32

feet C"
15

is

now

about

28

feet 6 inches

with length, about the

inches in diameter,

4 foot C"

3 feet 7 inches 512

long.
for treble

I have clef

taken the

pitchat

vibrations

C,

as

onlyproper
are

because intervals.

Octaves

Nature's

pitch; the only continuouslyperfect Octaves are always multiplied

standard

for musical

THE

TRUEST

STANDARD

FOR

PITCH.

215

by 2 ; hoped
made

as

2, 4, 8, 16, 32, 64, 128, 256, 512.

at
some

It is to be will be

that

future time 512

vibrations

pitchof Europe,by whatever name, the note may be called. If the questionof pitch in England had been left to the decision of the Royal would instead of the Societyof Arts, 512 Society, undoubtedly have been the standard English pitch. In the Society of Arts, 512 was admitted to be the of manufacturers, right pitch; but, for the accommodation
who feared that their stock of instruments

the standard

might have been rendered unsaleable, the pitch of carried was 528, exactlya quarter of a tone too high, and thus a temporary divorce between by a majority, the science and the art of music was pronoimced.
The French curious
can

standard

of 870 for

A, and

so

of 522

for

C, is
two

Neither specimenof legislation. be carried read of down

two

of the

notes

Octaves

without into

fractions.

Truly,we
art

of vibrations

divided
not

but the fractions, been the

it has accomplishing fractions The law

are

yet
to,
"

divulged. Where is changed. root

resorted

excited

strong

renionstrance

diapason
ment."
500

scientific musicians against le among fix^ arbitrairemalheureusement normal

Handel's

tuning
That of

fork

gives

from

499

to

vibrations.

Mozart, and
the

that

of Berlin French stead A, inunder

in

to (according 843 Commission,) was

1772,

report of the
for for A pitch

"half-vibrations"

of 8 5 the the The

which 3-5,

is the calculated

present system of tuning the Sixth ; or true A, (a Fifth above D,) allowing 512
later works of

864, if
for C.

Haydn, and those of Beethoven, to 512. were composed for a pitchapproximate need for private interests not Considerations prevent the Societyof Arts from giving notice of

216

THE

HISTORY

OP

MUSIC.

future

change.

The

members

know

what

is

right,

by good nature, have not yet acted reunion of art and a up to their knowledge. Such be of at least science as might thus be made, would bear a If pianofortes now can equal benefit to art. also bear thicker tension of 528, (and more) they can and so can produce a better qualityof tone strings, The rule appUes to all' instniments at 512. same with strings, whether of wire or catgut. The plea of extra brilliancy" by high pitch is a mistake ; for is not constituted acuteness, but brilliancy by mere the addition of richness of quahty in the tone. requires The practical ia effect now is,that the instruments orchestra are too thinly an strung,and thus, richness The violoncello of quahty is sacrificed to acuteness. has no longer the fuU tone that Lindley produced. Old violins were not made strong enough to bear the must be resorted tension, so, thinner new strings
but, influenced
"

to.

Thus, the works

of the

great
is

masters
a

are

now

represented. It inadequately Germany and England should change must await the repealof
"

case

in In

which

unite.
an

France,
law.

eccentric

The

Frenoli

oouat
so

to and their

fro
num-

as our

"

Harmonic F is

F
4

is 11 to 8 of
to

0,

and the

two

vibrations, and
are

only

3.

Deduct that 33
:

bers fore

the be

doubles looked

of these, therefor
an

interval

of 4 to 3 from

of

11 to

to

Octave

8,

aa

above. ^ F

Result,
F

32. 21 to 16.

^fr^-,'
.

*
"

A-it u T -.r.^ "Allnoteswithinbracketsdifferm

sharp (or
is 4 to 3.

is flat)

Our
^

Deduct
63
:

the former 64. There

s" J-

from .pitch easilyprove B F flat is

IS a

our m

spale. The readermay much how our figures

From F Add to the 0 to B
our

i,,,",. ^^^^
+.

Result,
^^ '"""^
"" ,

j^

sharp. Fourth, and

too Fourth.

i"

flat two

another Fourths them:

"

r^'"''

together by

multiplying
Then
4.

x.1^B flat
is

(tx4

1,77
but
':

")
^

Har-n J Deduct
J.

^'Z '"J""^ ''^,^^\^ ff'^K.^^ 63 forty-eighths. ^ ,f.^f"^*' 64 ff'^J^J ^ ^^ ^-"1*' a bove C. forty-eighths
Difi'erence,
63-64

!,"""""

^J^^^

monic

to C.

from

'/- '2

"

(inverted

f to 4).

NATirilE

VERSUS

ART.

217

THE

MUSICAL

SCALE

OF

NATURE
or

Or,

Table of Natural
order of their
of

Sounds, called Harmonics

ascent

Overtones, in

the

from

any

note any

of any

pitch that
or

may
open
as

be the

sound

the whole

length of

horn, string,

pipe. The swing to and fro of a pendulum is here one vibration, according to the English meaning of a
Fundamental Octave Fifth
to

counted

vibration.
Vibrations per Second.

note, Generator,
No. 1.

or

Root

32*

(Half length
Twelfth
to to

of the
1

string)
to No.
2

64 96

No.

2, and
"

No.

in Bass

clef Third Third

Fourth
to No. to No.

No.

3, and

Octave

128 160 192

Major
Minor Harmonic

4 5 to

Seventh

C,

flatter than

our

[?by

sixty-fourth part
in Tenor clef
"

63 to 64) (".".,
to No. 4

224 256 288 320

Octave 8 9
to

Major
Minor

tone

to No. to No.

tone

Harmonic

Fourth

No.

(sharperthan

our

by
.352 384

33 to 32)" Fifth
to

No.

8
to No.

Harmonic Harmonic

Sixth Seventh Seventh to No. clef

"

(sharperthan
8, Octave
Fifth to

our

flat)

416 448

to No. to No.

to No. No.

Major
Third in

8,
to

10, and
480 Sixth

12...

Treble No.

Octave

No.

8, Minor
:

to

10).....
above
to

512 d

Semitone Octave Semitone

16.

(Too

flat for

our

flat)

544 576

9 above 18
:

608 640 Seventh

to

OctavetoiO
Semitone No. Octave Semitone Fifth to 12
to

to

20, Fifth

to
our

14, Harmonic
F

than (flatter
11....

by

63 to

64)0

572 704

above

Harmonic
to

Fourth 12

736 768

16, Octave
to to Harmonic
to

Semitone Octave Semitone 18. Octave Semitone for Octave Semitone Octave For to
our

24, Major Sixth, No.

26, Major
tone tone
to

Third

to

5,
13

10, and
to

20

800 832

24, Fifth 24)

9 and 864 896

(Our
to

is

Minor

to

14 above Harmonic Seventh.

(Too sharp
928 960

6lr)
to

15 above 16
a,

6.

(Too sharp

for

our

[? )

992 1024

notes

b,

c,

d,

see

precedingpage.

218

THE

HISTORY

OP

MUSIc!

The

scale

might

be

carried
to

tones, but it is unnecessary

is
a

further, into quarterprintit,because there

simplerule by which any one may tell what the interval will be, and it appliesto the division of all such as differ onlyby one ratios, or "super-particular" but doubles the degree. Nature makes no fractions, the one and onlyintermediate numbers, and interposes
number.

Thus, in the above

the
5. 6 ratio, viz., to

division of the

Fifth,No."
No.

3, which
doubles

is in the ratio of 3 to 2 of

CC,

2, she

the intermediate 4, and interposes

next

Then, in the
5.to

Octave, this Fifth is

Third sounds and
;

divided Third.
ones

into 6 to 5 and A-U odd before

4, minor
are new

major
even

numbers

all

have

appeared in
are

the Octave of

below.

The

numbers

importancein many First, each indicates its proportionto the ways. whole No. 5 is a fifth part of the length, so string, and No. 27 a twenty^seventhpart,vibratiug twentytimes as fast as No. 1 ; then, by multiplying seven of No. 1 by 27, we the 32 vibrations ascertain the
vibrations
or

of the Harmonics

of the latter to 'be 864

per second

of

time,

just as they stand in the table. Again, multiply any number by 2, and we find its Octave ; miiltiply by 3, for its Fifths though too Octave an high ; multiply by 5, for its major
Third.
as

Take
to 14.

the

ratio of
are as

one

number
to 2 ;

to

another,
2,

21

These

the therefore, of 3 to
to

notes
or
a

they represent are

true
are

at 9

the
to

interval
or

Fifth.
as

Take

12,

12

16, the

ratios

3
a

to

either p^ir'is at the 4; therefore,

If 15
to

interval Third musical These

;

of and

"Fourth."
so on.

18,

true

minor

Every
hints

number

thus

carries its

ratio to
are mere

all the

rest.

of the value

of the

scale

KEY

AND

ITS

SUKDOMINANT"^

219'

of tke

Nature,
musician
now

all evident
to

upon

the

surface.

It

for-

And ancient wrong. in the

of We

point out its deeper meanings.* to try our adopted scale by tim most, all scales, and the one test of right and.
find neither

F,

nor

.A

as

we

tune

it,,

Harmonic

when scale,
to
a

is the- root, because K But with

comma we

they belong only

have scale the of scale C If

fundamental

of G
our

connected intimately A it
were

the of
tone

tuned
a

Didymus
instead of
with

higher than
a

is,viz., as
above

major
the

minor No.

tone

G, it would

Nature's

27, thus

at Didymus to be correct has mathematically calculated

a

proving that point. Ptolemy

a

agree scale of

Fointh iatervals

above, and
come

Fifth
root

below
;

C, where
he has

no

such

from'

imported scale of the subdominant F more perfect by one degree than that of the true key-note. For instance, F' has its Sixth (D) a major tone above its Fifth,, although C, the nominal key-note of the scale,has it not. Transfer the name of key-note to F, and
we

the

and

made

the

may

derive

every

interval

of this so-caUed As
to

scale flat
"

of C from that
nor

F, except the B natural.

a

is from
to

third

root

"

it

belongs neither
to
our

to

F. scale agrees therefore with this

own,
a

Natiure's Octave the may

extent

with each

Greek, and

that

justly be said to consist major tone immediately above

*

of

the

or disjunctive key-note, and

If

Professor his

Helmholtz

would
tone
as

Jn tte to have

meantime,

he

does

not

seem as

number No. be

fundamental

1, and
No.

let the

first "overtone" of No.

thought guides to harmony,

book the is intended
to

of the

numbers

2,

instead would hia

1,
same

although lay a basis

"

hia for

German

reader

find the

theory
No.

of music
so on.

^hia No.

7 is

advantage from English reader may

book,

as

an

our

8, and

from

this scale.

220

THE

HISTORY

OF

MUSIC.

then From G and

of C

two to

D G

conjoined tetrachords is the major tone, and

to

or

Fourths;
from D
to

from

are

the

two

Fourths.
two

The

difference It has

is in the said

been

filling up ah-eadythat
notes
a

of those F the and

Fourths.
are

flat of C.

two

iessentially wrong
that A

for

key

Also,
of

should be

major
because
to

tone

above

G, instead

minor, as it now
in
our

is;and that E sharphas been omitted

scale
too
a

only
close

we

have F is

wrong
a

F 64th

brought
part of
below
true

it. E

Our

only
a

stringabove
F of the
we

the instead

of Nature.

sharp,and Again,
above Our
our

is if

33rd had

part
the

we
our

artificial B omit it.

as

flat in E B

the scale, harmonize much

true notes

semitone
as

that

would

true

Fifth above real

to note

flat is just as is above the

above semitone
out

the

E.

We

omit

three

Diatonic

of

eight, viz.. Nature's

;

Fourth,
Nature's
D.*

Sixth, and
between it

Seventh
the

for A and be
a

is but Seventh
true

one

of the in

semitones

Sixth
to

scale, and
Our B

ought
would

Fifth

above
tone

natural

then
were

be

the

eighth

in the
as

if the scale,

key-note
admitted

stiU. counted

No.

1, and

we

in Nature. as eight, The specialdisadvantage of our adopted F and than of having more flat is the B impossibility in one four consecutive notes key while we include to have them. Even four, we must begin with the Our B flat belongs major Seventh, as B, C, D, E. that of F ; for, just neither to the key of C nor
as

there

is

no

such

Fourth

as

from

the

root

of

"

As

the

real A

is No-

27, its

true be

nearer,

because

27 is

an are

odd
new

number,
notes,

Kftb the

(multiplyingby 3,) must

sound of 81. It cannot

and

all odd

numbers

be found

CONSONANCE

AND

DISSONANCE.

221

C,

SO

neither the
root

is there of the the

or

from
we

F.

any The

such

Fourth B

as

flat

Harmonic

flat that
as

omit

has
on

major-toned A
one

(No. 27)
B the natural other

its
otu*

semitone,
scale divide

side,and
a

the
on

of

(No. 15
it from

30) as
the it the
a

tone,

side,to
6

Octave.

Its ratio

of 7 to in the

of

the
of

Fifth
consonance

makes
to
as

interval next
Third. of

order

minor the

And and

now

to

constitution words

consonance

DISSONANCE,

carry their own "and sounding

which, although they as interpretations "sounding with,"

two

apart," have, nevertheless,

and but
one

been of

misapprehended;
consonance

of

the

two

causes

has been

Httle taken

into the

general

account.

Degrees
that

of

consonance

depend
alone do is is

coincident The

vibrations unison

upon the proportion bear to those which "sound

apart."
because Their sounded
or

perfect consonance,
coincide.

therein

only
the

all vibrations

simultaneousness upon the

rigidlyexact, whether of a pianoforte, unison-strings

instruments of
an

upon their with intervals and

an

many varied

orchestra,

is there

qualitiesof tone. of intermingling any

vibrations. The

Only

in

coincident is not

non-coincident interval.

unison

In the
an

order Harmonic

to

abbreviate scale
at

I explanations, Nos.
32 1

refer
2

to
are

Octave
64 2

apart.
as

The per
2 to

p. 217. first has second

1

and the

and

second

has No.

vibrations vibrates

of time.

Therefore,
the first of
one

of No.
2

1, and
coincides

vibrations of No. two every of those of No. 1, while the

with

remaining 32

of No.

"sound

apart."

:222

TttE

HISTORY

OF

MUSIC.

AgaoEj Nxjs.
are

and

3,
.of
.2
"

or
a

double

and No.

double
3

G,'
3

at to 2.

tke the Tke

internal
64

and Eiffch,
or

vibrates

.96 to

of No.

in the

proportionof

of No. first of every vibrations two 2 "coincides, with the fiist of every three vibrations of coincident No. still but 32 3. So, there .are vibrations. prove One total Divide
6 A

by

2,

and

96

by
Here

to

it,
more

example

from. Nos.

and
to
one

4.

the it is

number

of vibrations

is 96 of the

128, but

i;he first only of every three

that coincides

vrith the first of every four of the other. the naimber of non-coincident vibrations while the

Therefore,
processed, coincident has

number of 32 original vibrations has remained For that reason .stationaryi the interval of the Fourth, or 4 to 3, is less consonant' than that of the Fifth, or 3 to 2 ; just as

the
than

interval that

of the

Fifth, 3
be

to

2, is less consonant
1.

of the

Octave,

2 to

This

natural

scale,wherein
consecutive the
two consonant

may dissonant

law

carried

throughoutthe
between increase,

vibrations

numbers,
remain
more

at. every

ascendingstep,while stationary. So the lower the

consonant

numbers, the
a

the interval
consonance

Still,
the

it is

sounds
To

necessary be derived
a

proviso for
from
one

that

root, as
from
15

in this scale. and

16.

take

last

example
of
a

They
in every The c.
one,

represent the
Harmonic
numbers
to 16

interval

major
15

semitone b
32
as

scale.

Here
are

it is from times But the

to

of vibrations times
15 32

of the

of the

other. with

only the

first

of

every there are the

mass

coincides
32

stillbut

first of every 16, coincident vibrations to leaven So the

ear

of dissonance.

pronounces

the

CONSONANT

VIBRATIONS.

223

interval
to

from

b to c, when

be

exceedinglyharsh
the
two

sounds

sounded, simultaneously theless, and disagreeable.Neverrequiredfor are absolutely that, whatever

in
a

melody.
Hence follows
a

rule

"

aggregate number
from the
"

of vibrations

may second

be the of time

fundamental it be
or

note,
of

or

string

whether

such

32, 33, 132, 133,

will be the number

any other of consonant

length of a a length as to give quantity ^the same

entire
"

vibrations of the the

same

between The

two succeeding sounds every intervals follow invariably m

scale.

succession,
same

and in

are,

therefore,represented by the
Hence
an

numbers numbers every

scale. every Harmonic of indicate the proportions

one

any

two

interval, just as
a

number

indicates

its

to proportion

whole

Again,a second rule. Consonant vibrations in the total number of vibrations to the difference sounds for just as 32 between succeeding every two
"

striag. are equal

is the

number sound

of consonant of this

vibrations
32

iu the fundamental tween difference be-

scale,so

is the

of every two throughout the scale. If the same

an

the vibrations

numbers succeeding interval be taken

Octave

the higher,
are

same

but Thus

the vibrations in the

proportion is observed, completed in half the time.

1

Octaves,
2 to

and

2, with
64

32 128

and
;

64

vibrations, and
the vibrations
as

4, with
later
are

and

the

of the in

they
a

are

number. of time

So what

rapidity they only perform in

the others do in
a

doubled

in

half

second

second. Coincident others

case

of

strengthenedbeyond by their perfectagreement, just as in the hammers instant. two strikingat the same
vibrations
are

224

THE

HISTORY

OP

MUSIC.

The

united
one

sound
were

is then
to

louder

than

if the

blow of

of the the

follow

immediatelyafter
thus
a

that

other.

Coincident
power, mark
a

vibrations, having
musical

superior

rhythm combining sounds of different pitch. It is this rhythmical coincidence which constitutes the charm of harmony in its different shades, for harmony has always a certain
amount

of dissonance is free from

embodied

ui

it.

The

unison is the

alone

all dissonance.

Ehythm

first in

order

of the

derived pleasures

fi-om music.

It suj6"ces whollyfor the savage, with

tom-tom

his monotonous

sounds
ear
as

beats; and, except as to the Harmonic that the evolved, it is the onlygratification
receive firom such
a
"

can

instruments'

such note single In harmony, we castanets. or rhythm erdianced by a combination of various sounds and we derive further pleasure that differ in pitch, of tone that are produced from the varied qualities
but yield

percussion drum, cymbals, a as enjoy the effects of

of

by the many instruments of so many appreciation

reward powers Some
of the
ears

of

an

orchestra.

The

due is
a

simultaneous have

sounds

reserved for those who

cultivated

their

stand hearing. A peasant wiU better undersinglesound of a fiddle or of a flute. remain uncloyed by the perpetualsugar

of successive

unisons, while
varied
a

others

have

greater

for appreciation
some an

have

also of

taste

harmony. Of the latter, which in indulgeslargely

the form of discords. between
two

admixture
The

in spice,

rhythm
is often

of coincident audible

vibrations

sounds

in the

separate form shall be

of

third sound.
of the two

The

conditions

are, that

the vibrations

sounds originating

sufficiently

OTHER

SOUBCES

OF

CONSONANCE.

225

and rapid, in the

consonant

be high necessarily they must, therefore, scale. If otherwise, they will not admit of vibrations of time
note. to

in sufficient number themselves into

an

within

second musical

form

audible
are

If too

few, the resultant

the

tones

from indistinguishable

Another generalsound. condition is, that the two primaries shall be loud to sufficiently bring out the feeble sound of the resultant tone. A few examples of these wlQ be cited from practical in the sequel. experience The second
source

of

consonance

to which

I have

adverted

is in the

Harmonic of

sounds

which

follow

immediatelyafter
of If two sounds be

the notes thus

serve

of strings, and pipes,

to enrich

voices,and which

their tones.

combined, the lower will produce

manifest in the and this is particularly greater effect, intervals. Thus, between of the wider consonant case Nos.
a

1 and

4 of the

Harmonic No.

scale the
1 is

interval

is

double its

Octave.

When

soimded, it throws

they enrich the with No. 4. consonance Upon keyed instruments. the only intervals thus enriched, Octaves are usually because, in all cases, Octaves are tuned perfectly, but, in too many cases, other intervals are tempered,
out

Harmonics, 2, 3, 4, 5, 6, and

i.e., put either

Unless the

little, or

not

out little,

of tune.

Harmonics militate tuning be perfect. instead of strengthenconsonance. against, the causes in detailing I have been thus minute and of dissonance,because of consonance a theory to their partial as dependence upon a fixed number of vibrations has been propounded by the learned in the University Helmholtz, Professor of Physiology inated of Heidelberg. His view has been widely dissemthrough Lectures on Sound, dehvered by
Q

226

THE

HISTORY

OF

MUSIC.

Professor

Tyndall at
The

tlie

Koyal
have

Institution

of Great

Britain.

lectures

been

and published,

nition having reached a second edition,in which this defiHehnholtz's is repeated,the to objections view It is the more require to be pointed out. because the lectures have been largely necessary, adopted as authoritative upon soiund,just as might have been expected from the varied knowledge and the high reputation of its author. Professor TyndaU says, "Beats, which succeed each other at the rate of 33 per second,are pronounced of Helmholtz to be hx their ear by the disciplined condition of most intolerable dissonance." (p.295.) In order to represent this theory, derived from
"

Helmholtz,
words is
a

in the

paragraphsfrom
are

fairest way, I extract one his Tonempjindungen. The foot of the translation": page,
"

of the

at

the

and

the

original following
f

very "The

Hteral

c", gave interval, "|:|' time, which

make

us

33

fluctuations soimd

in

second

of

the

imited

very

The interval of a whole tone, gratingto the ear. 6bi Cj, yields nearly double the number, but these much less gratingthan those of the first-named are the interval of the minor interval. Finally, narrow Third, a c", should, accordingto computation, yield
88

fluctuations

in

the
us

second;
to

but, in fact, the

latter interval of the

allows

hear

scarcely anything
of the

roughness which
K Intervall, in

the

fluctuations

c", gab una Secunde, Schwebungen scharf den Zusammenklang welche

" "

Daa

Terz,
in der

a'

c", der Eeehnung

in der Seounde ISisst aber nocli das

nach

88

33

der

Schwebungen
That kaum Intervall

geben;
letzere
von

Bohwirrend eines ganzen die

machen.

Das
i

Intervall

etwas

der

Tones, J

j ,

giebtnahe
Endlich Meinen

doppelte Anzahl,
uns

diese

solte

das

Intervall der

RauhigkeithOren, welohe die Schwebuugen der engeren Intervalle herkonute nun vorbring"n. Man

QUOTATION

FROM

HELMHOLTZ.

227

produce. Now, it might be supposed that it is the iacreasing number of fluctuations which obhterates the impression, and makes them inaudible. For this supposition should have the analogyof we the eye, which is likewise no longerable to separate series of quicklyfollowingimpressionsof light a when the number is too great. Take, for example, a it burning coal swung round in a circle. When
describes
the eye circle.
a

closer intervals

circuit from that

10

to
sees

15

times
a

in

second,

imagines

it the

continuous of

fiery

So, also, with

disk

colours,the

of which is known to most of my readers. appearance When suck a disk rotates than 10 times in a more

second, the different colours

one

on

it

are

blended

into

It is impressionof their mixed colour. only by very intense lightthat quicker changes of the various fields of coIotu: must take place"[to be "20 to 30 times in a second. Thus, distinguishable] in the case of the eye, a similar phenomenon takes When the change between place as with the ear. takes rest irritation and place too rapidly,the

fixed

Zahl

vermutlien, das es die wachsende der Sohwebungen sei,welohe

Eindruck mache. verwische Wir und sie fiir wiirden

acheiben, deren
ten

Anblick bekannt Scheibe Sectmde die

den

meis-

meiner die Mai in

Leeer solche der sich

sein wird. mebr als

ihren

Wenn 10

unhorbar diese

nmlauft,
Farben Eindrucke bei sehr inWechsel
zu

Vermuthung die Analogic des ebenfalls habeu, welchea Auges im Stande mehr nicht ist, eiae auf einander folgender Reihe schneU
Liohteindruoke
von

vennischen auf sie

verschiedenen

aufgetragenen einem, ganz ruhigen

ihrer Miachf arbe.
musa

Nur

einander Anzahl
an

zu zu

tensivem der

Licht

der

Bondem,
gross Kreise Kohle. Mai wird.

wenn

deren Man denke

eiae im

umgeachwnngene
Wenn diese etwa

gliihende
10 bia 15

in der

Seonnde

ihre Kreisbahn einen

zu

verschiedenfarbigen Felder in der schneUer, 20 bis 30 Mai Ea tritt alao Seonnde, geschehen. beim ahnliche erne Auge ganz beim Ohre wie ein. Erscheuiung
Wenn nng
so

glaubt das Auge znrflcklegt,

continuirlichen sehen. Ebenao

der und

Wechsel
zu

zwiachen scheU der

Reiz-

feurigen
auf den

Kreis

Ruhe

geschieht,
Wechsel in

Farben-

verwischt

sich

228

THE

HISTORY

OF

MUSIC.

change
becomes "But the
ear,

is obliterated continuous
we

in

and

and perception, uninterrupted." the ourselves in the in the number

case

rest

convince may that the increase is not the

of the

of

of their obliteration onlycause in the perception. Thus, when we passed from the interval of a semitone, "h' c", to that of a minor the have not c", we Third, a only increased of the fluctuations, of number but also the width fluctuations the interval. of the But also may fluctuations without
we same

increase

the

number

alteringthe
into
a

interval, by transposingthe

interval

higher region of
we we

the

scale.
two notes

If, instead
an

of "h'

c",

take obtain

the
66

same

Octave

higher,
Octave

fluctuations,and
and fluctuations,
same

if

yet
33

an are

even higher,

132

these the

actually

audible of 6h'

in the

manner

as

fluctuations

c",though

indeed

very high Octaves."" I have quoted Hekoholtz's

to

they becoine (pp.269, 270.)

words

feebler in the

at

full

length,

show

how

the

second first.
wird

part
In

of

his second

argument part, he
in eine hohere

militates
der

againstthe
die letztere und anhaltend. wir
uns

the

Empiindung,
Indessen zunaohst die

wir

dasselbe

Intervall

continuirlich
' '

Gegend
beim -wir atatt Octave 66 c""

der Scala verlegen. Nehmen

konnen davon

Ohre dasa

iiberzeugen.
Zahl der

c",die beiden Tone Ik' c", so erhalten holier,

A'

eine wir h'" und

Steigerung der die mobt Schwebungen dasa davon Ursache ist,

"

alleinige
sie in der In-

Schwebungen, in der Lage 132 Schwebungen, sogar

sind wirklich wie horbar

diese ben
von

in dersel-

Empfindung
dem eines wir halben

sich

verwischen.
von

namlioh

dem

Intervall

Weise, h' c", wenn

ganz
"

die 33

sie auch

Schwebungen allerdings
schwacher

Tones, K c", zu dem Uberbringen, einerkleinenTerz,fls'c",

wir nicht blosa sondem die Zahl auch der die

in den werden."

hohen

Lagen

habeu

Schwebungen,
Breite Wir der das des konnen

IntervaUs aber auch

vergrossert.
die Zahl ohue indem

Schwebungen
Intervall
zu

vergrossem,

verandern,

den von (Die Lehre als Tonempfindungen, physiologische OTumdlage fur die Theorie der Musik, H. der von Helmholtz, Professor Physiologic an der Universitat zu Heidelberg, .3rd edit. 1870. 8vo, pp. 269, 270).

DIFFERENCE

OF

OPINION.

229

gives a case in which are equallydissonant

that dissonance

33, 66, and

;

132

fluctuations should prove does not But tuations, flucalso

and this
or

that

alone

follows

interval,and
132

depend

33, 66, upon Hehnholtz has mistaken

fluctuations. of these
must

the character
to that
name

and (Schwebungen,) be attributed the indefinite the

cause

he has

given them.
consonant

They

are

nothing but
It is them
as

coincident he

and shoidd
to

vibrations. mistaken

strange that
attribute of to that the
are

have
consonant

so

dissonance

instead vibrations, dissonant from bb

to

exceeding number
mixed
in

of

vibrations
c.

the

interval

That

give

I may not misi'epresent Helmholtz, I again The number his words. At p. 258, he says,
"

of fluctuations

within

given
sounds

time

difiference in the total number

of

equal to the vibrations (Schwinin the of

same

is

gimgen)
time."*

which That

the is it
a

two

execute

precisedefinition
can

consonant

and vibrations, number

runs

be

of

no

other. in
more

The
or

same

throughout a
or

scale

less

rapid succession, whether

Fifth, Fourth, Third,
The has the mistake in led Hehnholtz
cause

the

interval

be

Octave,

the
to

any other. character of

a

"fluctuations" doctrine
as

propound

new

to

of resultant

sounds, to which
did
not

I shall have

occasion This

to refer hereafter.

eminent the musical

acoustician

sufficiently

regard
when music.

scale bearingsof the Harmonic he proposed to lay a basis for the theory of That part of the subject has been too much
Zalil der

"

"

Die

Schwebungen
in der Anzahl

in

Schwingungen
in derselben

welche Zeit

beide

Klange
"

einen

gegebenerZeit

findet sioh also der

auafuhren."

gleiohder differenz

{p. 258. )

230

THE

HISTORY

OF

MUSIC.

Helmholtz, neglectedby many writers on music. stead inthrough his system of numbering by overtones of by the lengths that produce them, has missed the advantages that the proportion-numbers
of the been
18

scale would

have
as slips

conferred, and
to

has
to
cc

himself and
ee

led into such

20

attribute

dd
"

and

instead "fluctuations," As

of to dd tenth has

and

(p. 259).
coincide numbers C
cannot

in

only the ninth the example which

be
our

and he

vibrations

given, the
doubles. fluctuar
20

must

and
can

10,
D
note

or

their

have the

18, neither
fundamental German

have

tions, when
book For the is C C the

throughout the

C,

at the

reasons

doctrine

in

pitchof 33 vibrations. above equallyto given,I demur Professor TyndaU's Lectures, on

"

Sound,
when

that, while
the beats

dissonance
33

is at its maximum

number

per

second, it lessens

graduallyafterwards, and
the beats
amount

the full

length of

entirely disappearswhen to 132 (p.296). If per second" the stringbe about four feet,and
"

give 132 vibrations, there will be 132 in every dissonant. consonant interval, or following AgaiQ, writers upon the science of music have for admitted an fact,that the as a long time assumed
numerous

sounds

which

result

from

the

Harmonics

not only emitted or are collectively string, pipe, and superposed, but also simultaneously with those of the entire string. There would indeed be a ^letany one fancyhalf the keys so jargon if it were down at once. of a pianoforte out Then, following this theory,they attribute all the various qualities ia musical inherent of tone instruments, whether to differences or by percussion, by wind, by string,
a
"

of

in their Harmonics.

HARMONICS

GENERATED

CONSECUTIVELY.

231

So very generalhas been the submission to these assumed to the present time, that some laws, down may upon be astonished them. evidence is that I should throw
even
a

doubt
ear

Nevertheless, both the eye and the

give
the For

ear

againstsuch doctrines. within everybody's reach.

one

The

test

of

keys upon a grand pianofortesmartly,and raise the finger fall heavily that the damper may so instantly, upon the string. The harder the damper, the more patent
instance,strike
will be the fact that but
note

of the

lowest

the

Harmonics Each
a

are

not

taneous, simul-

consecutive.
identified

successively rising
ear, upon
an
can

may

be

by

cultivated

the uncultivated and even grand pianoforte, the progressively sounds, and distinguish rising the highest of all is the last. note old This emitted order would be reversed if the sounds

that

were

because,the higherthe note, simultaneously, the sooner be completed. wiU its rapid vibrations To prove it,touch a base and a treble stringof a instant. at the same pianoforte produced by the Again, as to the Harmonics human voice. Kegnault'srecent experiments upon of sound through long water pipes may propagation
be cited The in the
to

establish the

same

order

in their

sion. succes-

results of these

Appendix to is an extract : The following with waves V. Experiments made produced by have voice and the human by wind instruments Acute sounds these principal facts. demonstrated than with much less facility propagate themselves sounds. In very long conduits, to hear well, grave to employ a baritone; the fundouit is necessary
"

experimentsare pubhshed Professor TyndaU's Lectures.

"

232

THE

HISTORY

OF

MUSIC.

mental which The which sounds.

sounds then

are

heard each the

succeed

propagationof
is due In
a

before the Harmonics, other in the order of pitch. sound changes its timbre,
of the Harmonic

to

the

admixture

embracing change its

are

very long conduits, therefore, a tune would certain extent of the gamut

character." the best

(p. 329.) proof,because

"

These the

long
sounds

duits con-

are

concentrated

by
a

them.
ear,

So far for the

and

next

as

to

the

eye.

Not

quick eye see the diminishingnodes it changes its a pianofortestring when upon Harmonics, but Kundt's experiments have proved them He strewed the light to demonstration. dust of lycopodium within a glass tube, and made the notes glassemit its various Harmonic by employing slower or quicker friction. His experiments were exempUfied by Professor TyndaU in his fifth lecture, and therefore witnessed were by large audiences, composed of those who take an interest in science. With to seen every ascending sound, the dust was itself into of equal a greater number arrange The length of every section in the tube divisions. was changed just as every sound was changed. been Indeed, it might have predicted ; because Harmonics only produced by aliquotparts of a are of air. Every division of a of a column or string, string into equal parts will produce an Harmonic note,,but the scale nmst teach where to placeit. Thus, both the ear and the eye, assisted by the pipe, the string,and the voice, bear testimony of Harmonics. projection againstthe simultaneous As to the duration of sounds emitted,one important has been not taken into cause sufficiently only
may
.

PROLONGATION

OF

TONE.

233

account.

It is the after-current

wMch

follows

every

displacementof air,however

minute

upon that displacement

be. The vibrations of the air thus may has continue, as in echoes, after the excitingcause ceased. of The the longerthe string, wider is its range turbance. greater the dis-

vibration; and, therefore, the

The effect of the

displacementis felt on a grand scale in the after-current which accompanies the discharge of a cannon. Not only the concussion, but also the rush of air,are felt by all who sensibly have againthe best pracbehind or near to it. We are tical evidence of the sound-waves which pervade even the seeming stillness of the air,when hear them we
concentrated and intermixed
a

within

the

hard
to the

and
ear.

polished windings of
And
to now,
as

it shell, by raising

to

the

theory which

has

been

posed sup-

account

for difference of tone

in numberless

musical

instruments.

Professor such
overtones

Tyndall
to

says, "It fundamental

us

is the
tones

addition of the
same

of

pitchwhich
the
a

enables

to

clarionet from

that

of

the distinguish and the a flute, the be pure

sound sound

of of

violin from of these

both.

Could

fundamental

tones

instruments

be

from indistinguishable admixture renders of

detached, they would each the other; but

in the different

different instruments

oveitones

diverse, and clang-tints therefore distinguishable." (p.127.) In the first place,a flute, violin, a a pianoforte, Harmonics and a hautboy,have the same ; but very In the second place, different are their tones. pxu-e detached in moniums, hartones fundamental are always because they have no audible Harmonics. with This is perhaps owing to their being made
"

their

234

THE

HISTOEY

OP

MUSIC.

tapering springs. Yet are sensiblyproduced

harmoniums,
them. organ, of the second and the
same

different from the

of qualities different

tone

stops

of

every ear can Again, take three wooden

between distinguish pipes of an open of a square but, one shape, equal length, with the proportions of 3 to 2 in superficies, the third of triangular form; they have and
tone.

Harmonics, but all differ in

kind
cannot

If facts

surely the two gainsayed, theories must fall together. I here touch acoustics only so far as they upon into related to music, and thereby run are strictly path. Upon other,even allied branches, I have my nothingnow to say. for adequately The of the ear practical range does not far extend sounds mustcal distinguishing of a pianoforte, Octaves else or beyond the seven would have been notes commonly added by more An the mamifacturers. eighth Octave gives very
of this be indefinite
extreme

sounds
notes

to

most
seven

ears,

and
are are

even

the

of the

Octaves Octaves

not

easily

unless distinguishable with of

an

their

sounded

them,

to

make

them

definite.

The

advantage

the

eighthOctave consists in this,that it iacreases quantityof tone, and gives the richness of its
to

Harmonics The

the others. scale and into

a

six-octave note

of Nature its Octave and

is

as

foUows

:
"

First, the Octave,

each

only.
a

Second

divided

Fifth

wards Fourth, afterof intervals for

providingan
of the
two

equal

number Third

divisions.
we

Octave,

divided

into four

Thirds, of which
character the

change
omitted

the

of the

employ only two, and lesser two, by having

that divides them.

Harmonic

Seventh

ATTENTION

FIKST

DRAWN

TO

HARMONICS.

235

FoiTRTH

Octave, eighttones
we

interval,of which
and the

diminishing gradually employ only the largesttwo

of the

least,but
Fifth their

entitle

least
same

"Diatonic
as

semitone."

Octave, the

eight tones

before, with
Sixth The

eight
was

intermediate

semitones.

Octave,
Harmonic

tones, semitones, and

scale

quarter-tones.

only developed during the last century, and was thought of in the scarcely theory of music untU the present. The discovery which led made to its formation was by two It was graduates of Oxford, about the year 1673.
communicated
to

Dr.

John
was

Wallis, the
first made of his Latia

celebrated known

mathematician, in 1676;
him. in the and

by
1685,
his

English edition subsequently in the

Works, in
Narcissus

Algebra,in
edition

of

Mathematical Dr. in

1693.

Marsh, founder
an

of Maxsh's

Library

who was exemplary prelate, successively Archbishop of Dublin and of Armagh, Dr. in and before 1676. was residingin Oxford Marsh was a great lover of music, and especially of part-music, both vocal and instnunental. These branches were cultivated by members then much two of the University, chief relaxation was and Marsh's in private concerts with certain of them, either at

Dublin, and

his Dr.

own,

or

at

their

rooms.

In

1676 of

he

informed

WaUis, the Savilian Professor

three

Geometry, that
of his Thomas
means

about

William of Wadham

years before that date,two Noble of Merton and College, had College, discovered
a or

friends,

Pigot
of producing,
notes

at

command,

the Harmonics this to

natural

from

and vibratingstring, and without simultaneously,

a

all appearance

intercommunication.
to

Before

that

time, little seems

have

been

known

236

THE

HISTORY

OF

MUSIC.

beyond
from the

the

facts the

that, if
one

two

stringsare
at
no

tuned

in

tmison, and

be

struck

great distance
sound with the

other, the second

from The the
same

will string will

that the wind first; and, secondly, sounds effects.

stringsof
amount

produce weird harp exposed to its

was

of information

shared earHer

by

the

ancient

Greeks,
of

and, among
of
a

the

modems,
The
not

by

St. Dunstan.
notes
a

natural

trumpet, or
some

horn, could

importanceto have discovered that, if one of the aliquot parts of a while the stringis stringbe touched very lightly,
imder the friction of
a

be

measured; therefore it is of

bow, it wiU

divide

itself into

nodes, and
It has

give the Harmonic,

to

instead

of the fundamental,

notes.

importancethan Dr. Wallis to have for,althoughhe seems anticipated; turns sensiblyout of his path to record it in his should he Algebra lest the remembrance perish,"* natural than it more states of as a curiosity as advantage to science. The lay fallow for half a century, and discovery taken then who was was Taylor, up by Dr. Brook the first to publishanalytical researches into the vibration of strings.'' Thenceforward, successively, by Euler, Lagrange,d'Alembert, Eiccati, Dr. BemomUi, Matthew Young, and by the illustrious Chladni,down
more
"

proved

be of

to the eminent

mathematicians
an

of the

present century.

It will be

to advantage

the difference of the several

to consider composers roots in every key,when

they
""

are

writingfor performancesin largebuUdings

*
"

"ne

pereat." (Wallia's O'pera

vol. ii. p.

Methodm
inversa

Incremenionmi
auotore

directa

Matliematka,

466, fol.

et

Brook

Taylor.

1693.)

1715.

herschel's of
must

definition

of

harmony.

237

resonant

and wish

qualities. They Harmonic-giving

to

often

avoid

the

conflict of discordant
a

Harmonics, siace grandeur of effect mil, in

measure,

great
the

depend
and

upon
even

care

in that

respect. Every

semitone,
Harmonic

scale, may

every be used

quarter-tone, in
in

melody

without

going out of the key. The of harmony," says Sir W. Herschel, sense the periodical of coincidental recurrence "depends upon impulses on the ear, and affords,perhaps, the only instance of a sensation for whose pleasing be reason can impressiona distinct and intelUgible assigned." This passage is quitethe antithesis to the definition of Helmholtz, that coincidental impulses
and preparation,
"

without

"

may

be

causes
now

of dissonance.
means,

Harmony
a

both with Greek

and technically

truly,
If

mixture

of concords ia the

discords,both
word

of which

are

included had

Harmonia.

Herschel
to

intended idea

consonances

only,according
he would have

the

popular
derived

of
to
a
"

harmony,
common

limited the
ear,

his definition from

coincidental root."

impulses on
same

Very
in two

difiPerent are

the effects of the

interval

singerhas not observed how much natural and more agreeableit is to sing a either up to, or down Fourth from, the key-note, from the key-noteto interval taken than the same places.
a

What

Fourth

above

iti
one

The

reason

is

that,in the last

case,

he goes

from

minor
more

Third, when
consonant

in

Again, the key into another. is one its right place, degree
the Fifth

than

the interval between

"

Quoted by
from

J. H.

Griesbach,
Sounds
"

in

his

Analysis of
"

Musical John

Preliminary Discourses on Philosophy. of Natural

the

Study

(p. 32)

Sir

Herschel'a

238

THE

HISTORY

OF

MTJSIC.

but, if in tte key of C, B we sing or play ascending C, E, G, Harmonic have an agreeable melodic B natural, and C, we flat,
and the Harmonic

Seventh

passage ;* B flat,our

whereas,
B

if

we

substitute is
a

for

Harmonic
to

flatjwhich
B
we

minor
ear

Third will not back

the

G, and
us

so

play C, E, G,
further of B
"

the flat,
are

allow A

to

ascend discord

driven

upon but sake

by

the The

flat. is much
a

system
We

of subdominants sacrifice too interval of

Greek,
for the

not

Nature's.

of

making one extra the key-note to

does
not

Fourth perfect

from

its Fourth Her of

above, which

Nature from from

were

allow. and in the Fifth

Second and less

now,

perfectFourths are the key upwards, as

Defects

the D

key

of C.

of this kind

observed forcibly by' the old musicians because they did not test the s6ale by
;

than that have

of

Nature

but

ears,

ancient these
two

and

modem,
are

that always been protesting The protest against the minor

we

wrong. and notes, Fourth

notes

Seventh, commenced

might ssty,in ancient his scales from that Pythagoras derived which there is hardly a doubt. It seems the peculiarity of the Greek Chromatic to attribute from the Octave, over in its passingdown the scale, the Seventh; and then from the Fifth,passing over
"

in very remote Egypt, on the

Antiquity, assumption Egypt, of impossible

The

intervals principal scale

are

of

the

of ways

the tryiug-

intervals

in various

Harmonic

not

only
in

but theoretically, familiar

to me,

also

prafcticaUy,
on

a upon thfe mondohord.

pianoforte tuned
The real is not alone arrived upon

by
at
a

effect of

from

having, (as writing

a was

uufamiliai

sounds them

duty bound,
which under
a

before out

the

by
upon

testing being
For

subject,)drawn
monochord
the I

scale, from
constructed

monochord.

They gain immediately

tried
a

in

their melodic

proper proand G.

Kemp.

superintendenceof Mr. had then the opportunity

places.

bold Harmonic

gression, try E,

F,

rOTIRTH

AND

MINOR

SEVENTH

KEJECTED.

239

Fourth those of the

out

than that of any other motive intervals which their ears told them
; to

avoiding
were

out

key.

Again, the
in the

same

two

notes

were

picked
scale,
the desire

for omission Plutarch

Greek its

Enharmonic

which,
of

tells us, had

originin

It is also Olympus to avoid the minor Seventh. that Olympus, or whoever invented that system, sure the Fourth; for no ancient Chromatic equally rejected
or

Enharmonic other. moderns

scale includes Similar

"

either the

one

note

or

the the

instances in the

as

be noticed among may universal rejection of the

in
ear

Seventh

in the of lead from

substitution

judged
received sensible eUe

to

ascending minor scale, and the major Seventh, which the to the Octave, so definitely
the French words the of
et
name

the has it

that

of
"

"la

note

;" or,
in

in

the

Rousseau,
fait sentir Fourth

parcequ'le Ton." minor of old

well of If to

annonce

la the

Again,
Seventh
"

Tonique of rejection

both

and

by
be there

the musical
an

ears"

of the composers
to

It

would
if

music

were

advantage to larger
a

able

sensitive,as
ears,

as

educated,
them
masters any

instead

preponderance present time.

of such many

ears

at

the

pleasure.
be led

evidences, and modem, of the guidance ancient to what of the is right, it is ear regretfulthat, owing to the imperof keyed instruments, we fections driven to adopt the system shouldbe of tuning called Equal Temperament. Tempering is to be "just so much
With out The will does There
a

should

affording singingto adopt

this for their tuning as when pianofortes they are teaching pupils to sing, they can hardly to the pupils sing correctly, expect such and wUl
to

have

tenfold into

trouble them

in the

trying
imitation The
one

instil of

imperfect
it
to

sounds, of the the

comas

of

tune

as

the

ear

will sounds
to

bear." that
ear

recommendation enables have

consideration

of

give
not
are

most

pleasure
ears

the

is, that system pianoforteplayer

mand his tone of twelve instrument like the

the
;

enter
some

into the arrangement. that will bear

keys
does
or

and,

not

sustain

great deal they must

consulted
Thirds
as

of have
to
new

."tempering,"smd
been the

organ

harmonium,
muster

especially
of the Sustained

equal temperament
with But
a

passes

tuning
is
now

greater number
not the

in the

system.

harmony

in Thirds

they do disagree- pleasure from

of persons. derive equal

music, although

240

THE

HISTOEY

OF

MUSIC.

popular ballads,Scotch English airs of the same

included because attributed in the

and

Irisli.

There

are

manynot

class,but
Music

they

were

Popular
pubHc
to
was

of
would
or

the

Olden

Time,
have also

voice Scotland

probably
to

them

Ireland

there beca4;ise

English airs
cotmtries omissions. teach
true

for

of already too large a number in one selection. Other publication

tunes

have

remarkable science
are

for alone

the will

same

Mathematical the
two

not

that science

intervals
rests

of music

and
not

followingout
sanction any
one

of the

upon laws of those

but the wrong, the investigation

Nature, and
laws. upon
was or a

does

conflict with learned

According to
branches
use unable The

writer

the
true

matical mathescale ia It

of

music,* there
of Monteverde
cause.

from
to

the
point
of

time
out tlie

Caccini.
et
a

porte i.la
is
nous

tendresse

la

douceur,
est

advantage
out

twelve

keys
them

attriste
"

lorsqu'eUe
is
a

trop

counterbalanced
aJl of
tune

by
and

having
without of

foible.

There

character from that the

in every dental coincia

any

interval,derived
vibrations of

redeeming
It upon is

variation
to

character. much The la

give

sort

too an attempt imperfect instruments. would

do

rhythm
"

it. vraie gamme

"La

greatestbenefactor
could
a

be he who

tonality de

modeme,
Monteverde les par

majeure de depuis I'inou

:

invent

mechanism
tune

by
in
one

which

novation

Casini,

in pianoforte, be raised remain

a

could and

by pedalsto
there

key, others,
It is the make of that

s'exprime

in tune

also.

is not

shiftingmovement
but
one

rapports 16, 18, 20, 21, 24, 27, 30, 32." (Compare the numbers monic by the preceding Harn'est pas conscale.) "EUe
forme i ceUes donnies
"

wanted,

that
we

shortens
can

strings. Till then, of out something

character. says des "II

des didacticiens g^niralitd devaient infaiUiblement

la par ^lesleurs

difference

est bon

d' observer,"
recevons

^garer tout Cette spioulateur contemporain

"

Rameau,

"que

nous

gamme in-

seule

contient et dissonante
un

I'harmonie
eutre

impressionsdifferentes tervaUes i proportion de

differentes

des

consonnante

eUes

leurs
amples ex-

oonjointespar
de

alterations.

Par

excite

majeure qui nous 4 la joie, nous natureUement

la Tierce

^galterme appreciable spire incomparaison, qui nous sentiment un unique de "c. et tonality" (Calcnl Musical
"

imprime
fureur et

jusqu' k quand eUe

des
est

id^es

de

la

Tierce

trop forte, qui nous miueure,

PhUosophie de la Mumpie par Charles Meerens, p. 20. 8vo. 186*.)

THE

MIXTURE-STOPS

OF

ORGANS.

241

had

the

lowered

changed to 16).
which
so as

it into E He

by a sixty-fourth part, so really and it had the true A (27 sharp,

allude to the Harmonic B flat followed this arrangement, upon Foiirths and Fifths with this he there writes the

does not have

should
to

make above

true

semitone Diatonic the of

E, because
scale. But

major

Harmonic

scale is confirmed horns without

trumpets and

only of a partial adoptionof by the ancient use keys. They were

formerly very
music, and
scale than invented

in out-door important instruments could not be played upon in any other that of Nature until keys or valves were

So it appears that the moderns and have really have gone away from retrograded, for employNature in the present scale. The reason ing for them. the semitone
as

above
near

E,
as

to

make

an

F,

was

to keep evidently to

Nature

present scale. tempered scale is, that

as

the

One

permit to a grand objection

false

would

it makes

Harmonics,

well

as

false notes. Harmonics.

Richness

of tones

depends

much The

upon

for the of an organ are solely mixture-stops Harmonics which of supplying the are purpose there be no deficient ia stopped pipes,and can of efiect in an organ without those mixturegrandeur stops. But there are organ builders who do not that such stops are to be voiced softly, to know seem who and organists forgetthat they are only to be used with the fuU organ, so that their tones be may If made by the volume of other sounds.

covered

instead of a they produce a disagreeable, prominent, grand efiect. The stopped pipe of an organ is merely a pipe with a plug at the end, or cap upon it,so that the
R

242

THE

HISTORY

OF

MUSIC.

wiad

has to travel to

and

fro to

obtain

an

exit

at

of air is thus the open lip, notch. The column or and the note producedis therefore ddubled in. length,
an

Octave

lower is of the

than

that

of
a

clarionet

nature

of

pipe. A stopped pipe, and

an

open

althoughclosed only at the end next the mouth, the effect of loweringthe tone by an Octave is the same. One foot ia length of the clarionet producesthe same C as two feet in length on a flute. monics Only two Harbe produced from viz.,a clarionet, a can
Twelfth, and
with another Twelfth above it
"

^the

latter,

of its high pitch. The account on difiiculty, first brought Harmonics of the clarionet were peculiar fessor Prointo notice by Sir Charles Wheatstone, F.E.S. Tyndall says, that the clarionet has the Harmonics 1, 3, 5, -7,by opening the holes at the sides. But to do so is to change the fundamental note. Professor TyndaU gives a useful second rule for comparing intervals, only in terms that may not;be understood nation. by every reader without a line of explaHe givesthe notes of the scaleiof C thus:
"

"'Names,

c,

D,

B,

r,

G, A,

b,

c.

'ilatesof vibration,!, .f,|, |, f, f, V.

and to then avoid
"

2."

Multiplying these ratios by 24, the following series obtain fractions, we

says
:

of whole

numbers, which
of the
notes

of vibration

express of the

the

relative

rates
"

Diatonic

scale:

24, 27, 30, 32, 36,40,

To upper in the

45,48;"

by

some

to multiply each multiply the ratios,means number by 24, and divide by the under, as of fractions. This rule may be! preferred case I have given at page 200, and. to the one

LOGARITHMS

FOR

INTERVALS.

243

for musical

purposes, who

the

one

is

as

efficient

as

the

other.

But, for those

it should be

are

verged
that

in the

mathematics,
use

pointed

out

of

the

logarithms of the intervals very much simplifies then the all the calculations, as multiplication, to a common denominator, "c., is entirelybringing The in fact, exactly dispensed with. logarithms,
represent
ear, and
to

the have

eye

what

the

intervals

do

to

the

the only to deduct or compare the does when logarithms on paper, just as the ear intervals are heard. corresponding For example, taking two kinds of tetrachord : their composition is at once illustrated by clearly the following simple statement,in which, it will be but addition used : observed, there is nothing
we
"

Pythagorean
Tetrachord.

Logarithm.

Ptolemy '8
Tetrachord.

Logarithm,

Majoe Majoe LiMMA FOUETH

Tone

0.05115 0.05115 0.02264

Major MraoR Majoe FouETH

Tone Tone Semitone

...

0.05115 0.04576 0.02803

0.12494

Tone

...

0.12494

This

excellent

mode

of

intervals calculating

was

writers, long ago by French and German and extended examples of its use will be found in Dr. Pole's admirable Scale, Diagrams of the MvMcal which are incorporated with the Rev. Sir F. A. Gore The Ouseley'sTreatise on Harmony. system has firom the wish to bring not been followed here ; first, within the reach of those who may the explanations understand because not ;' and, secondly, logarithms
*

introduced

For their of

those

who

are

extra-curious

in

table

acoustic M.

calculations,there is a lated, logarithms,calcuDelezenne,

from
1

appended to the already quoted Gaicul MaMccd, by M. Charles Meerens, in pamphlet

commas.

This

table is

by
1200

to in

form.

8vo.

1864.

semi-Tibrations,

expressed

R2

244

THE

HISTORY

OF

MUSIC.

stringinto its aliquot parts is of and, to many minds, it will practical application, a more livelyimpression of a sound, than convey will a short row of figures. And I quittingthe subjectof calculations, now, musical turn to anothef of Nature's arrangements. The Pythagoreandoctrine of the existence of certain too of which are vibratingsoTuids,some high and
a

the

division

of

others

too

low

to

reach

the

human

ear,

has received last and in

unexpected confirmation
the
are

both The

during the

present century.
too

existence

of sounds

that

by

the

high for our hearinghas been demonstrated the that, under certain conditions, discovery
of
two

union

generates
resultant

third

and

much

lower

sound, which Next,

even
one

is quite distinct from this sound

its two be may inaudible. said

to

primaries.
obtained On have and the been able

that when

the

two

are primaries

side,these resultant
in 1745

tones

are

discovered writer
on

by

German

musician

music, named
very

Sorge,but

that the disclosure the time.

attracted that

little attenticAi at discovered fiddle

Then,

they were
called
are

the celebrated
were

independently by Tartini, in 1754, and, after him, player,

tones.

Tartini's
to

On

the

other

side,

they
while

said

have

been

discovered

by

Tartini

studying the violin in 1714, and that he had taughtthem to his pupils long before he published in 1754. his theory of them In an AnalysisofMusical Sounds, with Illustrative Figures of the Ratios of Vibrations,by John Henry Griesbach,these tones are thus defined : Eesultant not sounds are audibly produced by the combined because the sound of a pianoof a pianoforte, sounds forte
"

diminishes gradually

from

the

instant

of

its

RESULTANT

SOUNDS.

245

production to
it is

its extinction. sounds

For

the

audible

duction pro-

of resultant

by

musical

instruments,

that the sounds and be continuous requisite equal. They are produced audibly by organ pipes, and by the metal reeds of harmoniums, also by many different intervals made when the

tenor to

are

to vibrate

stringsof a violin or powerfully. Tartini used

Thirds low could
not

tell his unless

tune

pupilsthat they heard

when female

their
'

be

in

the

note,'meaning the
may
are

resultant be sustained and

sound. heard

Resultant
two

sounds sounds

ally occasion-

by

voices.

powerfully metal bars, Triangles,

fully, power"^
"

not'" only produce their Harmonics bells,

but To

also resultant

sounds.

(p.65.)

produce such tones audiblyit is necessary that the two primariesbe sounded rather loudly, well as and it is expedient to select two as continuously, of high pitch for the notes experiment. Some attention be requiredat first to single out the may feeble resultant plished accomtone, but it will be readily after a little practice. A guidance to the in earlyexperimentswill be, that the note to be ear listened for may be predicted. Harmoniums tuned yield that have been careftilly these sounds much than those which more distinctly have The best way of hearing them is upon not. instrument of Wheatstone's one symphoniums, an which is no longer manufactured, it having been The is protone superseded by the concertina. duced metal but, instead of a by the same springs, bellows, they ai-e breathed through the halfupon By breathinginto this instrument, opened mouth. and time, the stopping the ears at the same lightly the sound is heard quite as distinctly resultant as

246

THE

HISTOHY

OF

MUSIC.

The higher two. the auditory nerve inside the drum this method

tones

by
of the

mouth to pasa through the the Eustachian tube, therefore

ear.

advantage of the springsdo not is,that, practically,

A therefore there is
no

further

yieldHarmonies,
sounds.
makes for the
to

confusion

of

that to Harmonics as deficiency the harmonium substitute an unsatisfactory The symphonium should be warmed, organ. It is the condensation
a

diminish When

of the

breath be

upon

cold

metal.

symphonixun
or

cannot

obtauied,
tones

try the harmonium

The If
20

concertina. resultant
:
"

are examples of following the two primariesbe e and

and
a

24

of the Harmonic

Nos. are g, which and at the interval scale,

tone

of

minor

Third, the resultant

and
a

will be

C, No. it,

4,

two

Octaves
same

If the
or

e, with

major Third below the e. below c, the major Third

before,but it will
the above
now

Nos.
same

20

and

16, be sounded, the

4,
as c.

result will be be

the
two

C, No.
next

only

Octaves If
we

below

try g
same

with

same
a

Nos. 12 it,

and win
cases,

6,

making
the
now

the "interval of

Fourth, the result

in the below
two

be

C, No.

4,

as

former

but
we

it is

only a

Twelfth

If
as
a

transpose the order

c, Nos.

Fifth above
will be
we

of g and and 24, the 16 above

g. c, and

take

resultant

tone

C, No.
a

8,

one

Octave

the other.
12

If

try
minor

major Sixth,as
be
as

g and
8.
e

e, Nos.

and

20, the
If
20
a

result wiU

C, No.
from
tone

Sixth,

to

cc

above

it,Nos.
12, the

and

32, the resultant

will

be g. No.

major Sixth below e. been from five It might have supposed^ have resulted above examples,that aU would

of the in the

CONSONANCE

versus

DIFFERENCE

TONES.

247 proved dis-

true

had key-notes, it.

not

the

last

experiment

Helmlioltz
to

changed

the

name

of Resultant
reason was

Tones the

Difference
note

Tones, and
is that which

his is

that

resultant between That their

tones set to

equal to
not

the difference

the ratios of vibration

of the two

primaries.
accoimt

is true

enough,

but

it does

for

Difference being audible beyond others. only add one more degree of discord to each

of the

vibrations, and
upper
new

the

above

are

all consonant
to

notes.

Therefore
revert
are

I demur
to

Helmof Dr.

holtz's Thomas of

theory, and Young, that these

between for their

that

the

reflected
are

sounds

the

consonant

vibrations,which
the two

also

equal

to the

difference
reason

is

good

primaries. There superioraudibUity; but it

find
a reason

would

be

indeed

difficult to the others. which

e

for the

predominance of
The of the
two notes

constitute and
g, when

the above referred

example
to

minor

Third

the and

are preceding scale,

Nos. 20
consonance
we

and

24,
and

giving 640
the

768
are

vibrations. both

The
if

difference

128, and

look for 128

vibrations, we
last of the

find them

producedby C, No.
tone.

4 of the scale. Therefore

C is the resultant the minor series,

Then
e

taking the
to cc,
as

Sixth, from
and and

another
1024
are

test,
vibra^ both
as

they
tions.

are

Nos. The

20

32, with
the

640

and

consonance

difference g. No.

384, and
resultant.

that

mnnber other

indicates intervals

12,

the

All the I

proved.
scale is
a

would, however,
the
two test

be similarly may ence suggest that the differ-

between

numbers

in the
of

Harmonic

shorter between

than

that

the calcuLating

difference

vibrations.

248

THE

HISTORY

OF

MUSIC.

I due he

can

but

suppose

Helmlioltz's

new

theories

to

be

to

of the the imperfection

instrument

wMcli

employed for his experiments. Thus, in Dr. Tyndall'swords, when treatingon these resultant told that "the sound tones, we are incessantly
varies between silence and of the
a

tone

of four times
"

the

of either intensity This is given with I have tried

delicate instnunent for

me,

ones" (p.278). interfering aJl the emphasis of italics. the experiment with the most for the purpose, tuned perfectly in my neither
ears

with

cotton

to

exclude

aU
nor

external

and influence, by that means, by harmoniums, by concertinas, or other, can discover have any intervals of sUence.
-

I I

Furthermore,

appealed to the highlysensitive ears of Macfarren, J. H. Griesbach, and others, but no one them. Then can distinguish surelythey are due to character of the Siren which Helmholtz the peculiar the employed for the experiment. And, possibly, for the theory Siren is also to be held responsible
of the it upon The
"

fluctuations."

It

seems

hard

to account

for

any other Siren is a

are

of which

principle. instrument, the tones nondescript produced by puffs of air through 12,
at
or
one

20,

or

30

holes

time. instruments of these If

two

So

there

are

virtually12,
the
same

20,

30
some

sounding
are

at

time, and
the

acting counter-

effects of others.

harmonium-

reeds, exactly alike, be

sounded
combined than forks those of the it together,
tones

placed
two

side

by

side that

and the

is all but wiU.

certain have If

of

the

less
two at

power

of

either,separately;
one

tuning
the
same

same

instant,near

to

pitch be sounded another,the sound

of both

may

THE

SIREN
.

ILL-ADAPTED

EOE

EXPERIMENTS.

249

be neutralised

by
I

tbe

manner

of is
a

bolding one
well-known and
one

at

an

angle

to

the

other. have

This

ment, experithat in his

which Professor lectures.

often

made,

Tyndall
"

has

largely illustrated

so may shall coincide

It is easy to see,"says he, "that the forks vibrate that the condensations of the one with the condensations
one

of the

other,

and

the rarefactions

of the

with
case,

the rarefactions forks will

to

of the other. assist each

see

If this be the It
...

the two

other. the
one

is,however, also easy

be
so

that that

two

forks

may

related

to

each

other
at the

of them

placewhere
fork should the other be

that whUe

one

requirea condensation the other requires rarefaction ; a forward, urge the air-particles
them backward.
If

shall

urges

the

opposing forces
move

so equal,particles

solicited will

neither

backwards

nor

forwards, and the aerial

the of
one

rest, which

Thus,
to

it

correspondsto silence, is is possible, by adding the sound

another, to abolish
the sounds

result. fork
"

that

of

of both

"(p. 256). It is singular that

arouse

the intervals of the

of silence did not

to the

the

attention the

great acoustician
with which

of imperfections
so

instrument

he

ducted con-

experiments. many Resultant had been tones

upon his in

much

experimented

birth to England before Hehnholtz gave or discovery, retheory, and they led to the discovery, that sounds might be too acute to affect human
ear.

the

Sir
two

Charles

Wheatstone,

LL.D., D.C.L., F.K.S., had

metal tongues made for him, of the very minute and used for concertinas kind harmoniums, but so minute that their

exceedinglyacute

sounds

were

250

THE

HISTORY

OF

MUSIC.

inaudible

togethertheir mthin hearing. distinctly graver resultant sound was Our present Professor of Music in the University of Oxford, the Eev. Sir F. A. Gore Ouseley,Bart., which had two very minute pipes constructed; open but of inaudible when blown were separately, equally separately, yet
when blown which the resultant

sound,

two

Octaves

below

the;

calculated heard.
success

pitch
similar

of the

lower

pipe, was
tried from

experiment was

distinctly with equal

work,

by Mr. J. H. Griesbach, alreadyquoted,the above account

is derived. Instruments limit of the have human been
ear

whose

of these

ments experi-

invented
to

as.

the

testingthe higher notes, and

for in difiPerent

they
In

show

considerable

variations

individuals.
waves low notes, the soundexceedingly succeed another too one slowlyto effect the continuity by which the auditory nerve necessary the impression of be excited in order to convey must the
case

of

musical

sound

to the

brain. in
a

If the vibrations second of

are ear

less in number is conscious

than

16

time, the

38,100
of

in

only of separateshocks. second, accordingto the

range but an is not
are

If

they

exceed

recent

tions calculaceases

Helmholtz, the consciousness

of the best

of sound
ear covers

altogether. "The
eleven
6
or

about
to

Octaves,
7 Octaves
in

auditory range
uncommon.

limited The

sounds
prised com-

available

music the

produced by
and range The

vibrations
4000
a

between

limits of 40

second.
ear

They

embrace

7 Octaves.

of the

far
an

transcends Octave.""
"

that

of the eye, which

hardlyexceeds
edit. 1869.

Tyndall'sLectures

on

Somid,

p.

84, 2nd

PYTHAGOKEAN

IDEAS

REALIZED.

251

Experiments by by
in the late of

upon D. C.

very

low

sounds

were

exhibited Professor

Hewitt,
but

by
on

the the

late

Donaldson
the Sir

Edinburgh,

largest scale
wire
as

present Oxford
E. A. Gore

Professor.
a

length,and
Octaves

Ouseley strained regulatedthe tension

below C
was

of 64
to

feet

so

produce
When
even

C, four

in

the

base

staff

plucked aside, the note was half-length only to

ears,

inaudible, and
heard
16

the

be

by

few

favoured

but

upon put iato Professor with the

of quarter-length became a pianoforte, vibration by a bow. Donaldson like result.

recent
were

the

feet, or the lowest

to

sensible The
same

all when of

experiments

of the

character, and
been turned It became

These
account

have investigations

to

by, at least,one
that horns

manufactiurer. kinds

evident of such

of various

length in the although no sound would length,the player might

her fourth
notes

might be made curved, that or tube, straight

be take heard up from Nature's the its entire scale
at

Octave, and
that

so

produce
could

eight Diatonic
semitones sounded but
two

within Fifth
;

Octave, and
would have

sixteen have

in the

the whole

whereas, if he

length,he

obtained

notes

in the first Octave, and has demonstrated the

but three

in the second.

This

of effecting a possibility great powers

one

enlargement of the class, subject to the

cumbrous Thus size. the doctrine

of instruments

of that of their

great

drawback

Pythagoreans, which was adopted by Cicero, Pliny, Boethius, and generallyin the middle unexpectedly verified by ages, has been
of the modern science.

252

CHAPTEE
The musical instruments
of

X.
the ancients.
account
"

"

DiflSeulties about
"

of

the

subject.^Athenseus's General Organ names.

"

incorrect
"

the

Hydraulic
"

^Magadis.
Pandean
"

Sambuca.
"

Buxus.
"

Wind Double
or

instruments.
Eeed
or

"

Syrinx,or
The

Pipe.
The

Pandura.

The

Hautboy
"

principle. Gingras.
"

Bassoon

and
"

-Comet,

Corno

Inglese.
"

The

Bombos.'

Koman Clarionet.
"

boy-player. HautThe the

Second

the Single Eeed principle:

"

Shawm, Python.
mat
"

or

Chalumeau.
"

^A

Pythian
"

game
Box

of for

Apollo
Eeeds.

and
"

Pythauli.

Chorauli. their

The
names

Many
from

rials for

Pipes, and
"

from

countries

and
"

special purposes. Pipes Pipe blown

"

Length
notes.
" "

of Arabian
The

Pipes proverbial. ^Egyptian

"

many

Bombyx.
old

Third
and

: principle

the

at the end.

The
"

English Flute Egyptian

Fourth

the

Flageolet.
Greek

The

Organ
and

Diapason.
Kalamaulos. Photinx and

The
"

Pipe

and the

Monaulos Flute.
"

: principle
"

present
Flute.
"

The
and

Plagiaulos.
with of

Egyptian
horns at
"

Phrygian Elymos.
round
or
"

Berecynthian Pipes
"

the

end.

"

Scytalia. Competitions
"

Pipers.
: principle
"

The
the

muzzles free Eeed

their mouths.

Bagpipe.
"

Fifth

Harmonium and

Trumpets
and Eoman.

derived from China. Sixth principle : principle Horns Egyptian, Assyrian, Greek, Etruscan,
"

The been

musical found
a

instruments diflScult The the be

of tJbe ancients
treat

have
;

always
and for limited classical

to subject

upon

several
number authors

reasons.

first

is,because
named

of
can

instruments

only a by

thoroughlyidentified. This is partly owing to the absence of cotemporaxy representations in paintings; and even when such are in sculpture or much frequentl inlicense has not to be foxmd, too poetical been taken with their forms, and they are Such rarely accompanied by distinctive names.
allusions
to

them

as

are

to

be

found

in the

texts

CONTEADICTOEY

DESCRIPTIONS.

253

are

generallycasual
In these

and
cases,

brief, and
other wide

often have

very
to

indefinite. be

notices
;

far and sought for, sometimes then and to be collected together, When have and the all this often the
source an

has

been

appearance

they are to be compared. done, the descriptions of being contradictory,

to

next

step

must

be

endeavour

to

trace

of this be found of of
a

seeming contradiction.
that
a name

Sometimes varied
on

it will
account

has

been

and, slight,
or

perhaps, unimportant
material
to

difference

pattern,
was

in the

of which

impossible such differences in sculpture,and to distiaguiah without a hardly less so in paintings, previous minute is to be sought for. knowledge of what have suppliednames material Again, the same may instruments to widely differing some ; and, lastly,
even

the instrument

made.

It is next

of
were

the

ancients, who
not

undertook

to

describe

them,
This whom
to

was we

for the task. musicallyqualified with the case Athenaeus, especially

to

are,

nevertheless, more

indebted

than

together of extracts a concerning musical large number Athenseus had little or no knowledge instruments. to have of their construction, although he seems If taken particularpleasure in hearing music. of the other there no were descriptionextant Hydraulikon, or Hydraulic Organ, than the one classed be he has now given, it would among there exist two instruments. Fortunately mythical minute other good and even According descriptions. inflated to Athenseus, the Hydraulic Organ was turned down into with water, and the pipes were Then the water the water. was strenuously agitated
any

other

writer, for having collected

254

THE

HISTORY

OF

liflJSIC.

made to enpt ^by 3, youth, and thus thp pipes were an agreeable sound.* This is just such as might have 9, description knew beqn given by any (?areless observer, who nothing of hydraulicsor pneumatics,and who did to enquire into jfche not trouble himself principle heard of the instrument. Any one who has once the rush of wiater through a pipe into a cistern, after the turncock has turned on the water-supply series to a house, will be able to judge whether a It of such pipes would emit "agreeable" sounds. much too to is not no reaUy musical say that
instrument
was

ever

constructed
:has

upon

such

although the attempt principle,

made
in
true

consequence

of

beQn certainly Athenseus's descriptionwill here be

The
"have

Hydrauhc Organ
a

jho-vm

to

beeU' of

Again, the
music, from
"such
as

very, different character. reader must not expect of old generality PoUux's
are

help, as

to

the

Latin

translations,

that

of JuUus

Onomas^i^oji. in the

Many
Greek
so

musical

instrument^
the author Greek

enumerated Latin

text, but

of the

version knew
Greek
a

little about he

poetry and
a

music Mode

that
and
a

could

not

between distinguish
scale and
a

between Nome,'' i.e.,

therefpre, hardly

matter

supposedflutes to have been of by iwind-" Translations instead

"

It is, hymn. for surprisethat he played upon by strings, of

x"?^
in the

the
^^
as "

same

iv. cap. Deipno-sophists,)ih. See He lib. iv. caip. translates

75.

considered

that of "a
as

second -well
as

"

9, 66.
:

meaning,
"a

sound,"

"

ahisaa.

etiaxn. multis chordis

"

nominavit." iv.
were

cap.

9.)
"

perpetually string," prceditcmi recurring word, "tetrachord," he lib. altered his .(OnomO'StilfOii, would, perhaps, have words The translation to "multisonantem," or in italics
".

thus

"PlatoYero

intended

as

translation he had

of but

"multis

sonis

prseditam."

TroXvxopSovaTov. If

MAGADIS

AND

SAMBITKA.

255

description are by no would gladlysuppose,

suffice for

means

so

uncommon

but

one

manywill such, instance

as

present purpose.
names

General
to

create

one

of the

difficulties greatest

enquirer into ancient musical instruments ; and his first thought should be : Is this a generic of the Magadis, In the case name? or a particular or Octave-playinginstrument, many seemingly concollected fficting descriptionsare by Athenseus.
" "

the

AU that

are

reconcilable
"

the

moment
was

it is understood transferable
to

the

name

Magadis"
instrument
name was was

any

stringedor
in Octaves.

wind The

that

instrument. foreign which Anacreon

It

played,that

played might originally given to a Lydian Magadis upon had twenty strings.*

be

scribed Again, the Sambuca, in Greek, Sambuke, is deby one as a small triangular harp with four and of such it strings, high sounds as to make of little use. That kind of Sambuca was practically small TrigSn. By a second, it is identified with a the Barbitos, or many-stringed Lyre. By a third for the Lyro-phoeni?:, writer, it is made a synonyme Phoenician In a fourth case, it is the large or Lyre.'' Greek Lyre. In a fifth case, it is a Magadis." In the middle
at

ages, it
a

was

at

one

time

Dulcimer, and
case,

largePipe. In a Roman military engine, of character,for scaling waU^.*

* "

others

seventh
a

it

was

light and

portable

^oXXw

S'

eiKOfft

AvSajv
"
"

'KopdaliTiv fjtayadiv ix^^j

"Q AevKaajTi

(AthensBus, lib. xiv. cap. 37, p. 634,

""

c.

and
"

Bergk's Anacreon, frag.5.) by

and

4"om?
of

has

sometimes but

the not

mean-

ing
ease.

palm-nrood,

in

this

quoted Euphorion, lib. xiv. Athensens, cap. 36. * See index to Athenaeua,
See LiddeU and Scott's Lexicon.

256

THE

HISTORY

OF

MUSIC.

It is tbese musical will Greek of the Sabucus.

to scarcely

be the
was

doubted word
not root

that

tbe

clue

to

aU The

varieties

is

"Elderwood."

instrument for the

Greek, originally
of the word the
name

which

account ; but

the Romans

not
as

being
that of and

inherited form

elder

tree, in the

of Sambucus

Pythagorasand Euphorion speak of the Sambuca as played by the Parthians, and by nations borderingon the Red Sea.* Others again attribute
it to very the Phcenicia;ns.

Elderwood, when

dried, is

light in point of weight ; and first, its and, secondly,its wide grain, would portability, it for sonority in recommended have stringed with which musical instruments. Again,the facihty from its branches the green pith might be removed useful for largepipes. The them made system of naming musical instruments after the wood of which in ancient times. made was they were very common instance : Boxwood, For (Gr.Puxos, Lat. Buxus,) flutes ; because, to smaller pipes and lent its name suitable wood, it was being a hard and close-grained
for exactitude in the
a

bore

of their

tubes. it would

It

was

smooth, and

took

and good polish,

bear

rough
made the

Clarionets,flutes,and fifes are still usage. Both in Greek and in Latin of boxwood.
of this wood
are so

name

is often kinds of

used

for the

pipe.

There

many
"

musical instruments
nation
"

some

from and
some

so^e inventor an

for general names derived from a particular

"

some
"

from

their

use, special
"

Jfrom their

shape''
vel

^that the
usus,

Athenseus, lib. xiv., cap. 34.

"Si enim

sint,vel regiones uTji vigebat

vel
sonus,

antiquodiligentius
tot inspiciamua,

rum earum

monumenta

differentias reperiemus quot

inventores

materia, numenis, et usus varii postulabant." figura, Tihiis (Bartholinus De Veterum,

"

vel

diversi inferre

pos-

p.

6.3.)

THE

WINDS.

THE

FIRST

TEACHERS.

257

more

practicable way
to

of

present time, seems

involved instead in their of

the subject, at the treating be according to the principles

thus in

and construction,

classes,

It wiU greatlyabbreviate individually. and the various properties of the instruments details, will be more understood. readily To which class shaU priority be given to wind, be argued that ? It may justly or string, percussion between the beats of time that melody first arose marked the rhythm, and therefore rhythm was instruments of parent of vocal melody ; but whether like the drum, are that account to on percussion,
"

be Dr.

ranked

as

the

first of

musical

instruments, as

Bumey and others would have it, is another question. Upon such a theoryprecedencemust be but given to hands and feet before all instruments,
where between sudden is their noise and musical and music sound
?

The the

distinction
first acts

is,that

uregular shocks, and the second rapidlysucceedingperiodic impulses upon the ear. These impulsesgive the continuity of tone which is called "music." Rather, then, should the play of the
wind with upon the the first ends of broken reeds
man

by by

be
a

credited musical

suggestionto

of

instrument. of reed so as to form whistles, pieces was, in all probabOity, a thought which preceded that of boring holes into one reed, so as to make it emit several sounds. also be assignedto Priority may of blowing at an angle across this practice the ends

To cut

of the of

reeds,in the
to

manner

of the

wind, before that

and a string twisting

as

board, so

cause

over And, thirdly,

the

it to a soundingattaching it to produce a musical note. cuttingoff a part of the horn

s

258

THE

HISTORY

OP

MUSIC.

of

an

wind

objectof employing it the smaller open instrument, by inserting

animal, with
tlie

as

end

into the mouth.

"

Fond First

zephyrs playing on taught the

rustic how

the hollow
to
use

reeds

his

pipe."" Pandean

The

Syrinx
Pan's

of the Greeks

is

now

called

Pipe, and is rarelyseen except with formed the Punch and Judy showman. It was by combination of short pieces of reed of different a joined together by waxed lengths,and they were the ends threads, and tuned to a scale by filling with wax, or by cutting down the reeds exactlyto Pipe, or
the note.
"

pipe composed
wax

of reeds

of

lesseningheight,
the less."b

By

conjoined the of
as

greaterto kind
are

Instruments
as

that

common

to

civilized un-

well

civilized nations. Pan

was

of

the

myth

that he

the the

In consequence inventor of such how

to

pipes,and
the
came

that

taught
wax

world

reeds
to be

together with
was

and

flax,the
This
name,

join Syrinx

called the Pandura.

instead tively compara-

of

Syrinx,
late

assigned to
Isidore the

it

only by
are

vrriters, among
that
was
a more

whom

Cassiodorus,

Hesychius,and
been shown

of Seville." ancient

It has

already Pandura, or

Pandoura,
" "

stringedinstrument.
per calamorum sibila

zephyri cava Agreateis doouere

Et Fistula Nam

primum
v.

oavas

inflare cicutas."

Lucretius, Ub.
""
"

lines 1381-1382.

cui semper
cera

decrescit

arundinis

ordo

calamus

jungitur usque

minor."

TibuUus,
""PandoriusabinventoreTOoatua,
"

lib. ii. 5, 31.

lib. iii.cap. 20.) Isidore (Origrme*, derived the quotation from Virgil's de quo Virgilius primus cala: Pan Eclogues, ii. 32. mosceraconjungerepluresinstituit."

THE

SYEINX,

OR

PAN's

PIPE.

259

Syrinx was one of instruments,accordingto

the Book in of
""

The

NebucliadnezzEir's the
was

musical

Daniel, and it

version of Septuagiat irfed by the Lydians

Nebuchadnezzar's goingto battle. "comet, flute, harp,sackbut, psaltery, dulcimer," accordingto the the Salpinx, Greek, were i.e., trumpet, the Syrinx, the Ejthara, the Sambuca, the psaltery, and the symfor some phonia,the last being but a vague name instrument for harmony. Theocritus "The poem, under It consists of twenty Syrinx."''
wrote
a

short

the

title of
ten

Hues, in

pairsof gradually length,like the pipes decreasing of the instrument. Each of the last pair is composed of a single word of "four syllables. the From ten pairsof lines in this poem it may be inferred
written,or in the earlier part of the third century before Christ, the Syrinx had ten But, accordingto ordinarily pipes or reeds. that,at the time it was
of sculptures
more

later

date, seven

or

eight reeds

was

its

usual number. The

Syrinx is
be

of

an

character. exceptional

It is

not

to

classed with

pipeshad through them ; whereas,

ancient

aU other any other,because the wind blown wholly or partially in the

Syrinx, the

wind breath

edge of the top of the reed causes it to sound, just as it would the upon inner lipof an empty physicphial. Settingaside this instrument as one of a peculiar character, there are four distinct principles upon which ancient musical structed, conpipes and flutes were and all were acted by blowing upon
"

passes in and out of the same directed againstthe inner

aperture. The

Herodotus Printed

""

apud Athenaeum, 627. by Bninek, in vol. i.

of

his

Analecta 8vo.

veterum
n.

Poftarwm

Grceeorum.

d. s

260

THE

HISTORY

OF

MUSIC.

through at merely across

of these

least

some

the end

part of the pipe, instead of of it,as in the Syrinx. Out

instruments been impartant modern evolved, as well as the admirably contrasted tones of their origin in shepherds' All four had organs. have and were made either out of a reed or of a pipes, straw. They may stUl be experimented upon with, the original materials,and with the like result. Shepherds are no longer musical as a class in our but boys in country schools exercise themselves latitudes, in the craft, and many of themoccasionally would be good teachers of the four different systems. and gained a Httle instruction, Having received some endeavour I wiU to practicalexperience, explain them. Two with a vibrating are tongue of straw or reed, which i^ to- be held in the mouth, and two are without The it. First

Principle

is o;^ the

Double

Eeed

or

Hautboy system. Take the pulpy

one one

end

of

straw

of green
a

corn,

or

of the snijaUestof reeds without end

knot, and

between

by squeezing it. Place the the lips, and blow through the straw.
will act

split split end

The boy, haut-

spht part

like the double

reed
name

of the
was

Waight. derived from the Castle Waight, or That nam^ was who carried and played Watchman," upon pipes of this kind at stated hours of the night. The experim,entalist miist vary the strength of his blowing tin he finds the pitch of this tiny tube, or
"

of which

the ancient

Enghsh

else it will not sound the

note

and

then he
straw

can or

raise

or

lower

the by shortening

by taking a
reed
on

longer.
The modern bassoon

has

double

this

THE

DOUBLE

EEED,

OB

HAUTBOY

SYSTEM.

261

same

of
to

but it principle, the hautboy. Thus the hautboy. The intermediate

is

one

of

it forms

largersi^e than that the appropriate base

was

formerlycalled the cornet in England, from having been originally made of horn, and stUl is called the Corno Inglese. It forms the tenor to the hautboy.
instrument And
on now

to

trace

back

instruments

constructed

this double In the

reed

principle.

Egyptian collection at the British Museum is a small reed pipe of eightand three-quarter inches in length, and into the hollow of this httle pipe is fitted at one end a splitstraw of thick Egyptian growth, to form its mouthpiece. When compressed this mouthpiece will leave but a tiny by the lips, of the breath. The pipe space for the admission to the descriptions of the correspondsso precisely Gingras, given by Greek writers,as to leave hardlya doubt of its identity. The agreement is not as to form only,but also as to the wailingtone attributed to the Gingras. That qualitycould only be produced by a pipe on the double reed principle. The has four holes for in the British Museum GijDgras the fingers. the Athenaeus," quoting Xenophon, says that Phcenicians used a kind of pipe,called the Gingras, and of about of very high pitch, a span in length, mournful Also that it was tone. a employed by in their wailings, and that these pipes the Carians called Gingroi by the Phoenicians, from the were
lamentations
Adonis for Adonis
"

"for

you

Phoenicians us." So

call this

Gingres,as Democlides admittedly of Adonis-pipe was

"

teUs

Asiatic
a.

and origin,

Lib.

iv. 174 f, 175

262

THE

HISTORY

OF

MUSIC.

was

most
as

likelycommon
well
as

to

the

various

nations

of

Asia,

to

Egypt.
of the Greeks

both signified the base of a scale* and a long pipe that produced '' Such used at a pipe was specially very low notes. which signifies funerals ; and its name, "humming" or buzzing," again suggests the double reed principle.

Next, the

Bombos

"

There thin

would

be of
paper

no

buzz
or a

without

reed, unless
were so

piece

skin

parchment
comb, and
a

made
to

to

vibrate, as
the the
tone

with

parody
kind, base,
that of the the

qualityof
would blown these

its tone.

From

flute of either weak

at

whether
For the

be pure, soft, and from the end or it

seems
a

in the the side.

reasons,

fair inference

Bombos

of the

Greeks, and the Bombard

most

middle

ages, are now bassoon. But there the of Bombos the

was
a

nearlyrepresented by

is this difference

that, whereas

bassoon,
curved
to

very which back avoid end

tube long pipe,the wooden would be equally long if in the the

is straight,

middle,

or

folded of

in

two, in order

inconvenience

great

length. keep the

breath. which is

curved

is therefore from the

face of the The reed

playeraway

to necessary his returned

is inserted

into

curved

end,

usuallymade of brass. Some Etruscan Pipes shew the to clearly."The Etruscans seem
"

double have
had

reed
a

very

great
calido
vo-

Budid's

Sectio

Ganonis,
sunt

p.

37,

Hist. utuutur

Anim.,

tradit

eos

qui
emittere et

edit. Meibom.
""

spiritu talem graviorem

Sir
sonum

"Porro

alii

bomboai,
non

cem, trices

qualem Sitioines

Lamenta-

bombis

latissimarum

tibiarum habere solent

inspirant
Hamilton's
and

absimiles,quales Sitioines, qui Xumbauli, i.e., appellantur." from (Quoted Galen, lib.
ii
"

tibiis."
"

See

WOliam vol.

CoUeetion,
FoL

ii.,plate 41,
83.

Sympt. Cam., by Bartholiin his De Tibiis Veterum, p. nus, lib, iv., 278,) "Ideo Aristotelfis,
iii. De

vol. iv., plates 81 and

(Naples.

1791-95.)

THE

SINGLE

REED,

OR

CLARIONET

SYSTEM.

263

for preference

struments pipes. Among their musical inare lyres,tabrets or tambourines, with ginglinglittle cymbals attached to them, and the Syrinx. Although the harp is less frequently exhibited, there is at least one specimen to be sucli found In
on an

Etruscan

vase

ia the

British

Museum.*

holds Roman a following representation, conical the true two therefore are pipes, which The original of the Etruscan. hautboy, as are some of the picture is in the British Museum, 67. case

the

Ancient

Roman

Hautboys.

The
or

Second

Principle

is that of the

Reed Single

Clarionet Take
a

systemi
with
a

straw

knot

at

one

end

and

the
"

other. about

To
an

borrow inch from the

Professor the

At

TyndaU's with knot, cut lightly

a

open at words :

quarter of the straw's diameter. Then, turning the blade flat, the knot, and so raise pass it upwards towards
a

penknife to

depth

of about

stripof strip wiU

a
'

the be

straw,
the

nearly an inch long." This reed or tongue, to be set in

1260, in First Vase
Room.

Amphora,

No.

264

THE

HISTOKY

OF

MUSIC.

vibration

by the breath passing down upon it into the pipe. The straw be cut the reverse way, may the that is,beginning from the knot, and with same not to effect. The as tongue of straw is so pliable in the case require pressure from the Hp, as it would
of
a

reed.
was

of the ordinarypipe of the principle ancients. The of tone greater depth and volume that could be produced from the middle and lower notes it by the employment of a reed, recommended for out-door celebrations. especially the Shawm, It was Schalm, Schalmuse, or Chalumeau

Such

the

of

few
an

centuries

in

improved
clarionet
as

ago, form

and

it is the

by

represented clarionet with

now

keys.
form
as

The well sized

differs from

the

hautboy
is bell

in
an

in the

reed, for the

at

clarionet the

equal
but

tube, enlargingonly
The

the bell adds

discarded.
as

notlung to hautboy has

a

end, the tone, and might t"e

been

alreadydescribed

conical. In aU
cases

where

reed

object most The pliableone.

louder
case

the

desired

mouthpiece is required, by players is to obtain a

reed the harsher
was

stiffer the
tone

and
one

will be

the

produced.
a

There

the ancients in which among otherwise. rather desirable than

stiffreed

became in the

That

was

Pythian games,* when the playershad to take part of the fightbetween in the representation Apollo have the been and rather an Python. It must seeing. It consisted of amusing exhibition for once five paxts. First,the attempt ; second, the provocation third the and the fourth an iambic, a ; spondaicmovement;
"

the

the ovation fifth,

was^

to the
sung.

god.

When

the

or v6ix.og TlvBucos, Pythian Nome,

APOLLO

AND

THE

PYTHON.

"

265

During
Mm
to
see

the

first movement

Apollo

looked

about
"

for a fight convenient placewas for even the gods were In prudent in such matters. the second, Apollo provoked the dragon, and in the third they fought. This third movement, excellent for thrusting, was being in iambic measure, the fight was I .) While I (u I going on, the then and pipers had both to play, and now imitate their pipes the to hissings of the upon dragon, the gnashing of his teeth, and his screams when hit by the arrows of the god. (Here he was the stiff clarionet reed would be most useful. ) The base trumpets impressively the dragon's out gave shudders and When the fight was over, groans. the stately That was to came spondaic movement. the ovation, victory. Last came represent Apollo's of which the to god danced during the whole celebrate his trimnph. We not told the measiu-e are of this last movement, but, having alreadyhad both and iambic and spondaic, we suggest anapaestic, may then we can fancy Apollo carelessly dancing the II .) I polka, (uu I the players had For this game especialpipes, called in Greek Puthauloi, Latin, Pythauli. The with the same stiff same pipes,but not necessarily
-

if the

ou

uu

reeds,
thus
The said
to

were

also used

with

choruses

of

voices, and

were

called also Chorauloi"

single and
have and

Greeks

the required
"1

be principles may been general among by far the more with- the latter, who Romans, especially loudest pipes for the great dimensions reed
cantaest appellatns from Choranles."

double

'Pythaules qui Pythia

habuit

verat, septem
voce

paUiatos, qui
unde

cantaverunt',

postea

Hyginus Tibiis, p. SI.)

(Quoted by Bartholinns, De
"

266

"

THE

HISTORY

OF

MUSIC.

of their

refers to pipes of ampHtheatres. Horace Hs time as being bound with copper bronze, and or He of the as trumpet. emulating the power with ancient them contrasts days, pipes of more which few
a were

of small The

bore, slender
of his

in

size,and
served power

had

notes.

ancient

said he, accompanied pipes,

own

chorus, but
drown it.^ in
name
an

those This

time of the have for

a

rather of the the

a

to

emulation
seems

trumpet
modem

pipes
of
octave

to
;

suggested
clarion
was

clarionet above

trumpet
clarionet

the In

ordinary

one,

and

is its diminutive.
are

of instruments class to another Whenever

a

sometimes

this way, the names transferred from one character.

of

widely different
of
an

we

read he

ancient

kept the reed infer that he we pipe, (the glottaor glossa,)" may used double, or possibly, a a single reed, because they alone would require the protection. The reed is the more double probable,because a cap the end of the pipe would suffice to protect over The the stronger siagle reed. necessityexists at The clarionet player has a wooden this day. cap the end of his pipe, but no to cover hautboy or
" "

box," in which

playerwho had or tongue of his

Tibia

non

ut

^mula,

sed

vincta,tubseque tenuis,simplexque, foramine pauco

nimc

orichalco

"

Adspirare et adease choria erat utUis, atque Nondum apisaanimia complere sedHia flatu.'' {Ars Poetica,linea
^

202

to

205.)
for

CaUed

yXiDaaoKofmov,

or

mentary
where he

on

Claudiua

Ptolemy,

yXiaaaoKOiiov. "Keed," or
'

gives

directions

"tongue,"'
of the usual
one

is

more
or

exact

translation

glotta,
of the
waa ex-

glossa, than

of cloae grain,light, equal, and for moistening the zugoi of double pipes before playing, and
"

one selecting

"mouthpiece," which
glottis,into
inserted. which
The

is rather the reed

"Aci

Si

xal

tSiv

aiiXStv dvai koX

tAq

yXwrraf irviaid^xal Xuag

"c."

ofiaX"g,

glotta is fully
in his

(p.250, Wallis's

edit.)

plained by Porphyry

Com-

PIPES

AND

THEIR

REEDS.

267

bassoon lie fixes ceased

playerwould
his delicate
to

be

without

box, into wMch

when he had The has
a

double

reeds

play.
like
a

The modem in

ancient box

reed-box for dominos.

slidingtop,
sHde

is described

Heron's double human the has

Hydraulic Organ.
nearest to
are

The the than

explanation of the reed principleis

voice
;

that smaller

of

but,

as

the

reeds the
we

apertiu-eat the top of

of the that quality

throat, their

tone

more

reedy. of the It is next to impossible to identify many pipes. The names give no sufficient clue to them. Aulos is a general title that does not distinguish between a pipe and a flute ; and the Latin Tibia is equallyindefinite. Among other materials employed by the ancients, for pipe or flute, were lotus, laurel, palmwood, pinewood, boxwood, beechwood, elderwood, ivory, reeds of various kinds, leg-bonesof animals and of large birds, such as the eagle,vulture, and kite ;
horns of various animals of for the various from beU-ends
sorts.

designateas

of certain Some

pipes,and
derived
to

metals
names were

pipes

their

the
as

they supplicationto

which

devoted,

special purposes Spondauloi, for

panying gods ; Chorauloi, for accomchoruses; Chorikoi, for accompanying choral dancings; Dactylic pipes, for a kind of dancing

the

which
name,

must
u

have

been

in

common

time, from

its

whose (- J);Hippophorboi,for horsekeepers, made of the

so

pipes were
for

bark

of the

laurel; others
after

and travellers,

on.

Again, pipes
country them, as
or

were

sometimes from which

named the Greeks

the

nation

denved

Alexandrian, Tuscan, Theban, Scythian,

268

THE

HISTORY

OB"

MUSIC.

Phoenician, Lybian, Arabian,

was
a

wMcli

were

very long
The

pipes; and Phyrgian, or Berecynthian.

true

flute,blown
of

at
so

the
was

side

Lybian Plagiaulos.
the
to

It
Ik

was

made

lotus,and

distinct from also attributed

flute which horsekeepers' Lybia. The Scythian were legs; and the Theban were of
a

was

of made

eagles or
of the .with

vultures'

thigh-bone
The
man,
was
a

fawn, and
Arabian

were

covered

metal."

length of
of whose

pipeswas
there

and proverbial,
to

tongue
Arabian

seemed

be

no

end,

called
The

an

piper.

Egyptians had the credit of the many-toned flute,*" as they had of the many-stringedinstruments. be of the ancient Perhaps another pipes may from its seeming to answer well to the identified, so descriptions Bombyx, suppHes the clue, ; its name, worm." silkfor the pipe bears resemblance "a to some
"

Adrian Aristotle

Junius,
to the

in

his
"

Nomenclator,
these

quotes

efiect that

pipeswere

long,

blown required a great deal of breath, and were exertion." If they required exertion, only with much well as a great deal of breath, they were as piece. and were blown wide pipes, through a reed mouththe reeds grown in lake Pliny,in describing

Orchomemis,

in

Boeotia, says, that

one

which

was

called pervious throughout was This reed, says he, \auleticon). years to grow, of the lake were
as

the
used

piper'sreed,
to

take

nine

it

was

for that

period the

waters

on continually
a

the increase.
were

If the
cut

flood lasted at the full for

year, the reeds

modoa Claudian.

Onomastikon, cap. 10. The dvXoe, OnoiroKv(p96yyoi lib. iv. mastikon, "Varjpsque
"

.^gyptia

ducit

tibia."

"

'

"

THE

BOMBYX,

OR

SILKWORM

PIPE.

269

for double
sooner,

and pipes(zeugitoB), reeds

were
were

if the waters

subsided

the

not

so

fine, were

called Bom-

and byciae,

single pipes.* These reeds threw shoots around out them, and perhaps each of shoots have been counted row as a year's may growth. In Bumey's History of Music^ there is a of a large musical representation pipe,copied fi:om "the beautiful sarcophagus in the CampidogHo, or at Rome," and this is, in all CapitolineMuseum, Thereon be the to a seem probability, Bombyx. marks of the attributed nine years'growth, from
used for each of which the leaves have been

they give it
while the

suggested
also, the
appearance.

the appearance of the body, five raised circular apertm-es may have the idea of silkworms' legs. Perhaps,
was

away, sUkworm's

cut

and

reed

and flossy,

thus

had

sUky

The

Bombyx.

of probably made horn, and intended as stops by turning them ro^nd, and so to close or open the pipe. Such use appears than that they can have been intended more probable either to be plugged,or to be stopped by the fingers during the performance. The pipe is the only large noticed which that I have be supposed to can one

These

circular

apertures were

bear

any says

resemblance Julius of its

a

to

the
was

silkworm. well

The

byx, Bom-

Pollux,

fitted for If it had of the low

orgies,
been
notes

on

account

powerful tones."
reed, the
tone

played without
would
"

have

been

soft and
History,
lib.

feeble,
""
'

Pliny's NaiMral
66.

Vol.

i.

plate 6, No.

3.

rvi. cap.

OnomastUcon,

lib. iv. cap. 10.

270 The

THE

HISTORY

OF

MUSIC.

singlereeds
reeds, were
now,
are

for

clarionet

mouthpieces,such, cut out of Bombyx.

and

as

we

call

And,
which

to the

Third of

Fourth and

Principles,
which
are

those
at

Flutes end
or

Pipes
the
to

blown,
the

either

the of
an

at

side, without
increase the

intervention and these

to

artificial reed the

power Of the

change
the the
reason

two,
as

quahty of the tone. flute,blown or Plagiaulos,

present time, is the more is, that the lip is made

at

side,

at

powerful.
serve

The

to

the piirpose
the the has of the other
a

of

reed, and
into
more or

it sets active

the' column vibration.

of air within On end

use

pipe

hand, the flute

stiff

pipe blown at the precludes the mouthpiece, which

Hp, and the sounds are weaker, but with The tone nearer approach to perfect purityof tone. is there produced by the breath being directed agaiQst a sharp edge. of comparativelymodem date will Instruments illustrate the sometimes to serve principlesof and it may, ancient therefore,be noticed ones; blown that the old English flute, at the end, was
remarkable for sweetness, but with
to Rousseau) France, (according douce, and FlAte-k-bec, Flute
"

httle power. In it had three names FlAte

"

d'Angleof
a

terre."
cut

It has

mouthpiece like
the second
name once

the beak

bird

short, and
kind

the four
more

of tone.

Having

exactly describes possesseda set of

sizes, I
may, with

such

flutes,of difierent

certainty,speak of the general quahty as and with little musical, but remarkably sweet and the diapason-pipe The of an flageolet power.
organ carry
are-

constructed
the

on

this

same

system,

and

out

description.

PIPES

PLAYED

WITHOUT

REEDS.

271

For

of exemplification blown
a

tHs end
"

third

instruments which the make has

at at

the
one

viz. principle, take a joint of reed

"

knot Take

extreme,

and

is open

at

other.
a
narrow

the sUt

knotty end through the

of the

for the upper

mouth, and part of the

as

knot, almost
the breath

to

the outside

reed, so

to admit

only through that sHt ; then cut a sloping notch out of the body of the pipe, about an inch from towards the knot, so as to leave a sharpedge pointing the slit. Against this edge the thin sheet of breath directed it passes must be as through the sHt. When blown, the breath wiU then flutter rapidly against the sharp edge, and that edge will sound have the pipe.* It would not sound any musical Such without it. is the principle of the diapason The kind of notch to be made pipes of an organ. the outside of the pipes of an be seen on may of ornamental organ-front. This also is the principle off the mouthpiece of a flageolet, Take the flageolet. the breath the fine sHt through which must and
pass will be then
seen.

The

inside

of the

long narrow aperture, but pipe has the same exposed to the eye. The mouthpiece of the flageolet
is added for convenience be the end sounded slit and has
no

organ is not

rather

than The

for
two
a

use.

The

pipe may
parts
at
are

without the

it.

essential

notch.

If

the

notch for
a

it,that ii^j
reed. this
to

pipe blown pipe can only

the ladies of

have For

been

intended

of exemplification may look p. 63.

for this

ancients, we
in the

back One

principle among the Egyptian

holds

plate at
old the

of them

two

The of

English
flute
was

name

also because the

been

called

the

Plectrum,
of

part
The

the the

Fipple.
has

it is the

exciting cause

sharp edge

of

notch

sound.

272

THE

HISTORY

OF

MUSIC.

pipes,with, ivory mouthpieces between' her but lips. The mouthpiece is like that of a flageolet, the pipesare to be made entirely longer. They seem
of

these

reeds, and
Greeks.

so

would The

answer

to

the

Kalamauloi

of the shown

notches

in the

neither painting, to the lyres in the other portion which forms the but frontispiece, strings and notch were equally indispensable. The sweet Monaulos," which, according to Sophocles and others,was derived from Egypt, and
"
"

in this mural

pipes are not the strings are

the invention the

of which of

was

attributed class. To

to

Osiris, was
it to

singlepipe
was

this

attribute

Osiris very about

to sayingthat it was so equivalent ancient that the Egyptians knew nothing at all its origin. It had many notes ; was a shepherd's
was

about

pipe ;

made of

of

reed
was

and,

on

account

of the
at

sweetness

its tone,

especially employed
notices of

weddings.

Athenseus

collected

this instrument,

from Amerias and, among others, one the Macedonian, who calls it the shepherd's pipe,or derived from the was Tityrinus. This last name or Satyrs. Again,.Athenseus quotes from Tityri, took, and played a Alexandrides, I the Monaulos wedding song ;" and next, from Protagorides, Ite kind of instrument, but drew touched the every
" "

sweetest

music
we

from

Monaulos." th^i^weet of
a

Whenever

read
we

flute

or

pipe
it
was

of remarkably
one

soft tone,
two

may

infer that

of the

kinds

playedupon
at

without-

a.

reed

and
answer
"

this, blown
to

the

end, would

the
of his

description. Such
No. Soptocles,
""

mouthpiece, most closely pipes had not

78.

See

Fragments
from

Lib.

iv. cap.

227, quoted
Athenaeus.

TMmyris,

by

ANCIENT

FLUTES.

273

sufficient power
were

for
a

a room.

Roman The

charming in
softest
use.

but ampHtlieatre, of all pipes tone well moistened

is

when

they

have

been

by

The

Fourth
at

Principle the side

is that

of

our

present

Flute, blown
the
or

by
the

the

help of
at
a

breath

passingdown

tube

and lip, rightangle,

the

It is nearlyso, to the direction of the breath. only within about a century that this one kind has of flute. Before that date it monopolized the name in France and was distinguished England as the German Swiss Flute," and in Germany as the Flute." It was called Photinx by the Greeks, and the fact of its being turned laterally for playing, gave it the second name of a Plagiaulos. The corresponding in Latin is Tibia vasca, or Tibia obliqua. name It is found among the earhest monuments of Egypt, and one of great length has been shown in the plate ing on p. 65, of the fourth dynasty of Egypt. Accord"

"

to

Athenaeus,* the

Photinx

was

made in

of lotus-

Lybia. Modern flutes are great lengths of the ancient, and consequentlythey can as many be held in a horizontal so position. If a flute were the long as to reach to the ground, it would fatigue it so high as we do for any lengthened to hold arm time. Our flutes are held nearlyin a balance by the two hands, and in a convenient positionfor the extension of the mouth, through an headpiece This also carries the upper end beyond the mouth. beyond the face, and so with less risk of being of the player. But pushed into the eye or mouth is not altered. That headpieceis filled the principle
"

wood, and he adds

that the lotus grows of such not made

Lib. iv. cap.

80.

274

THE

HISTORY

OF

MUSIC.

about a plug to witHn quarter of an inch, of the hole through which the flute is blown. So, the to the playerseems into which long Egyptian'flute,

by

blow
our

at the own.^

very

extreme

of the

side,is the

same

as

He
so a

tvirns

the lower in
case

end

of his flute rather

behind foot
or

him,

that

of

being caught by
end may

the

leg of
we

beyond
When

passer, the upper his face.

see
a

be directed

of a man representation playinga flute of about foot in length, one we may say, at that man because the is playing the treble," once, lower than sound length of his pipe wiU not about treble C. If the flute is two feet long,he is playing the tenor part, because such a flute is an Octave below the other. And if four feet long,he is playingthe base, because the length of the instrument, roughly taken, givesC in the base stafi". So our Egyptian performerwith the long flute,on page 65, is certainly playingthe base. We could equally of the other two pipeswhich we teU the compass see
"

to

be

blown the
are
no

at

the

ends, if
or

we

could

determine

whether There all

pipersare,

are

reeds. not, using single

indications music

of

them,

and

therefore,in

the probability,

kind, like that of the

page
63 ;

English flute Egyptian lady representedat

instrumentalists
are doubtedly un-

is of the soft

but

the

three

playingmusic

in three

parts. The

shortest

and pipe may go down to about a in the treble staff", Octave lower. the longer pipe is about There an is no objectfor a selection of pipes of appreciable such varied lengthsexcept to play in harmony, and of varied sounds would be impossible the avoidance
"

This, again,was
r^tis. and He

not

understood the

two. different instruments

one.

instead of

by ohUque

supposed

flCkle
to be

So
"

he

JMte iraversih-e

Athenaeus.

modestly corrects i. 285.) (Histoire,

PHOTINX

AND

MONAULOS.

275

when

they

were

used.

If the

reeds, like clarionets, they must

pipes have single still be playingin

There

harmony, but
another the
reason

an

Octave

lower.

is,however,

why
the

it is

with players clarionet

improbable that either of shorter pipesshould be employing

it is
a

reeds,and
make
a

because, in that
base for them. be

case,

flute would

too weak

On

the

contrary, such
base for the

flute would

quitean

appropriate

Egyptian Monaulos, which was like the old EngHsh flute, the flageolet. or If the Egyptian pictures all been have copied inverted and have been not correctly, by the the flute players sometimes held their engravers, flutes on the left side of the body, and sometimes side-blown flutes were used iu the right. The on the worship of Serapis, and, accordingto Apuleius, The held on the rightside,as our own.* they were
invention well
as

of the Photinx of the

was

attributed Each

to

Osiris, as
was

that

Monaulos.

kind

made

of various of
a
war

sizes and which the

lengths. Poseidonius, speaking about to wage, Apameans were

asses

says that they had sort of meat, and "little of

laden

with

wine
were

and

every

by

the

side of them

packed

he

Photinges and Httle Monauloi, instnunents and not of war.* revelry, the Photinx when Dr. Burney doubly mistook said,on the one hand, that it was the Monaulos,
on

and its

the

other,that it
of
a

"

was

crooked He

and flute, mixed the

shape that togetherthree

Photinx
" "

bull's horn,""

there

different the

instruments.
were

Neither

nor

Monaulos

crooked, neither
"

Ibant

et dicati magno

Serapidi frequentabant." (Apuleius Metamorp.,

*
"

tibioines, qui per obliquum caJamum,

ad
aurem

familiarem

pertractum dexteram, templi,deique modiUum

xi.) Athenseua, lib. iv. cap. 78. Burney, vol. i. p. 202.

T

lib.

276 either

THE

HISTORY

OF

MUSIC.

"was

of them made

shaped
of
a

at

the

end

like would

horn. have
a

An been horn

instrument
a

bull's horn
a

"horn ;" and Keras, literally the at end, or a horn blown have and been the
a

pipe with
at

the

side,

would Monaulos the

was

Keraulos,
were

or

Photinx the

horn-pipe. The both straight, and

that
at

difference blown
at

between the

two

was,

the the

first

end, and

the

second

side.

possiblythinking of the deepBurney was from toned named Berecynthian pipes which were Berecynthus, in Phrygia, and were, therefore, also called Phrygian. Horace refers to these pipes in
Dr. the first Ode horn
"

of his fourth in

Book, and
181
:
"

Ovid

to

the

curved

Fasti, lib. iv. line

Protinus Flabit."

Berecynthia tibia inflexo

....

cornu

Athenseus
as

speaks of
a

the

deep-tonedPhrygian pipe
somewhat like
a

having
others with "The

horn

mouth

trumpet,*
turned

and up

say, like horns.

Ovid, that the ends

were

Phrygian pipe,"says
bore graver The than the sounds." He

"is Porphyry,''

of

smaller much

Greek, and, therefore, emits

there

assignsa wrong, bell at the end would reason. lengthen the of air,and therebygive a little deeper tone column to Phrygian pipes; but, in all probability, they were blown down into by a single like clarionets, reed, and had the character of stopped pipes. That would so below others. The old theory Octave them make an be no difference of pitch between was, that there can than pipesof equal length upon any other principle that of the one being a stopped pipe, whether
"

Deipno -sophists,lib.
185.

iv.

cap.

Comment,

on

Claud.

Ptol., p.

84, p.

217, WaUis's

edit.

PHRYGIAN

AND

BERBCYNTHIAN

PIPES.

277

wide

or

narrow,

for width

was

supposed only

to

increase

the variation is very Practically, when the length is but 2 or 3 feet; but, trifling when crease pipes are upon a much largerscale,the inof diameter flattens the pitch. If sensibly the pipes in questionhad reeds like clarionets, the would make difference in the no expanding mouth of tone. for In a trumpet, it is the reverse, power all power depends upon the bell. It is difficult to for a clarionet having the properties of a account

loudness.

stopped pipe, but

are

the
one

only

Harmonics the

it

produces
the

two

Twelfths,
cannot

above

other, and

breath

produce a third Harmonic. Phrygian pipes are described by Aristides

as

Quin-

tilianus and
some

of

feminine From

character, "for
and bassoon
were

wailing principle, Phrygian

more

lamenting."*
were
on

that it must

be inferred that

the

hautboy
reeds.

playedwith pipes other

double than

So

there

and Berecynthian, Aristides

contrasts

it is the them with

certain, because

the

the singlereed or clarionet on Pythic, which were and he describes the last as of lower pitch, principle, the Phrygian. and having more or virility, power, than The Phrygian are commonly spoken of as double and sometimes as equal,and at others as of pipes, might be played upon unequal length. Octaves of two doubling the length of one pipes without

them, if

low
on

note

were

taken

on

the

one

and

high

note

the

other. often

Double

pipes of unequal length were

as

tinguished dis-

male

and

female, and
much
"

their

piping as
funerals

gamelion aulema, or Phiygian pipeswere

"

married

piping. in request for

'Tqepov

Kai

dfyrp/uSn" (Arist.Quint., p. 101.)

278 and

THE

HISTORY

OF

MUSIC.

lamentations.

There, again, we
to

have

the bassoon

principle. Sophocles refers

Niohe,
AthenseUs it to the says be and in
comments

his

pipe called Elymos, Tympanistai, upon

"we

in his which

that but the very

do

not

understand

anything
the

Alexandrians that

are

Phrygian, upon which skUful."" Again, Juba

an

Phrygians,and This (o-KuraXia?).

resemblance
to to

Elymoi were that they were

name

invention also called

of

the

Scytaliae
their

may
to

have

arisen

from

staves, or

Laconian

snakes, said

be

of

equal

circumference

the says that like a small twig,and of very thin tone.*" It is to that he does not give his authority, be regretted

ScaHger

throughout. J. C. a Scytaha was tiny pipe,

for

horn his

could

not

be fixed

at

the

end

of

twig,

better to the Asiatic answers description Gingras than to the ordinaryPhrygian. Lastly,Juhus Pollux says that the Elymos was of the Phrygians,that it was double invention a an

and

pipe, made
tube, and

of that

boxwood, with
it
was

horn

end

to

each

employed in the worship of Cybele." The second pipe may have been then used As the two of boxwood, drone. pipes were as a not of a probably exceed the diameter they would the length,on of the weight account clarionet,nor of the material employed.. The definition of Julius Pollux agrees with the former descriptions. have been to also There seems a stringed called Elymos ; for ApoUodorus classes instrument in his replyto a letter of Aristocles, them it among
,

where
"

he says,
vero

"

That

which

we

now

call Psalterion
"

Atjienseus, lib. iv. cap. 79.

et

Seytalia aurculi exigiii

"

tibia, pusillafuit
sono similis,

prae-

teuui, ac rei ipso reapondente." lib. i.) (Poetices, Onomastikon, lib. iv. cap. 10, 74.
'

BANDAGES

OVER

PrPBRS'

MOUTHS.

279

is the but

same

wHch.
used

was

that

which

to

formerly called Magadis; be called Klepsiambos" (a

lyre described as suited for varied metres, and from perhaps derivingits name Mepto, to steal,or filch from others,) "and the Trigon,and the Elymos, and the Enneachordon, or nine-string, have fallen into comparative disuse."* Before partingwith the subjectof ancient pipes, there are of a few pointsconnected with the manner be that should them, and with pipers, playing upon of noted. In the first place, we see representations
men

with

leathern of the

bands

over
over

their

mouths, and
and the the the

something
heads.

halter
are

kind

their cheeks

The
a

bands hole

stretched in the

tightlyover
to

cheek, and
ends head of

is cut the

leather

admit

pipesinto

mouth, while the loop over

to

seems

intended the

prevent the
This
sort

strap from
of

bandaging called the Phorbeion was ; in Latin, Capistrum. It served to relieve the Hp from the weight of the to pipes, but more especially, by its tightness, diminish the muscles the exertion of contracting of the mouth, which was necessary for the production of high Harmonic notes. between ancient pipe-players, In the competitions it seems been an to have especial study who should A produce the loudest and the highest notes. his lungs, and over-exert strain overcompetitor would the muscles of his face,if he could only obtain Harmonic sounds We higherthan his feUows. may their in such smile at an foUy making high notes but it is not far different from objectof competition, tenor that of the modem who, in his endeasinger,
"

slippingbelow

cheek.

lib. AtlienEeus,

xiv. cap. 40.

280

THE

HISTORY

OF

MUSIC.

the applause of the galleries, bring down to bring out will strain his lungs to the very utmost de poitrine," "ut or an high C, from his chest voice.
vour

to

Some from and

of the

Harmonic

notes

great exertion, pipesrequire wiU even bring a flush into forehead, but
or

the face and

not

so

notes ordinary is a of the pipes. The following player,with a bandage of this of kind, copied from the Arch

the fundamental

Titus. Another

Piper, with a Phorbeion, or Capistrum.

that the players had was peculiarity that sometimes plugs, or stopples, passed quite through their pipes. The effect of such plugsmight be to shorten the column of
or,

air,and
on

so

to

raise the

pitch of
close the

the tube

instrument,
so

the

other

hand,

to

pipe. The puzzlethat

continue
to

to make a as effectually stopped forms of some of them are a capricious has hitherto defied explanation, and may

do

so,

until

some

ancient

treatise

on

shall pipe-playing

be discovered.

Peculiar

Plugs to Pipes.

The

bagpipe
Eomans

had
was

at

least

the

Greek

name

of

Askaulos, but
The

it

very

little used

by

Greeks.

and,

it this Greek gave name, It is at others,called it the Tibia utricularis.

sometimes

CHINESE

FREE

KEED.

281

to be considered

rather

as

Roman

than

as

Greek

instrument.
Ancient

pipeswere

of

so

many

kinds, that

it has

requiredconsideration to place the subjecteven so far in a digested form the reader. Other before
classes
amount

of of

instruments

do

not

present the

same

But, before partingwith the difficulty. of vibrating should subject reeds,a Fifth Principle be mentioned, although we yet lack evidence of any
very ancient use. In instruments
a

of

the

clarionet
over,

kind

we

have

singlereed
sides of Eeed. Fifth

that the

extends

and That

flapsagainst,
is called the

the

mouthpiece.
is the

Beating The vibrates

use
we

Principle

Free

Eeed The but StUl the

that earhest

without know
no

touchingany thing.
organs,

we

of' it is in Chinese ancient really considerable it is the

we

of these it is
a

have

specimens.
interest
at

principleof
time, because
are

present

one
are

constructed, and
in modem

harmoniums upon which indebted to the Chinese The free reed is

now

for all such

instruments.

also

employed
will whether

vibrate,and

Tongues of this kind organs. therefore produce musical sounds,

of wood
to fit very
or

they be made so as tongue be large,

even

of metal.

If the

to tone

touch is the
more

the

sides

of its

and perhaps closely, fi:ame imperceptibly,

a

the Hence from

varied reeds

reedy than with that may qualities

made is caused of the

freer be

space.

produced
material.

metal

same

Another
and

variation

by superior hardness
of
a

closeness Sixth the

of metal. Principle
"

The into

that

cup
a

to

be blown
as

by

mouth, using the

lip as

reed,

for

282

THE

HISTORY

OF

MUSIC.

Trumpets
matters

and

Horns,

is the

same

now

as

ever.

It the

not, except for convenience,

be curved be
or

whether all

instruments the

straight. They
on

require

lipto

to strong subjected

of which It is the
as
a

-will often

be

seen

pressure, the marks mouth. the player's

them sound, by its acting lipthat makes ITieir great power arises from vibratingreed. end. ancient of the the

the beU The Tuba

trumpet, (Salpinxof
some

Greeks, and

Romans,) was
to

straight,and
trumpets
Gardner
seem

but not always, ordinarily, were long. Egyptian very have been straight, and, in comparison
to

with

others,

have

been

short.

Sir J.

Wilkinson

Assyrian were
The
was

says eighteeninches long. The only rather longerthan the Egyptian.

curved

trumpet
The

of attributed

by Greeks Tyrrhenian,otherwise
tubes
were

used

and

Romans
or

Etruscan,

Tuscan

origin.
the

of

metal, usuallyof

bronze, and

The curvature mouth-piecesof bone.* enabled the Tyrrhenians,who, according to to, have Aristoxenus, were Greeks,'' originally more trumpets, without inordinate length. deeply-sounding earlier specimens of the of the Some straight cones were trumpet, such as one kind of Assyrian, of gradually increasingcircumference,in the style of a -postman's horn, instead of having only a beUOthers,like the Egyptian, shaped hodon, or mouth. had the bell end, as in modern trumpets ; but the Egyptians had also conical trumpets of four feet in bell ends, and speaking-trumpets without of length, and of largediameter." five feet in length,

"

Onomastikon,
other

lib.

iv.

cap.

11,

"

Lepaiua'sDerikmcihr, Dju.
2, Blatter,27 and
30.

4,

and
*

authorities.

Aht.

Athena3US, lib. xiv. cap. 31.

SHELLS

FOE

HOENS

AND

TEUMPETS.

283

A horn

sliell of than
as a

twisted

form

was

used Greeks

rather and

as

trumpet, by
Greek
name

the
was

by

the also

Romans.

The

Kerux, which

Herald and a a Crier, suggesting that it signifies was originally holding such offices. employed by men The the Latin
name

of the

shell

was

Buccinum, and

of

it was By the Romans for proclaiming but used not chiefly, exclusively, the watches of the day and of the night. Virgil, and otherS) refer to the employment of the Buccina

trumpet,

Buccina.

in war, When

as

well Greece the

as

for variovis other fell under Greek the

name,

purposes. dominion

of
seems

the
to

Romans,
have
an

ancient

Kerux,
to have

been

dropped,and
of the

the Greeks

adopted

imitation We
may

it Bukane. Latin, calling

to have been the shell original with representedon ancient gems. The copied following cone-shaped pattern was from an antique by Blanchinus, who refers to other Another such representations." Buccina, of curved sounded form, is given by Dr. Burney as by a

the suppose which Tritons are

'

"

Triton Palace

on

in the frieze,

court

of the

Santa

Croce

at Rome.'"'

Burney

made

this conch

the very natural mistake of supposing Tromha Marina to have been named

by the Italians; but, oddly enough, they gave. that wooden instrument of to a triangular designation six feet in height,with but one and about string, In fact, to a Monochord, having playedwith a bow. of the of the trumpet, or sea nothing whatever
~

about
"

it.
nostra desumitur
ex

"Figura
Tritonia
servo.

anaglyphis,et
"c.
*
"

picturis vetemm,''
i.

SBnea

quam

imagine antiquioperis, Frequentes occumint

Tritonum buccinse in

(p. 16, edit. 1742.)

History, vol.

plate 6,

No.

6.

hse turbinatie

284

THE

HISTORY

OF

MUSIC.

It must

not

be

supposed
even an

that

the

Buccina of
one.

was

always
name
was

shell,or

imitation short

The

transferred
a

to

any

straight trumpet

beU-shaped mouth, and so was and to opposed to the Salpinx as to size and length, end. the Lituus, as to the latter having a curved the two silver For instance,Josephus,in describing little less by Moses, says they were trumpets made than cubit a (21 inches)in length, and scarcely thicker than the reed of a Syrinx ; also,that they had bell-ends like common trumpets. To the long of Salpinx, and common trumpet he gives the name small straight to the short and trimnpet of Moses,
of

metal, with

Bukane.

The

Kerux,

or

Bucciha.

The said the

to

Lituus have

was

curved its

upward
name

at the

end, and
bent form

is of

taken

from

the

a augural staff. It was or speciesof clarion, made of metal, and of shrill sound Octave-trumpet, The Romans and the employed it for their cavalry, straight trumpet,for the foot.

"

Multos

castra

juvant, et

lituo tubse

Permixtus Detestata."

sonitus, bellaque matribus

"

Ode (Horace,

i. 1. 23-25.)

The
two

Lituus feet in ancient

is

usually ing represented as not exceedand such were fit for cavalry; length,
instrument
was

but Roman in the

an

found, among
of the river the this had

other

in the antiquities,

bed

Witham,
form of The

Lincolnshire, in 1761, and Lituus, but

exceeded

four feet in

length.

THE

ROMAN

LITUUS.

285

following,
History,
was

is

reduced in in

copy

of
4

it,
vol.

from i. of

Burney's
The
Sir thin of ment instru-

included then and

plate
the

of

possession
was

Joseph
hrcuss,
copper

Banks,
and had

Bumey
well

says

of the

"very
mixture

been

gUt."

As

Lituus

of

large

size.

and

zinc,
to

to

make

brass,
I

seems

to

have for
"

been brass"

known un-

the
"

ancients,
bronze." and is

suspect

that

we

should

read

Horns,

straight
that that and In that the there

twisted,

may
more

be
to

so

readily
about of in of

imagined
them than

nothing
were

be

said

they
these first but

at

first, Hterally,
afterwards

horns

animals,
metal. Nature's

were

imitated
every

case,

they
made

had in their the

variety they
were

forms,
curved of

when

metal,
entire Lituus.

usually
instead

throughout
at

length,

only

the

end,

as

was

286

CHAPTEE
Instruments Dulcimers. of
"

XI.

Percussion. Timbrels

"

The

Egyptian
"

Sistrum. Three
"

"

Drum. kinds Krotala.

"

or
"

Tambourines.
Lekidoi.
"

of
"

Cymbals.
Krembala

"

Oxubaphoi.
or

Acetabula.

Castanets.

And

now,

as

to

Instruments

of

Percussion.
some

Among

these, the Sistnun

on

has

claim

to

be

first named,

having been employed in Egyptian temples, and for religious purposes exclusively. It consisted of a thin oval hoop of metal, fixed at the lower end into a handle, and the handle was iisuaUy of metal also. The hoop was piercedwith holes at equal distances on both sides,
account

of its

and

in these
were

holes

were

three be

or

four
at
one

loose

metal
a

bars, which
The bars

all to the

shaken

time, by
them

jerk from light

were

hand, and this made

of thin the
"

rattle.

like the stems

at

they were
out

bent

ends, to
It
was
so

of their

places.

but fire-pokers, prevent their falling great a privilege,"

the sacred to hold Wilkinson, says Sir J. Gardner in the temple,that it was Sistrum given to queens, had the distinguished and to those noble ladies who
"

title of

'

women

of

Amun,'

and

who

were

devoted Amun

to
was

the service of the the

deity."* The Egyptian

of the Sistrum Romans.
was

Jupiter Ammon
"

Again,
sacred

Sir

Gardner

says,

The

the

ment instru-

and belonged as excellence, par the service of the temple,as the small
^

to peculiarly tinklingbeU
i. p. 13.3.

Popular AcQOunt of

the Ancient

Egyptians, vol.

THE

EOYPTIAN

SISTRUM.

287

td

chapel. Some pretend it was used to frightenaway Typhon," [the Evil the rattling bars "and noise of its movable Being,] sometimes increased was by the addition of several loose rings. It had generallythree, rarelyfour,
Catholic bars
or

that of the Roman

and

the

whole in

instrument

was

from brass
or

to

16

18
was

inches

of length,entirely inlaid
;

bronze.

It

sometimes ornamented

with

silver,or
held

otherwise

and
to

being
and

gUt, or was upright,

shaken, the ringsmoving

These sacred
secure

last

were were

fro upon the bars. imitate the to frequently made

asp, or them. face

on

simply bent
mentions

at
a

each
cat

end with

to
a

Plutarch the

top of the instrument, and the bars, at the upper part of the handle, beneath the face of Isis on the one side, and of Nephtys
human
on

the

the other," [signifying

beginning and
an

the

end.]
"

The

British

Museum

possesses

excellent

and of the specimen of the Sistrum, well preserved, It is one foot four best period of Egyptian art. inches bars, which high, and had three movable On the upper lost. been have unfortunately part are represented the goddess Pasht, or Bubastis," [theGreek Diana,] "the sacred vulture, and other emblems; and on the side below is the figureof of these instruments one female, holding in each hand a

surmounted and cylindrical, by of Egypt,] face of Athor," [the Yenus the double asp-formed crown,' on whose smnmit wearing an been the cat, now traced in scarcely appears to have
"

The

handle

is

"

'

the remains
"

of its feet."*
of the Ancient

Popular AtxowrU

Egyptians, vol.

i. p. 131.

288

THE

HISTORY

OF

MUSIC.

Dr.
trum

from

perfect specimen witli tte cat upon it, copied of Genevieve in the library one
a

Bumey

exhibits

of

Sis

at

Paris,* which

is

here

reproduced. The followitig is

Plutarch's
account
on

translation

of

of the

Sistrum,
Osiris. of

in his treatise It shows

Isis and

why
and the

this

instrument

rehgionwas
women, cat
as
an

carried

onlyby married of the signification

Isis
to
was

emblem. enemy the

"

the

supposed
Osiris
was
:

Typhon, and supposed judge of

Hkewise

An

Egyptian

Sistrum.

the dead "The necessary

cease

Sistrum that
rest

radicates be

that

it
never

IS

beingsshould
from their shaken when

and agitated,

to

local

motion, but

should

they become drowsy and languid. For they say that Typhon is deterred and repelled by the Sistra ; manifesting by this,that binds and stops", of things] as [thecourse corruption so again resolves nature, and excites it generation But, as the upper through motion. part of the the concavity Sistnun is convex, of it compreso hends the four things that are agitated. For the is portion of the world general and corruptible comprehended indeed by the lunar sphere ; but all things are moved and changed in this spherethrough
*'

be

excited

and

the four And

on

elements the summit

a

of fire and of the

earth, water
the
;

and

air.

concavityof
face

Sistrum,
on

they carved
under
"

cat, having a human

and

the

rods, they placed on part,below the rattling

Bumey's History,vol.
i. plate5, No.
13.

PLUTAECH

ON

THE

SISHRUM.

289

one

side

the

face

of

and Isis,

on

the

other

that

of

Nephtys, obscurely by their faces signifying and death (or corruption) ; for these
mutations the
cat

generation the are But

and

motions

of the

elements.

by

of account on they indicated the moon, the diversityof colours, operation by night, and For it is said that she fecundity of this animal. two, three, four, and brings forth one, afterwards five kittens,and so adds till she has brought forth that she brings forth twenty-eight in seven ; so

all, which
moon.

is the

number

of

illuminations

of

the

is perhaps more This, therefore, mythologiThe pupUs, however, in the eyes of caUy asserted. the when
cat
are seen moon

to

become

fuU
to

and be

to

be

dilated and

the

is

full,and

diminished

deprived of lightdtuing the

However of the debased ancient
were

decrease

of this star."*

many

of the

Egyptians, as to emblems of their gods,there was some part of their in which in advance of other they were philosophy heathens; and, so far as knowing the true form of the earth, they were in advance of the heads of the Roman Church the present century.'' to within The Egyptians worshipped Osiris as the sun,
and Isis
as

superstitions the supposed

the

moon

and

when

Manetho,

the

Egyptian priest,states their emblems, he adds, Statues and holy places are prepared for them, but The world had the true form of God is unknown. a and is perishable it is in the shape of a beginning,
"
"

"

The

translation

from

note

in

Roman that there

over,

authorities the
were

still maintained
a

edit. Apuleins. Bohn's Reiske's edit. For the original, see of Plutarch, vol. vii. p. 481. * Although various navigatorshad the then sailed round world, the Book xi. of

earth
no

was

plain,and that MoreAntipodes.

the circulathe that

they prohibited
of all books

tion
reverse.

taught

290

THE

HISTORY

OF

MUSIC.

ball. under
crosses

The

stars

are

fire, and
The
moon

their influence. the shadow

eartMy things when is eclipsed

The rain soul is caused

are

it

of

the earth.

endures,

and
a

The passes into other bodies. change in the atmosphere."^ There

are

by
the

Egyptians
work.
to

between pointsof resemblance many and Christians which might interest

the

curious,but they are

I will
seen

beyond
one

only name
a

the scope of the present which I do not recollect

one,

have

noticed, and
in book
a

that which

only because
would
as

it of

is included

to

few It is

think

sprinkling those who the temples, with water enter to purify them. Vessels of water were kept at the entrances of Egyptian temples for that special As purpose.'' to the Sistrum, according to Bruce, the Abyssinian Christians retain it in use in their worship,instead of triangular of little bells ; and form, with one been used in Italy to have ringson its bars, seems
to at

referring upon

such

subject.

the

time
"

of chUd-birth

as

late

as

the

sixteenth

century.
The metal

Assyrians had
such
as

an

instrument

with

bars

of of
a

those

of the

Sistrum, but, instead

were

and being straight long shallow box

curves

loose, they
as
a

fastened and

into bent

sound-board,

to

of different
ease

greater
held
"

in the

that they might with so heights, be struck separately by a rod of metal This instrument righthand. approaches
of Nareumve

Manetho's

Oompendiwm
"

trigonum
baciUo

ferme,
ferreo
ad quos

orbiculis

twal

"tS"v ^vaueGiv Philosophy through Diogenes quoted iTriTojirj,"

annuKsve tinnitum edebant Italia

complosis
staticulos
mos

edens,
olim
num

Laertius,by Bunsen, "i Heron of Alexandria, SpiritaMa,

No.
"

i. p. 74.

pueUse, qui
durat."
"

in

etiam

(Adrian
John

31.
"

Junius's

Nomendator,
p. ,350. 8vo.

edit.

SiSTBUM

Ovid, crotalum
seneum

Virfar-

Higina,
1585.)

London,

gilio.

Instrumentum

THE

ASSTRIAN

DULCIMER.

291

more

to

the

class of dulcimer
name

than

to

any

other.
a

Its

Assyrian

is

unknown,

and

although

of one proposed for it the Hebrew Asor, I prefer that of Assyrian dulcimer, because the Hebrew has no such meaning as word "Asor" musical instrument," but is simply the numeral a This will be seen ten." under the in the sequel, Hebrew the question is fuUy instruments, where
recent
" *'

writer has

discussed.

An

Assyrian

Dulcimer

Player.

The
as

the

class Egyptianshad instruments of the same above, but they played them by pullingthe In
one

wires. the

case

the

two

ends wire

were

fixed,and
was

in

other

one

end

of the

rods

left free. J. Gardner

will be found in Bepresentations Wilkinson's Popular Account, vol. L These of instruments

must

Sir

p. 120.

have

been

for the purpose

soimds from vibrating rods, obtainingHarmonic in lectures on sound. The exemplified just as now
u

292

THE

HISTORY

OF

MUSIC.

of curious are anticipations Egyptian instruments discoveries. supposed modern of the Egyptians were The shaped large drums like wide barrels, about two feet and a half high and
two

feet

broad, and
covered skin
or

were

beaten leather
were

at

the

ends

by

drum-sticks of

with

dnom-heads

of leather

pads. The ingeniously

modern in some drums. as tightened by strings, The Eg}'ptianshad likewise small drums, which in the proportionof three or four degreesof were of diameter. a These, also, had length to one wider circumference and
were

in

the from

middle the

than neck
to

at
a

the little

extremes,
below the

hung
of the
at
use

waist

tapped
modern Hindoos

the
a

veniently player,so as to be conends by the fingers. The

drum

of

this

kind.

The

Egyptians had timbrels or tambourines, both round and sizes ; quadrilateral ; also cymbals of various and clappers, short maces, to be sounded or by being knoclked together. The tambourines sometimes were quadrilateral divided into two by a bar, so that one end Inight different note, possiblyto a Fifth be tuned to a added to have above the other. They do not seem beUs, or tiny cymbals, to tambourines, as did the
Greeks, Etruscans, and Romans.
The

Greeks

had,

at

least,J^areekinds
to

of

cymbals.
been the

First,the Kumbala, which appear of metal; next, the and largest,

have

Lekidoi," which,

judging
"

from
name

their

name,
see

were

perhaps

the

oval

For

the

Lehidoi,

lamblichua' and Nioomachua, p. 1.3, Life of Pythagoras, cap. 26. For

an

of ring handles, see plate 21 Herculanevm, by Thomas Martyn. For the round London, 1773. 4to.

example

of

the

ovai

dish,

or

sauce-boat

shaped cymbals,

with

i.

shaped, see Bumey's plate 5, No. 7.

History, vol.

CYMBALS

AND

CLAPPERS

OF

VARIOUS

KINDS.

293

dish-cover shaped metal

which kind
we

cymbals

with

handles, of
of

nymphs; and,
The last
were

many the thirdly, named

were

see

so

dancing Oxubapha, or Oxubaphoi. the Greek after vinegar

of
were
or

in the hands

saucers,

and

therefore such
as

diminutive

size. in the The

They
frames Romans

were

perhaps
of had their

suspended
tambourines.

timbrels

largecymbals like the Greeks, and used them for festivals. specially They had also the same small metal cymbals,which they named, from their sUver vinegarcups, Acetabula. Accordingto Clemens Alexandrinus, cymbals were the war-instruments of the Arabs. Cymbals," says St. Augustine, are to our compared by some lips, because they sound by touching one another."* The short Egyptian maces, for clappers, called were used in by the Greeks Krgtala, and were especially the importedworshipof the mother goddess,Cybele. Krotala either hinged, or The had weak were a the two heads or knockers, midway between spring, that they could be bent towards another. so one They flew apart by the opening of the hand, and Sometimes the clapped togetherwhen it was shut. made Krotala were wholly of wood, or of a split reed, vdth something to clash at the two ends. These latter forms are found the Romans, among
" "

under

the

Latinized his

Greek

name,

Crotala.

Publius

Syrus, in
on

Sententice,calls the stork: crotalistria,

account

of the noise made

two

by

the bird in

striking
kind. shells
on

the together All Their

on

bones have been

of its beak.
castanets

nations

had

of

some

originhas
one
"

debated cockle
cm

between

nut

the

hand, and
Comment,

or

oyster shells
130.

the

Psalm,

No.

294

THE

HISTORY

OF

MTJSIC.

other. had

Climate
to

and do with

the the The

character of Greek

of either

the

country
than for Krembala. the any the

more

use

thought
castanets

of used

invention.
to

name

accompany down the Uke

dancing limpets
"

was

"And

beating
made
a

from

rocks,

they They
The has

noise

castanets." made of

{icpen^aXi^ova-c.Y
metal,
and of all

were

sometimes of

gilt. percussion
and in between all

principle
so

ancient the is
note.

instruments in

been

entirely
there of
to

same

ages,

districts,
them had science
to

that

scarcely They

difference

worthy
little of able else

marked the
art

rhythm,
or

but the is

do,
and

either the

with

with

music,
to

only
them

thing
imder

now

required
their various

be

recognise

names.

Hermippus,

apud

Athensenm,

lib.

xiv.

cap.

39.

295

CHAPTER

XII.
four

Stringed instruments.

grades of Lyre. Phorminx, Kithara, and Chelys. Polyphthongos, Polychordos,Barbitos, Asiatic Lyre. or Sambuca, or small Trigon. Etruscan Lyre.
" " " " "

The

"

The
The

fabulous Pektis.
no
"

Tripod
Nabla.

of
"

Pythagoras.
"

Apollo

an

iU-used
"

god.
"

"

Pandoora.
new

"

Skindapsos.
class of

Pelex.

Greeks

originators of
of the
"

principles in
a

instruments.

"

Appendages Trigon.
"

Lyre.
No

"

Psaltery
"

Harp
and
"

"

Large
Simikion

^Psalmos.
"

wire

strings.'Epigoneion
of
"

real

Harps.
"

Egyptian Harps
of blind
men.

various Roman

kinds.
use

Etruscan

imagination. Bands
"

of four

strings.

Boethius

an

indifferent

authorityupon

music.

much has alreadybeen said instruments stringed As to the different sizes, and different incidentally. kinds of Lyre, Aristides Quintilianus classifies them in the followingmanner First, the parent Lyre, : Op
"

as

the

most

masculine,

on

account

of its low

and of

This was rough tones. Lyre, and probablywas agrees with

as

therefore often fixed

on
a

the

largestkind
name

stand, as its
Next
to

that
a

of

star.

it, the

rough, but not differing materiallyfrom the Lyre. The Kithara was a portable instrument, and as the quality of low sounds must depend mainly upon length yielding rather less in size it may be ranked of string, as It is now than the Lyre proper. indistinguishable which also portable the Phorminx, from was ; but from its kind, the Chelys,derives its name a third having had a shell back. Aristides passes on from the Kithara to the Polyphthongos, or many-sounding
Kithara,
"
"

little less

low

and

296

THE

HISTORY

OF

MUSIC.

or Lyre. This is elsewhere termed the Polychordon, to the Barbitos,* and is equivalent many-stringed," of instruments Asiatic Lyre. Anacreon preferred or and he refers to the Barbitos,as of the strings, many tained that Greek We know lyreshad not atlyre kind. Horace hkewise in his time. to many strings
"

alludes devotes
"

to

the Barbitos

as

Lesbian

instrument, and
"

it to the hands Euterpe

of

Polyhymnia. (Ode i.)

her double

If neither

withhold

pipe,nor

Polyhymnia

flee away

to strain the Lesbian

Barbiton."

many-stringed,'' and for lyre. Euripides again makes it a synonyme Aristides describes the Polyphthongos as of a feminine in contrast to the largerLyre and to the character, It is hardly to be doubted Eathara, as masculine.
as

Theocritus

describes the Barbiton

that the

the instrument

which p.
or

is

seen

in the she is

hands,

of

young music from

or

girl at
a

118, where

scroll The

book, is the

reading Polyphthongos

"feminine" as description means than the larger that it yieldedhigher sounds ments, instruhad also fewer strings. which of Terpsichore, The followingi-epresentation with As the eruptionof a lyre,is from Herculaneum." both Herculaneum and Moimt Vesuvius, by which overwhelmed, took place in the year Pompeii were be of later date than cannot 79, the representation The the first centiiryof the Christian era. lyre is kind fit for recitation, but of of the more poetical Barbitos.
"

very
"

little use

for

music, in

our

sense

of the word.

Also

called Barbiton, BanimiBarmos and

"

ton, and 1014,

(Athenseua, iii.
Julius Pollux's

separately. (Athenaeus,lib. 80.) See also Strabo, lib. x.

"

iv. cap.

1016,

^
"

Idyllxvi.

line 45.

OTwrnastihon, lib. iv.) Euphorion

Antichitd, di

Ercolano,

vol.

ii.

speaks of the

Baromos

and

Barbitos

p. 31.

Naples, 1757-59.

Pol.

TERPSICHORE

WITH

HER

LYRE.

29-7

yy^^iuv'^i.-^

with Terpsichore,

Lyre.

The British

wood Museum

of the

crumbling

Greek

that the the two The

and it is sycamore; Egyptian Lyre in the Berlin British

Lyre in the is noteworthy Museum, and

same

in the
most

Museum,
the

are

of the

wood.

feminine, or

highest soundingof lyres,

Sambuca.*

accordingto Aristides,was
"Arist.

Quint., p. 101.

298

THE

HISTORY

OF

MUSIC.

the is barbarian ;'^ says that tliis name Phoenicians, the Parthians, the Scythians;and the Strabo
"

Troglodytes or
the credit of the

cave-dwellers, have
invention. made such Red
a

in

turn
a

had wise

The homes

last

were

people to have when they had

borders of the

their

under inhabit

ground,
as

country
The
are

to

the the but have

Sea.

Parthian
to

and had
to

Troglodyte instruments four strings.*We may been the little Trigon.

Aristides does
not must

said

have kind

suppose the had

this

name

Phoinix many

nor

the

for strings, Aristotle refers to them as magadizing, or octaveof Delos, instruments.'' Accordingto Semos playing, made of the palm tree." the ribs of the Phoinix were in Sir William antiquities Among the Etruscan is the accomHamilton's collection,* panying of a small representation It lyre of peculiarconstruction. for the attachment has a tail-piece of the strings bridge to raise ; a

Atropos, but they

have

them escape
are

and of the in

sound-holes
tone.

for

the

The

seven

number, but

strings virtually

only four, because, while the base the others are is but single, string Etruscan Lyre. closer Six doubled. are placed in twos, so that the plectrum could sweep together, I find nothing like it among to another. from one Greek instruments, but the bridge, the tail-piece, find and the sound-holes,are ancient Egyptian. We
"

Athenseus, lib. xiv. cap. 34

Prob. xiv. of Sect. 19.

Etruscan

voL Antiquities, Fol.

i. p.

"

109.

Naples, 1666-67-

"

Athenseus, lib. xiv. cap. 40.

THE

TRIPOD

OF

PYTHAGORAS.

299

bridgeto
one

the

holes to
at

lute on p. 62, and hieroglyphic of those in the frontispiece, and

sound-

again

p. 43.

Athenseus

quotes

story told by Artemon,* that

a

Pythagorasonce tripod,such as
vase,

strung the three sides of

was

Delphian v
scale,

used
one

to

support

an

ornamental

and

that
to the

he tuned

side to the Dorian the third to the

was

another scale
or

Phrygian,and
So

Lydian

it is possible ; but should have attempted improbable that Pj^thagoras it,because there could be no tone from such a tripod, for it had no sounding-board.The minuteness of the remaining part of the story proves the whole to be a adds that Pythagoras contrived myth. Artemon a pedal to turn this tripod,and that he twisted it whUe he was about with such rapidity that playing, one might have fancied he was hearing three any playersupon three different instruments. and ears no one Pythagoras, at least, had ; barisms possessed of them could have tolerated such baras rapid changes from D minor into E minor, and then into F sharp minor, and back again. Artemon
an

mode.

far, aU

admits

that
ever

it is uncertain

whether
can

such be
no

instrument the

existed, and
fabricated

there
some one

doubt
no

story was

by

who

had

not That, indeed, would knowledge of music. and a painterfrom depictingsuch a tripod, preclude the curious may the imaginary instrument so see copied into Dr. Burney's History of Music. (Vol. i. plate 5, No. 11.)
"

"

Another
amount

instrument, which
in in the
"

demands

certain
an

of faith to beheve
vase

ancient

Munich

it,is depictedupon No. 805. collection.

It

Athenseus,

lib. xiv. cap. 41.

300

THE

HISTORY

OF

MUSIC,

is

supposed to be in perhaps as mythical

is The
an

the
as

hands the

of

Erato, and
No it could have admit

it is

Muse.
one,
even

soundingno

board
tone.

shown, and, without

form does
not

seem

to

of

such

addition. many instruments

are are more

There ancient which

we

for
to

indebted of

the invention and

are

painters of sculptors. Some made so heavy with

that any tone the strings been audible inof

ornament

produced by
would have

at the distance
a

yards. Others without are soundingin boards. ApoUo was these respects a particuErato's Harp god. larly imfortimate had He ever a scarcely lyre that would
few
'

on

an

Etruscan

Vase.

have

been

worth
The

an

obolus

for its music. almost

as

as the Sambuca. perplexing In that case, Sopater says that it had two strings.'' have had a neck and a finger-board, it must like the But lute. then Diogenes,the tragic hieroglyphic That was harp-shaped.'' quite poet, says that it was

Pektisis

another
nor

iastrument, and

one

that

had

neither second

neck

Plato finger-board.

supports the

scription, de-

to it as a by referring Trigon, or harp, having many strings."Again,both Aristoxenus and the Pektis as a kind of Magadis, Mensechmos identify
"

Attenseus, Atbensens,

lib. iv. cap. 81. lib, xiv. cap. 38.

"

Plato, RepuUk,

lib. iii. cap.

10.

i"

PEKTIS,

NABLA,

AND

PANDOUE.A.

301

playedwith both the use of a plectrum.* In those hands, without and it was an cases Egyptian harp. Anacreon to the Lydians. Sophocles ascribe this iastrument The root of the name has seemingly to be sought in The description some language other than Greek. of Sopater is irreconcilable with of others ; those also lyres and pipes called and, further,there were name.* by the same tinguishes Nabla, Euphorion disAgain, as to the Greek
and the former adds tliat it
was

between This

the

Nabla
to

and

the

Pandoura.
same

is, perhaps,only as
two to

name,

for, in the
Baromos and

sentence, he joins together the

the

Barbitos," which
other authors the
to
seem

instruments, quotationsfrom

identify. Sopater appears

to

to

attribute alludes the

Nabla sounds

the

Phoenicians, when
the hand Sidonian the

he
upon

produced by of the neck, [tlie laryngophonos,)

Slave, notices
the of Lower lotus lotus

the

Nabla. of

Yet, Mustakos, in The

the The

emblem

paintedupon
was

ribs of the instrument.''

the emblem
were

Phoenicians instrument rounded

the ribs

corn

with like
a

had,

Egypt, and the carriers of Egypt. An all probability, back a

form alone would that the in

lute, for that

It is
two

requireto
Nabla is

be ribbed.
one

then, probable,
of lute

of the

kinds

exhibited

in the frontispiece to this as Egyptian paintings, Pandoura be the Greek book ; and, possibly, may
name

for the other. And

now,

subjectof the ribs of an instrument, which ribs would only be made for one at the back, there is an rounded antique pantheistic
while
on
"

the

Athenseus, lib. xiv. cap. 36.

See LiddeU and

'

Athenaeus, Athenseus,

""

Scott's Lexicon-.

lib. iv. cap. 80. lib. iv. cap. 77.

302

THE

HISTORY

OF

MUSIC.

of the second century, which gem the receding back and ribbed head of the lute. It
as

exhibits both

the

perhaps,Osiris represents,

Apollo, with the seven rays, the for the risingsun. On head are the wings of Hermes;
under the
at the

chin, the
back of the trident

moon

and
of

head

the Apollo, and

a

of

tune, Nepof The

lute, instead
Hermes.

the

lyre,for

and is cut in chalcedony, gem the collection is here copied from of Gem/me Causeus is the

Antiche, by de la Chausse, Rome.

I have which
care

4to.

1700. with

This the

earliest that

yet observed
be

recedinghead,
With

the distinguishes that

can

lute. after

all the

taken, and
been difficult

word of every musical ancient and

can one

the

has description
are a

studied,

instnmients but

of which

little can

be

Skindapsos? We "barbarian" it was instrument, and that it had a of the same four strings. Again, the Spadix, one The Pelex was kind of class,having high notes. a Pollux, and the only accordingto Juhus psaltery, is that the name to its probableform also giiide a helmet. signifies to strike the likely Perhaps no one thing is more than the account reader in the foregoing very limited the Greeks, if there was of invention among amount to musical at ~all, instruments. These as ""even^ai^
seem

be said of the

subject, gleaned. What know only that

'

to

be

all Asiatic

or

African.

Even

the

word

GREEKS

COMPARED

TO

EGYPTIANS.

303

"

lyre"
have

has

not

been

traced

to

Greek

root, and

of many-stringedlyres in representations before the Greeks were a nation. Egyptian paintings Again, the Dorian Mode was the one upon which the Greeks prided themselves ; and Herodotus, in tracing the genealogy of the Dorians, makes them natives of Egypt ; adding that, in this respect,the Lacedaemonians resemble the Egyptians their heralds,
we
"

musicians, ar^d cooks, succeed

so

to

their
son

that
no

musician
new

is the

fathers' fessions, proof a musician.*

for stringedinstruments principle discovered in by a Greek, nor anything new pipes. AU was ready-made for them, togetherwith their system of music. The Greeks were even inapt pupils; for, although they had many stringsever before their eyes, they did but reduce the number, after a time, to bring the instruments down to their level. of own They practiseda certain amount earher nations. tivation Culas harmony, but not so much of the ear is required to be able to appreciate different notes running together at one time, many with different qualities of tone. We read especially
can

We

find

of
we

no see

such with

combinations
our

of instruments

in Greece

as

own

of concord limited
to two

and

tions eyes in Egypt; and Gre'ek definiof discord are almost invariably sounds. On
a

simultaneous

first

perusalof Greek authors on music, I had formed a much higher estimate of the nation in comparison with others, than a subsequent more general will sustain. acquaintance of the present state of If the followingaccount be music in Japan, as given by a recent visitor, may in the relied on, the Japanese are now very much
"

53 Herodotus, Erato, vi.,

and

60.

304 condition

THE

HISTORY

OF

MUSIC.

of the earliest

Egyptians and
have
had
a
:
"

Greeks

as

to
or

"

music, and
an
"

they,too,
them of the

rnust

Hermes,

Apollo,among
The music

Japanese is worth extremely little. To accompany the singers the stage, they on have orchestra of twenty-one performers. The an instrument. It is a kind Syamsia' is the principal of guitarwith three strings, two being toned in the The body Octave, and the third in the dominant.
'

of the instrument the

consists of the shell of

in tiirtle,

cavity of which the sounds produced by the three strings re-echoed, the stringsbeing set in are From this movement by a small rod, made of horn.
wretched what the

instrument, the reader

others
must

may

form

an

idea
not

be.

The

Japanese

are

are acquaintedwith harmony, and their instruments As regards played either unisono, or in the Octave. intervals and rhythm, the poverty of their melody is such that no ceive European musician 'can possiblyconThe it. Japanese, nevertheless, li-sten with pleasureto their music for hours together. Blind in Japan, even if numerous people are exceedingly the beggars who feign leave out of consideration we blindness. The bands which play at festivities and are composed of blind men."* privateparties the lyre of the Egyptian have Here we actually outer Hermes, with the two stringssounding an Octave stringa Fifth from apart, and the middle

the

lower, and
for the

Foiuth

also the shell back horn its

the upper. to the instrument, and

from

We
a

have

pieceof
is in of

plectrum. Thus,
encounter

wherever
same

music kind

we infancy, may again and again.

"

the

story

Musical

World, Nov.

28, 1868, p. 817.

PARTS

OF

THE

LYRE.

305

ments, passing on to the many-stringedinstrusuch as harp and psaltery, somethingmay be said about the appendagesto the lyre. The added which was to some or bridge, magas, kinds of lyre, and which the Etruscan is shown on lyreat p. 298, was admittedlyof "barbarian" origin. translated Hypolyrios has been also occasionally but its more to be "bridge," precise meaning seems the ends and fixed cross-bar, to which cross-reed,"' or of the
not
were strings

Before

the lower

attached

the movable order In

bridgeover
cases

in very earlylyres, which strings were the

was

passed in
instrument. board

to raise them

above there
way

many

body of the no soundinghand

on

which

could
so

be

in the

of

the

and strings,
not

that

which

is

a strictly bridge was

necessary.

According to the Latin version of Julius PoUux, but not at aU according to the Greek, the Hypolyrios formed the sides of the lyre.*"The translator was led into that misconception by adhering to the old
* "

^ 6 ^opfiuerdg 'AttoXXwv, IIpoff"7rt7-fip7rErai 8j/ dovaKOQj v-jroXvptov (Aristoph.Ranee, 231-233.) Tpe(l)ut." "'Ewdpov iv Xiiivaig "EvEKa
"

This

translation

of

has
numerous

passed

uncorrected

commentators have The made

a ijroXtljOio*' viroXvpiog lyramiait." So,althoiigh the and it has been by vitotlBshivov, supbe neither at the bottom posed to upon Julius

Pollux, who
the passage. Sk Tiva Sovaxa

notes

upon

nor

at the

top, but
the

at the

sides of

Grreek

is, "Kai
Kipanyv "09"v Koi

lyre; and
has this been

of oiairipei

Sophocles
to

viroKvpiovoi Koj/uEoi
TraKai

mis-translated if

suit had

i"Q 6}v6iwZ,ov,

avri

as interpretation,

he

toIq Xvpaig. inrorSiiJivov trov So^ofcXjjf EijDjjKsv, ^Y(lirjps67j Xvpag." (Lib. iv. KdXajuof,(iiTTrfpfi
"

written

iha

wipl.

This dvri

having
cornmim

translated

is through KEpdrijiv by of
ami
cor-

loco, instead

cap.

9, 62.)

The

Latin

translation

quandam given is, "Et arundinem comici nominanmt, Hypolyrium focoapquod olim lyris,cormmm
sit posita Sublatus
:

nibus; and it has led into the evident misconception, that a

and
as on

very stiff

brittle reed to take the

could

be of

so

twisted horns

place
a

two

uude

et Sophoclesdixit,

opposite sides of

lyre.

tibi est calamus

qui

circa X

306

THE

HISTORY

OF

MUSIC.

anti by loco, rendering the preposition althougli, just as in a case before cited,(p.53, note of in evident contradiction to the sense ",)it was
manner

of

the whole The lower

passage. Greek lyreseems of the

to

to

have

been

tuned

at

the

end

and strings," had the

name
was

that

have The

strument part of the inof the Chordotonon,

or or
,

Batera.''
rather The the

Echelon

the

lower called
or

were

sounding part of the parts of the curved Angkones, and above

were

sounding-board, body. sides of the lyre

them
were

the

Pechees,

fore-arms, also called Ktenia, for which

sometimes substituted.

Kerata, horns,

The

the cross-bar that Zugon, (inLatin, Transtillum,) was yoked together the fore-arms, or horns, and along which the upper ends of the strings either tied, were or In some otherwise fastened. this crossbar Egyptian lyres timed by sliding and the strings the were sloped, the tension. noose upwards, and so increasing An eighteen-stringed Egyptianlyrewill -be found from preceding the pipes and harp,in the following Wilkinson's Egypt.

accompanied by Harp, Singers,

"

Double

Pipes, and
"

Lyre.

',' 'YTTipSdeiKaary

irvxnv,

icai
"

the

Kurd)

Trpoaapfwaas

xopioTOVia.''
bis hare

(Athenasus,lib.
'"

xiv. cap. 41.)

rbv tov strings opydvov "tf o p jSarfipa, xopSoTOVov wvo/iaZt." (Nicomaohus, p. 13, lines 8, 9; and
"

is

Pythagoras, in said at length to

experiments,
transferred

lamblichus' cap.

Life

of

Pythagoras,

26.)

ERATO'S

UPRIGHT

PSALTERY.

307

for several kinds of was a Psaltery generalname instruments. The Greek word, psalterion, stringed" is derived from jpsallein, with the to twang a string instrument as a bow-string. Every stringed fingers, which was of both handsj playedupon with the fingers instead of by one hand and a plectrum held in the under the denomination of a psaltery. other, came Therefore the Greek also psalfor a harp was name terion. Again, the harp might be called a Trigon, in reference to one of triangular shape. Aristotle combines the two words, Psalterion and Trigon,in definingour harp.^ On the other hand, Psalteries firom the not necessarily as will be seen were Trigons, foimd in Herculaneum.'' following copy of a painting The is evidentlythe four-sided,or instrument opdiov).A second "Upright Psalteiy," (^aXTriplov of one of the same is also description representation included similar the in the Herculaneima
same

collection. number of

It has

outline,and the

strings ; but

who placed it in the hands of AchOles, painter, and represented him as takinghis music-lesson from in that case, that there the Centaur Chiron, forgot, such a thing as a was sounding-boardnecessary to give to the strings. However, to give sonority the artist the
to

benefit

of the

doubt, he

intended

as represent AchUles dumb lessons upon a instrument, in order

have may taking his musicthat he

might not
In holds
"

offend Chiron's

ears."

the
a

the Muse Erato following representation ten-stringed psaltery ; and, happily,both

foKTrjrpiyiivoiE

"'En
"
"

oi iv Toig
.

cvfupuivovai did iraaiov." piotc No. xxiii. of Sect. 19.) (Prob. "" AntkliUa di Ercolano, vol. ii., f. p. 41, NapoU. 1757-59.
"

Burney has included a copy of this PsaJtery without sounding board, in his History,vol. i. plate
"

Dr.

v.,

No.

12.

308

THE

HISTORY

OF

MUSIC.

the

name

of tlie she any

Muse,
are

and

that
at

of the the

instrument
so as

which
remove

holds,
doubt.

given

foot,

to

Erato, with

an

upright Psaltery.

Athenseus'

distinction
to

of

"

an

upright" psaltery
there
was

might
kind
to

lead

the in

inference
a

that

another such
a

be used

horizontal

position. In

PSALTEBIES, the

TRIANGULAR

AND

QXTADBILATERAL.

309

case

employment suspected,and that, ao

modern such dulcimer thin wire has
;

of

wire

strings might
resemble the

be the

far, it would
no

but

sign of
would

as strings

be

employment of for this required

;

purpose
or, at

yet been
have then

least, no
We
was

the ancients among such discovery has hitherto been made traced
no

known.

proof that

the

art

of wiredrawing
must

luiderstood,and

Athenaeus

therefore

between the supposed to distinguish and the triangular quadrilateral psalteries. In the Egyptian Sistrum there were loose bars of metal to be rattled by shaking ; and in the Assyrian dulcimer there
were

be

firm
a

bars

of metal

of different these
case

fixed lengths,
were

into

firame
a

by bending, and
rod
;

to

be

struck thin

by

short

but
as a

in

no

have tuned The fixed been The

such

wires

yet been
a

found

could

be

by turningthem round Egyptian instruments

either referred
at to.
one or

pin or

made

peg. of metal rods,and

at

both

ends, have
cannot

already
been would ancient

of psalteries

ancient
no

Greece such

have

strung with wire, because

have Greeks been
were

instruments The

played upon
very

with

the hands.

be as fingers, may for a plectrumto touch even seen by their preference of the lyre. Fingers were the finer catgut strings for the mouth, and the forefinger their purveyors of useful in cleanmade ing the right hand was especially The out the dish. practiceof employing two hands was primarily due to a multiphcation of that of the many and increase was one strings, importationsfi-om Asia, or from Egypt. Clemens Alexandrinus says that such Psalterion
was a

tender

of their

name as

to applied generally

stringedinstruments

310

THE

HISTORY

0"

MUSIC.

"

of their Egyptian. That would be on account of two of notes requiringthe use larger number unfitted for playingchords hands. A plectrum was it could only sound one stringat a time, or shp
were

from

one

to

the next. is another that

name can now

Psalmos

for

and Psaltery, between

the the

only distinction
two

be drawn

made impUes an instrument expresslyfor accompanying the voice, and that the includes same designation any song to be chanted such with or an accompaniment. Hence sung word the Psalm. Whoever of may wish
to return

is, that

Psalmos

our

primitive use chant or sing the version adopt the one

to metre.

psalmody
prose,
or

should he

fore theremay in

Psalms, whether
in the
at

other

The

Psalmos

must

have

had

least ten

if not more, because Plutarch strings, speaks of it as instrument.* We an octave-playing might infer his description that the from number much was if he had not coupled with it the Phorminx, larger, We know sentence. in the same of no Greek lyre than fifteen strings, that had more and such even a lyre would have been ranked as a Polychordon. On the other of
an

hand,

we

have,

at

p. 306,

tion representaor

Egyptian lyre which eighteenstrings.

We
must
now

has

seventeen

arrive been

at

Greek

instrument

that

the true Egyptian harp, originally afterwards but which was changed in form, and mutilated in compass, Julius PoUux by the Greeks. the Epigoneion had fortystrings, and that says that from Epigonus, who was the first to it took its name have
Kal vepl )//aX/toij Si avn"l"ilivot ipopiiiyyaQappovtc sxn
"

"'H

fxev

rb

aviitjiiiivov." (Plutarch De^mtcft.

"

Multit., p. 96, f.)

THE

EPIGONEION,

WITH

FORTY

STRINGS.

311

introduce of who

it."
or

Athenseus

adds, upon
in from the

the

authority

Jobas,
had

Juba,"" (thelearned
educated

been

King of Mauritania, that Italy,) Epigonus

Alexandria, and
that

brought the instrument he played it with upon

instead of the Greek

fingersof

both

hands,
of

employing a Further, that Epigonus did not confine the powers of his harp to a simpleaccompaniment for the voice,but introduced
chromatic passages, and his example was adds into
an

of but one usage plectrum with the other."

hand, and

instituted
not

chorus.*

theless, Never-

for Athenseus transformed

"

by the Greeks ; that the Epigoneion had been upright psaltery,although it

"

followed

Julius

Pollux, Onomastikon,
2.

lib.

Josephus
known word

is

charged with meaning

He to teach writers

not

having
Hebrew fallible in-

iv. cap. 9, Sect.

''

the

of the

Juba

is

one

of the authors Greek

whose

"Asor." F^tis
to

required
him

of descriptions F^tis but company, others. Juba with Fetis

musical
to

struments inrect; cor-

Hebrew.

undertakes is in

As
"

other
ne

unspecified
aucune con-

excellent and

"Us

meritent Trust
must

Aristoxenus
"

fiance."

only
been
are

+0

uses

une

s^vfere cirnot allow be the

placed

in

F^tis. have wide

"

These not

choice

conspeotion," so
that also side. "
a a

he of flute

will

specimens
for far and within Histoire 8vo. F^tis it did
or

sought
included of F^tis's

flute made
"a

lotus blown
not

may
at

they
de

called A

about

three

pages

pjiotinxmust
"

be called p. 285.)
errors

Ginirale 1869.

plagiaulos
sees

i. (Histoire,
names

F^tis of the

in all second
so a

had not

la MasiquePages 383 to 386. but either largelibrary,

a

Greeks,
have
se

neither

may

the
name.
ce

include did
not

Greek know

Lexicon,
the forms

Sambuoa
' '

second
"
car

else he the it.

Jobas

trompe

I'egard de

of
use

Greek And

letters

to sufficiently

dernier

instrument,
is

il lui donne

aussilenomdeLyrophcenix."
Aristoxenus

Again,
says

superiorityover
and

assumed yet, everybody, ancient from the number of

from

quite

wrong,

modem,

and

F^tis,to
between Hebrew de
ces

have the

drawn Greek

any

distinction and the

second-hand

quotations, in
introduced
must

various his to

Trigon
est

languages,
pages, pass
"

into

Kinnor, because
instruments par I'autoriti But this de

"I'identite rendue Diodore the evide

F^tis
a

have of

for

paragon

hoped learning.
a.

dente

Athenseus, Ub. iv. 183 d. Athenaeus, lib. xiv. 638

"

Sioile."

is not

only
"Plu-

for Aristoxenus. castigation sieurs

est

'

"IrdKTripiov op9iov." (Lib.

See

iv.

auteurs,

an

nombre ont

desquels
.

cap. 81, p. 183, d. cap.

also Ub. xiv.

Aristox6ne,
erreur
a

attribue

42, p. 638, a.)

leur

^t^ causae," "c.

Next,

312

THE

HISTORY

OF

MUSIC.

still retained So the

the

name

of the

attributed inventor.
word
two
was
"

meaning of to be played upon of Epigonus. the manner Any portable instrument would be made necessarily

ultimate

the with

an

strument in-

hands, after

having forty strings of triangularform, on difference of length that was of the extreme account the absolutelyrequired between longest and the shortest practicable string. No other shape was the where diminution and the was progressive, number of an instrument so large. The transformation of forty stringsinto one of only ten proves of music that the cultivation not was sufficiently advanced the Greek to enable them to people, among such harmony as arises from many taneous simulappreciate sounds. listen with Every one who can now pleasureto the chords upon a harp or a pianoforte of the average of musical is in advance intelligence
.

among The the

the

ancient had
or

Greeks. also
a

Greeks

second

kind It
name

of had

harp,called
thirtv-five is unknown.
must
as

Simikion,
the the musical
to

Simikon.
reason

but strings,"' All been which

to
one

for its of

instruments the

Egypt
yet,
of

have those

known had

Greeks, and
find the works

to

many of them
a

we strings,

a scarcely

reference classical

in

Greek

authors, or
two

in representation
are

their

sculptures. As
of the compass to have been

Octaves

human

voice, so

full average fifteen stringsseem of Greek the be

the

the maximum The

extent

musical in

instruments.
its

Simikion, and
are

Epigoneion
classed among

original

form,

rather

to

instruments

"

Onomastihon,

lib. iv. cap.

9, art. 2.

STATE

OF

THE

CULTIVATION

OF

MUSIC.

313

once

known

to

tte

Greeks, than

among the

Greek

instruments. The
'

Romans
numerous

undoubtedly approved
instruments for their
taste

combina-

tion of
as

in concert, but

rather,
from of the

it seems,

increased for

loudness, than
than that Romans

any more Greeks.

decided

harmony
and either the

Indeed, both Greeks

when

sink below the standard

the average, of the most musical nations intestine

more

compared
or

by

ancient,

of is

modem

stages of

cultivation.
so

This in

often
wars,

engaged
could have branches

natural ; for perfectly with and especially war, Httle leisure

or

but

for the The those

arts

intellectual

of art such

science.
are times,,

only inventions
of
some new

at encouraged,

missile

for

destruction, while

the

of peace

advance. away,, rather than make of music affords throughout the most history

die

The

perfect

proofof

this

acknowledged

maxim.

of the absence of representations in In consequence the sculptures and paintings of Greece and of Italy,
we

must

revert

to
we
"

Egypt

for the

forms

of ancient

harps,and there to perfection.

Gardner

may Some

Wilkinson,

portrayed [Egyptian]harps,"says Sir the ground while "stood on

indeed

find them

played, having an even, broad base ; others were placed on a stool,or raised upon a stand, or hmb,
attached used
to the

lower the

part.
same

Men compass,

and

women

often
even

harps

of

and

the

played by men ; but the largest were mostly appropriatedto the latter, stood who during the performance. These large harps had a flat base, so as to stand without a support,like those in Bruce's Tomb' ; and a lighter also squared for the same kind but. was purpose,
smallest,of four strings, were
'

314

THE

HISTORY

OF

MUSIC.

Harpers

painted

in the

Tomb

of Kameses

III.,

STAGES

OF

TRANSITION

FEOM

BOW-SHAPE

TO

TRIANGLE.

315

known

as

Bnice's, or

the

Harper's

Tomb.

316

THE

HISTORY

OF

MUSIC.

when

the inclined towards played,was frequently in the performer,who supported the instrument for most convenient The Egyptian name position."" the harp was of the Bouni, having usuallythe prefix article Ta, in the feminine gender for The." The preceding highly ornamented harps are in the Tomb of Rameses III., copiedfrom paintings by Wilkinson, whose remarkable accuracy has been travellers. recent so frequentlyattested by more They are of the greater interest because they exhibit of the stagesof transition from the original two shape of a bow to that of a triangle. The one is bent over like the stem of a pliable tree from its trunk, while the of strings the other necessitates largernumber upon form. a nearer degree of approach to the triangular
"

When

James

Bruce,

the

celebrated

Eastern

the model first brought home of harps of traveller, this kind from Thebes, because they had no poles; which arm judged necessary to support the forehis account againstthe tension of the strings,
were

was

and disbelieved,

he

was

nick-named

the Theban

"Lyre." Brace's truthfulness has been vindicated and in the most traveller, ample by every succeeding of, poles to Egyptian harps the want manner ; but in has nevertheless appeared as a singular deficiency
so
a

advanced

stage of

art.

On

the other and

hand, it is

proofthat satisfactory
models
;

the bow

were bow-string were

the

upon formed originally

,

which

these
we

instruments
see

indeed,
have

may

the

earliest
are

Egyptian harps
those The hence
"

to

been

bow-shaped, as
at

of

the

fourth
not

dynasty, exhibited
admit of the of treble

p.

65.

bow-shape did
Wilkinaon's

and strings,

the substitution
Popular
Accoimt

triangle.
Egyptians, vol.
i. p. 111.

of the Ancient

INNER

LIFE

OF

THE

EGYPTIANS.

317 be found last two In

a

Many
in the

minor

vaxieties work

of

harp-form will
whicb the been borrowed.

admirable

from

splendid specimens have extracts general history,

essential varieties Account More
in

limited to necessarily construction,and the Popular

are

of the
is to be

Ancient learnt

Egyptians is
about the

accessible to aU.
life of the

inner

Egyptians from
than from the

Sir J. Gardner

Wilkinson's

volumes

KoseUini, and
is also to be

costlyand noble works of Lepsius, others put together. A great lesson

derived
as

to

the

rise

and

fall of

nations, and
up and

how

and art, science, with

we

literature, spring
In Sir Gardner of the character

decline pages

them.
see

Wilkinson's

the

their free people under ^a great and Egyptians" inventive, industrious, own kings, learned, skilful, and mirthful ; also more humane, because sportive,
more

civilized, than

any

other

ancient

nation.

The

exhibitions of torturing no Egyptians make them do the Assyrians and flaying alive, as prisoners like the the Egyptianshad no gladiatorial fights,
"

Romans

"

human

sacrifices had

been

abolished

in the

empire
bom. made the and

Upper Egypt for ages before Moses was and Komans Dr. Burney says that the Greeks of joy and festivity, but that an object religion Egyptians worshipped their gods with sorrow
of He made this
erroneous

tears.

deduction

from

corrupt text
the nation of

of Ammianus been

written Marcellitius,

after years have a

had

crushed be
a
"

by
The

five hundred

slavery. It should rather than suppliant, and not, "they are even
"

Egyptians sad, expressionof face,"

sad."^
tiores."
"

more

How

different
Marcellinna,

.^Sgyptii plerique
"

subfusculi mcesti
nues-

(Ammianus
16.)

sunt, et atrati magis

oris

qimm

lib. xxii. cap.

not, atrati

magisque

318

THE

HISTOEY

OiF

MUSIC.

is sadness exhibited

to at

the song
p.
to 63.

and

dance

to
we

Ptah, know,
but

or are

Vulcan,
more

Women,
than

readily given
ladies
are

tears

men,

even

the

there So late

happy-looking .and sufficiently

as

cheerful. of
our

the

end

of the

first

centmy

Chrysostom speaks of the Egyptians cheerful and hilarious,althoughthey had a mortal as The men had also the to paying tribute. objection credit, a Kttle before that date, of having become expert thieves.*" The crushingout of such a nation of the problems of the world. is one Josephus,in for it his answer to Apion, triumphantly accounts admitted the score that the Egyptians were on never This to citizenship by any of their conquerors. poUcy was often reversed in the case of smaller nations,
"

era, Dion

like the may who

are

Jews, who
have but
a

were

less to be dreaded.
causes,
seem
or now

ever Whatthe

been mixed

the

cause, to

race,

be

Gopts, the only

of the once mighty nation ot remaining descendants the Egyptians. Egyptian triangular harps,or Trigons,had but a frame on sides of the triangle, the third side two but the Etruscan being formed by the lowest string, frames had complete. A fine example of these will under the head of Hebrew in the sequel, be exhibited referred Music. They are of the class so much
to

in the

middle

ages

as

in the form

of the

Greek of the

letter

delta,A, and, therefore, as

form had The is found

emblematic

Trinity. The same The Egyptians

varieties of form.

in Herculaneum.
'

triangular harps in great is one of twentyfollowing

i'

"

TiKoiovQ in tte
the end

iKapoiQ at
No. .32.

exordium, and of his orstion,

Diodorus

Siculus,lib.

i. cap.

80.

TBIGON,

OR

TEIANGULAR

HAHP.

319

one

and strings,

the

instrument original

is -included

in the Paris

collection.

Egyptian ^arp

in the

Paris

Collection.

imaginary Egyptian Trigon will be found in Wilkinson's Egypt, and in ChampoUion's great work, of Typhon.* In depictingthe gods, under the arm such license might well be allowed, but some tors sculpmusical employed their imagination equally upon which instruments they put in the hands of mortals. who The Assyrian sculptor, designed the triumphal slab, which processionon the magnificent marble represents the triumph of their king Asshur-BaniAn Pal
over

the has

Susians, and which

is

now

in the British in
are

Museum,
the
'

forms
Wilkinson's

indulged his fancy rather overmuch of the the harps which harpers
Popular Account,
vol. i. p.

118, and
Hebrew

here, in the
music.

sequel, under

of tlie Ancient

Egyptians,

320

THE

HISTORY

OP

MUSIC.

supposed

to

be The

plajdng
one

in

the have

open
no

air, at this
other the ing-boards soundis lower

celebration.

instruments upper

than
too

bar, and

tension. They consist requisite fore horizontal and one of one nearlyvertical bar, therewithout support to approachingto a rightangle, the comer at which they are joined. If of metal, the harps would give no sound, and if of wood, the out could not be ttmed to an audible pitchwithstrings weak
to

bear the

breaking the
similar character
are strings

frame. in

There but

are

instruments bars and

of

Egypt,
We
was

the

the

shorter. of the

must

suppose

^at, in both

cases,

largeenough to be made hoUow, so as to assist the productionof tone. The following elegantlydesigned harp, in the
one

bars

hands

of

blind

man,

is of smaller

size than

those

in

Bliad

men

playingin ceneert,

on

Harp,

Double

Pipes, and

Nefer.

"

Bruce's with

Tomb."

We

have

here

band

of blind
or

men,

harp, double

pipes,and

lute,

Nefer.

ROMAN

FOUR-STRINGED

TRIGONS.

321

The

last named
or

mstrument

has

head, either of
at the

god
and

of

human

being,carved
that the

it may be inherited this

resource

noted

old

extremity; EngHsh cittern

has been
a

characteristic. blind and

Music

for the In

of civilized countries Wales blind

in aU

ages. sang
as are

England
to

who harpers,

ballads

as numerous once harps,were The frequent blind organists now. tations represenof Egyptian blind men playing or sin^ng

their

in concert the blind

for prove a system of musical education in ancient Egypt. The precedingrepresentation is taken from much

Lepsius's great work,"

like

and

second, very
has
not

Wilkinson's

in it, will be found The Popular Account, vol. i. p. 110.

harp
the

there

cenWal figure is

and the quite so many strings, beatingtime, instead of playingon

harps with only four strings, for the been used by Eoman to have seem singers sole purpose of takinga pitchfor the voice. If tuned Octave to an chord, they would have had one outer Horace string double the length of the other.
refers to them The
in the

pipes. Small Trigons, or

third

Satire

of his first book.

subjectof the Satire is a celebrated musician, admitted named to TigeUius,who was intimacy The first eight lines of the by C. Julius Caesar. be stated follows : as argument may Singers that aU have one faihng they cannot bring themselves to sing to their friends when they im.asked they never leave ofi". asked, but when are the case with the Sardinian This was TigeUius. Caesar himself,though he were to entreat Even him
"
" "

"

Band. the

vii. Abt.

3, Blat. 236.

It and

from No.

Thebes" 18.

tomb

at

Kouma,

is of

twentieth

dynasty,

322

THE

HISTOKY

OP

MUSIC.

could not and by his own, by Ms father's friendship, in the were prevail ; but, if Tigellius .upon him to sing humour, he would sing convivial songs from the time of egg to that of the apples," from the beginning or the musical to the end of the repast." Then foUows point
"
"

"

modo hac resonat quae chordis

summa

Voce, modo
"

quatuor ima,"

highestpitchof his voice,and at vibrates lowest in which another, in that [pitch] the four strings ;" or less Hterally, at the pitch of
at
one

time

in the

"

the lowest A doubt

of the four." has

long
our

been

felt is to

by
be
or

the

learned
to

as

to

whether

"summa

voce"

taken "lowest the word

denote

"highest pitch"in
the Greek musical that the I submit the

sense,

of application evidence

pitch" in Hypate.
clears up

of Nicomachus is the true

doubt, and that the former

alreadyshown from his that Hypate was the name of the lyre,and had reference to the sound no upon produced by those strings. It or they were simply the lyre. So "highest" by being the longest upon the sense of Wete and of Hypate was not changed in
music.
notes

I have

rendering. treatise, (seep. 36,) a or string, strings,

The

mistake

was

to think

of them

as

to

the

they produced instead of as mere strings. The confusion aS to the meaning of the two words with Boethius, and is therefore to have seems originated of very long standing. I observed his error his treatise after the principles while skimming over
of Greek also that music fixed in my mind. I noted the forte of Boethius rests in arithmetic and proportions, that had been

of the oldest school of musical

THE

DEFICIENCIES

OP

BOETHIUS.

323

the

remainder

of his treatise is but without writers,

one a

copiedfrom
to

Greek

indiscriminately standing thoroughunderto him

of the write upon

subject. The
music
so

inducement been the

must to

have
a

metical arithhis De

part,
Institutione of and the science

as

form He
to

sequel to
limits his

Arithmetica.
of it to mind music be
as

definition

declares
as

branch
an

the

is to

apology for his want and his cognitiorationis a acquiring knowledge of

"

rationis, cognitio superiorto the practical the body. This is only of practical knowledge,
should the be

the

translated, intervals,"
the of
to

ratios of

for that science."'

terms

is the

limit

of his makes and

so

acquaintancewith
such
a

Boethius
summa

confusion

between

ima, in refei-ence
turns

Hypate and Nete, and upside down, that I can

to
a

the

Greek the

scale

only transfer
he

note.'' It is strange that

Inst. Mus., i. 34.
as

should
est

passages quote the

"

See

He

writes claims expers

itifimum quod
Here down the
to

strongly
this

to

liis
' '

superior
rationis

scale make

is

paramese,'' "o. turned upside

below is above

point : upon servitio degit," "c. * Turning to p.

paramese

209

of Teubner's
,

edition, part of cap. 20 of lib. i. line 3, " hypate quidem hypaton vocatse sunt, quasi maximae

hypate hypaton. Mese, and hypate hypaton ought to be the lowest in the scale. Again,
lines 24 and

Paramese

25, "inter
et

hoc

mesen

gravium, gravissimse
excellentium." These
or

magnarum excellentes aut last

are

aut

tetrachordum netarum." below Mese.

inferius quod
are

est

There He has

no

Netes

the

still the scale is

iyperboleon,
under choice
are

highest tetrachord,
name.

topsy-turvy. There
sanction, in
any

nothing
The and

like

its Latin for

a

So here
"

is fine

Greek kind.

author, for
above will that

reader

"The

either

the
so

largest of gravest of

hypates the large

anything
are

of this
one

from

small

page,
to
an

and strings,
or

else

acute."

they are (He

with

the grave, the smallest and most identifies

ex-

probably
Boethius

suffice had but

even

show

imperfect
the Greek in
wrote

himself

understanding
scale.

of he in the

cellentes

hyperboleas, in cap.
Next,
17
"

Yet,
instead has

because of

26, at p. 219.)
page, inter
est

on

the

same

Latin,
treatise

quoniam 209, superias tetrachordum, quod

line "et inter

"Sed

been

adopted
in
our

to teach

Greek

Greek, his always music, even

one

hypate hypaton," ".C. ;

Universities.

324

THE

HISTORY

OF

MUSIC.

very
seven

paragraph
planets
discover
to

from

Nicomaclius,

comparing
of the and

the and

seven

strings
of been has of

lyre,
of

yet

not

the which for the

meaning
has
now

'Nete

Hypate.
a

His

treatise,

regarded
really
music been

as

grand prime

authority
cause

the

many

ages,

that

subject

ancient

has

been

so

generally

misunderstood.

325

CHAPTER
Organs
"

ri

XIII.
was an
"

Why

the

Hydraulic Organ
the third

enigma

to lookers-on.
error as

^Invented in
date.
"

century
touch

b.o.'

Atheneeus's
and
"

to

the

Heron
"

first describes

it." Vitruvius of
to

his

mentators. com-

The up

light
the

the

Organ.

Burney
the

and

Hawkins

give
"

attempt longer
"

understand
"

Hydraulic
water

Organ.
the
power

The of

supposed
water
no

difficulties explained. An
in
use.
"

of application the
was

Why

supposed
"

to be

boiling.

condensing
rim
and

syringeused

for bellows.
"

Greek

altar with

its raised
"

extinguisher.
"

Heron's of
8

descriptiontranslated.
stops
Latin
in
"

Vitruvius of hollow of

paraphrased. Organs
vessels
to

use

b.o.

"

Use

reproduce

tone
"

in

theatres.

Competitions
"

and organists

their medals.
"

Two

idioms.

Verses

to

represent organ
bellows.
and
"

the Pneumatic of Theodosius.

Organ,
"

"

Ancient

of pipes. Antiquity Organs on the Obelisk

Juhan's

epigram,
were

other

notices.

Organs One
was

of two the
"

kinds

known

to

the
was

ancients. blown

Pneumatic

Organ," which

much in the by bellows fashioned present very popularly called the style,and the second was "Hydraulic Organ" (in Greek, Hydraulis, or Hythis draulikon Organon). In spite of its name, second instrument was decidedly not hydraulic, although it bore the appearance of being so. The always an enigma to Hydraulic Organ was observers. water They saw bubbhng up superficial from the the bottom of
an

open

vessel,and

the water

in

and of perpetualinterchangeof rise and fall, a They saw piston rollingor tumbling about. and at every stroke of the working in a cylinder, Hence pistonthe water rose higherin the vessel enough, that it was water they concluded, naturally which into was undergoingthe process of injection

326

THE

HISTORY

OF

MUSIC,

pipes of this organ, and that the effects were of that syringe-like But produced by means pump. it was simply a condensingsyxingeactingupon air. the inventor,and the Ctesibius,the Egyptiati, was
the date
to

of this may

one

of the several fixed within the

one

inventions the

attributed

him

be

reign of Ptolemy

PhUadelphus, or between The questionmay B.C.

all these he
was

and 284 246 years day arise as to whether of

were

the inventions the medium Greeks. of

Ctesibius,or whether

but

communicating Egyptian

science to the The

nician Mographer of Philon, the celebrated mechaof Byzantium, in Dr. W. Smith's Dictionary Biography and. Mythology, has of Greek and Roman rehed upon a statement by Athenseus, that Ctesibius flourished in the reign of Ptolemy Euergetes IL in the He has therefore dated three important men too near to historyof science a full century or more of own times, viz.,Ctesibius,Philon, and Heron our Athenseus Alexandria. was undoubtedly mistaken he wrote when Euergetes II. It shotJd have been Euergetes I.; but, as he was recountingan historical
event

of five hundred
was

Athenseus

before his own time, years liable to such slips. Euergetes L the invention

succeeded
of the
two

but Ptolemy Philadelphus,

must

organ

be

referred

to

the

earlier of the

reigns. An epigram, by Hedylus, fixes the and a copy of this epigram is

own

date

clusively, con-

included

in

Athenseus's
it forgotten therein

book.* he
wrote

He

must

therefore

have

when

alludes to

the

Euergetes II. Hedylus temple of Arsinoe, to the

Ctesibius
cap. as

Organ, and Hydraulic,

"

to

its inventor.

lib. li. Deipno-SopMats,

97, p. 497.

VARIOUS

MEANINGS

OP

ORGAN.

327

This
was

Hedylus
librarian
to

was

the

rival

of

Callimachus, who

II. that

or Ptolemy Ptolemy Philadelphus, of Hedylus, or even Upon the authority upon of the epigram alone, without of its the name can

author, there
date

be

no

reasonable
one

doubt be
as

as

to to

the pay

of Ctesibius.
to

No

would

found
to
a

homage
after her There

the

deceased

Arsinoe,
death.

divinity,

brother-husband's is often
a

to the precise as ing, meandifficulty of the word "organ" in Greek and in Latin, when it is unaccompanied by further explanation. Any or invention, musical otherwise, simple mechanical the best translation is was an Ordinarily, organ. the first of those given by LiddeU and Scott, an instrument;" for it might be a surgical instrument; it might be a musical instrument, such as a simple or of sense, the instrument an as pipe; or even organ Vitruvius of reasoning, of other power, draws or a
"

distinction
a a

between

an

organ

and

machine,

as

that
or

machine

the requires

labour

of several

persons,

of power by one than is required for an organ ; whereas all the powers of an organ may be exhibited, without exertion, by one any especial

greater exertion

alone.* been
or

It is not,
some

it has therefore,to be inferred, as

by

musical

writers,that
must

Greek
a

organon,

Latin

organum,

mean necessarily

musical

instrument;
musical

but

rather

that be

instrument

might
organa id

manufactured every included under the

of designation
"

organon,
et
sen scorpionis,

"Inter
esse

macliinaa

aniaocyolornm veret

videtur chinse

discrimen,
ant
;

pluribnaopens,
effectua

quod mavi majore,

uti balis-

sationes. machinanim

Ergo
ratio

organa
usum

et sunt

ad

eoguntur
antem

habere

neeessaria, sine potest

esse x. non

tsB, torculariommque prela. Organa

uniua operas

qnibua nulla res impedita." (Vitru"

prudenti

tactu

viua, lib.

cap.

1.)

quod propositum perjiciunt

est ; nti

328

THE

HISTORY

OF

MUSIC.

The is its

first full Heron

of description

the

by

of

Alexandria, who
Ctesibius

Hydraulic Organ was a pupU of

seems

inventor, Ctesibius.

to

have

only some fifty years after the conquest the Great; and, not only in of Egypt by Alexander that century, but even long after it,all who desired to obtain a thorough knowledge of art science, or such as no European teachers could impart,sought themselves under Egyptian masters. to place Philon, the mechanician of Byzantium, the site of Constanalso have been to some must extent, if not tiuople, In his Belopoiika a pupil of Ctesibius. altogether, he speaks of Ctesibius iu the past tense, as having resided in Alexandria, and of his having explained of air,and especially its elasticity. to him the nature several inventions He refers also to by Ctesibius, them, to the HydrauHc Organ. Philon and, among defines it as a kind of "syrinx played by the hands, and he adds, that the kind call hydrauHs;" which we the pnigeus,or air-condenser, of bellows, by which
flourished
was

filled with

air,was
than
"

made
a

of

copper." It

was,

in

fact,nothing more
is

just the opposite of exhausting syringe;for

the second

which condensing syringe, the modem or air-pump, the first pumps air into a withdraws the air. The

receiver, and

had for ages before employed smaU syringes Egyptians for injecting embalming fluids into the bodies of the dead. The is

second full
Yitruvius

of description

the

Hydraulic Organ
to

by

PoUio, in his discursive treatise upon

The date and of this treatise is stated
11. 20

Architecture.
be between
yAp
rdic B.C.

Although there

have
^v
p.

""Kai

kiri Trjs X'P"'"!

Kpov/isvrie

aipiyyoQ Trjs ivrijiiSan m/iyia vapamjiirovaa ^'' ^6yo/i"j/ xaXiaj."^ Vetera Mathematka,
eiQ

ifri" Trvev/ia ri (jivaa iSpaiXriv,

rbv

77. )

MISTAKE

BY

ATHEN^US.

329

been Heron
not

mimberless and been of

commentators

upon

the

works

of

Vitruvius, tlie Hydraulic Organ has

and does not seem sufficiently explained, understood. to be fully even now I argue stUl reading Athenseus's thus, from erroneous description quoted by an eminent scholar, in one of the latest English books. Thus, currency is given to the fable of the pipes having been bent down into water," and "the water being pounded' this it is evident that the EYom by an attendant." mistake of Athenseus has not yet been satisfactorily proved. Athenseus knew nothing except by hearsay about the Hydraulic Organ, for he goes so far as to assert whether that it was debated it ought to be classed wind If he had or stringed instruments." among
" '
..

understood such
a

its

construction,he would
Hawkins Dr.

have

ridiculed

discussion. Sir John

nor

Neither
two

Burney,

our

"

has rendered recognisedmusical historians, any the error of Athenaeus assistance towards correcting as incomprehensible. they give up the instrument Neither does the Hydraulic Organ seem to be better than in England, if an understood in Germany opinion may be formed from the labours of one of latest

of exponents of the musical instruments of such a class, In a work the ancients. some special the

study of
but Herr

the

be expected, subjectmight reasonably informs his readers that

"

Volkmann

the

filled with air through the pipes of the organ were enclosed in a bronze of water receiver, compression about." which water Also, that stirring boys were and "the was played upon with difficulty, organ
^

Lib.

iv. cap.

75.

330

THE

HISTORY

OF

MUSIC.

vsdtli considerable of

exertion."* the

As

to

the

difficulty
Volkmann bellows-

performing upon
to

instrument, Herr
the labours

seems

have

mistaken of the

of the

blower
was

for those

organist. The

of very light touch, and the labour with air fell upon the As attendants.

itself organ of filling it

to

"the

be compressionof water," the learned writer must "understood to mean compressionof air by water," which is not over-clearly expressed. The boys did
"

but

pump

in

air; and
which

the
water

air

was

enclosed free

imder

receiver, into
Water egress. I shall have the the instrument evidence

of

ingress and is practically incompressible. of occasion to explain the principle hereafter,and will now only adduce to the Claudian, as an eye-witness
Claudian

had

of lightness In
"

the touch.

one

of his poems,

who, sending forth cause by his lighttouch, can

as

He

organist sounds powerful rolling

the countless

lauds

the

tones,

from the graduated multitude of bronze spring to resound to his wandering finger who, ; and pipes, from their depths by a beam-like lever, can arouse iato song.""" waters the struggling These lines are thus versified by Dr. Busby : which
"

"

With From

as flyingfingers, they lightsomebound,

brazen

tubes

he

draws

the

pealingsound.
sive Instrumentis p.
vete-

"

"Etsi

BBgre

et

magna

cum

{De Organia,
rum

Tirimn

intentione

tangebatur.

Com-

Epvmetrrmn,
Plutarchi de

150, appended Leipzig,

inclusae, pressioneaquse arose senese movealiqiii pueri organarii quam inflabantur." fiatnlse aere bant,
"

to

Musica.

Teubner.

1856.)

"Bt

qui

magna
vocea

levi detrudens

Innumeras Intonet

erranti laborantes

murmura taotu, eegetiamodulatus ahense, trabaJi digito; penitusque,

Veote,

in carmina

concitet

undas."

"{De

Consulatu

Fl. MaUii

Theodori, lines 316-319.)

LIGHT

TOUCH

OP

THE

ORGAN.

331

Unnumber'd
And The And

notes

the

captiveear
as

surprise, plies:
wake !

swell tlie thunder,

his art he
! the waters

beamy

bar is heaved

music liquidlapsesliquid

make."'

Claudian

refers to the
to

one

of the
to

largeRoman
century
two
or

datingfrom
era,

second those the

the fourth existed

organs of our three

era.

and

not

which

centuries The

before

commencement

of made

that of

pipesof reeds,just as
time, and
Claudian's the

the earhest
are

those
at

organs were of the Chinese bronze. that

large

at the

not,
Roman

first, of

present But, from

touch of

it description, organs
no

appears
was

the

large

equally light; and,

it should the
one

indeed, there is
answered One

reason

that

have
must

been have

otherwise, for the

key-actionof
for the

equallywell

other. upon is Isaac the

Hydraulic in times, Vossius,'' Organ, in modern his De Poematum Cantu, et virihus Rhythmi, In this work he gives printed at Oxford in 1673. of the organ of Vitruvius,and a partial description of the quotations which have since suppHes many been of later constantlyreappearing in the works commentators. During the eighteenth century, that was perhaps the ablest treatise on the subject It is mainly copied of Albert Meister, in 1771."
"

of the ablest commentators

General 220.

History of Musk,
Dr.

vol. i.
"

years of

afterwards,was Windsor,
in 1688. Ludov.

made
at

Canon

p.

Busby
I have

wrote ventured

he to

dying

Windsor

which heaves,''

Castle

change
^

to "is

heaved."
is at recorded to

'Albert

Frid.

Meister,
ComGot-

Isaac been to his

Vossius bom

De

vetervm

Hydrcmlo
Sac.

in Novi

have and of

Leyden
the

in 1618,

mentarii

Reg. ScierUiarum
Printed
in

have

life in
to

passed England.

latter He

part
was

tingensis.1771.
gen and

at Gottin-

Gotha

1772, 4to, p. 158,

admitted Oxford in

an

honorary degree

at

et seq.

1670, and, about

three

332

THE

HISTORY

OF

MUSIC.

from

Yossius. of
a

Gottlob

Schneider, in tis
was

careful desired he does

edition towards
not

mucli that Vitruvius, supplied

correct text

of his author, but

of explainthe principle The

comments

the organ. of Vossius, of Albert

Meister, and
Histories

others, were published before the many of Bumey and of Hawkins. Dr. Burney,
upon the

them, says,

"But in

neither

the

remarking of description
nor

Hydraulic Organ
the power And

Vitruvius,
modems the
manner

the have

jectures con-

of his innumerable it into

or

commentators,
of

put

of the conceive Sir

either to imitate its

struction."* con-

perfectlyto

John

Hawkins

imperfectlyhas
understand and And vexation his
to

Vitruvius

described
has
a

says, "So it, that to

meaning
many

given

infinite trouble commentator.'""

learned

of text publishing the Latin collated, Vitruvius, from a copy not over-carefully Hawkins modem to every adds, "This description "" reader must unintelligible. appear I cannot admit the existence The of any such
ordinary extra-

again, after

difi"culties.
as

I found

when

are descriptions that of scrutinizing

some, troubleHeron
;

but
an

it suflSiced for me,

after

some

to make reflection,

Hydraulic Organ, and it answers experimental wanted than more perfectly.That which is now of the principle translation is an explanation new a
of the
can

instrumen,t,and
it

I do

not

doubt

but

that

henceforth who to every one intelligible it. A mass of indulge a wish to understand may has hitherto been expended upon it without learning result. any very adequate make
"

Bumey's
Hawkins'

""

History, vol. i. p. 491. History, vol. i. p.

'

Hawkins' 8vo.

History,

vol.

i.

p.

70,

69, 8vo.

PRINCIPLE

OF

the;

HYDRAULIC

ORGAN.

333

If
were

only

thoroughly good
not

translation

of I
am

Heron able

wanted, there could

be,

so

far

as

to

included in the judge, a better than the one English edition of Heron's Pneumatika, or Spiritalia, The translation is by Mr. J. G. published in 1851. of University College, London. Greenwood, Fellow have been collated for Manuscripts must carefully the text The of that edition.

principleof the Hydraulic Organ is both but it is one no simple and ingenious, longerin use. To this fact we reason trace, at least,one why may it has not hitherto been generally understood. I have alreadysaid that the name hydraulicis,at
least in the
one

modern

view, incorrect.
the instrument
not
"

There

is not all for science earHest

"water-pipe"in
The the Greeks
were

they are
in

air. when

far advanced

The public gave it this name. is in a Greek work Pneumatics. on description of water The was ingenious application of over-blowing the prevent the possibility and which that the thus
to
save

but

to

ment, instruto

it from

the

destruction

Pneumatic

Organ

was

Such an cause. particular doubt, the principal reason no the of the Pneumatic Hydraulic over popularity A second advantage in Organ for many centuries. that the the condensing Hydraulic Organ was, air took up less space than the for injecting syringe trodden bellows,which were by the Egyptian-shaped Organs feet, and which the sculptured Pneumatic
on

always hable from improvement was, for the superior

the

Obelisk
in of
our use

of Theodosius

continued

by
era.

the

Romans

prove down

to to

have

been

the fourth

century
The

apparatusfor supplyingwind

to the

Hydraulic

334

THE

HISTORY

OF

MUSIC.

and it not as vertically, horizontally, The "would in bellows. upright condensingsyringe worked It pumped in was by a lever from below. air very spasmodiIt injected wind, but no water. cally, of the elasticity of air, and account on as a iatervals. syringeit could act only at intermittent The distribution of the air was then and equalized, the maintained supply to the pipes was by the returning to seek its level under pressure of water

Organ

acted

the

bronze

receiver, from

which

it

had

been

previouslyexpelledby the air. The receiver was to Vitruvius, its opeii at the bottom, and, according edges were supported by wedges. Thus the water fact had free ingress and egress. It is a well-known
that
so

the that

pressure it must

of water
act

is alike in aU

directions,
or

equally weU

upwards

downwards.

equally and the pressure in all directions, they produce by their own to the depth." weight is proportionate And for exemphfication, take a glassfunnel, now,
The
"

law is that

transmit liquids

pressure

and
water.

turn

the Put
a

broad cork

end under

downwards the

in

funnel,and
Jf you
with cork

of pan it will float

a

the surface of the water. upon the smaller end' of the funnel blow
to

then

cover

down

it,you

will

see

the

your sink

lips and gradually

arrived

the

bottom

of the

there, all the water expelled from the funnel, and, instead of water, it will be under
filled which and

When pan. will have been

it has

by

the

breath
driven

from
out

you have raise the the

your will

mouth.

The

water

mix with, necessarily

height
breath

of the

outer

water, which

is

around
to

funnel, in the pan.

will

blow, your

only

If you then continue rise in bubbles from

FULL

EXPLANATION.

335

the The

bottom

of the

elastic force the funnel

the water. pan to the surface of of the increased quantity of air has become
too

within

great to

be further

condensed

by that insufficient weight of water. Now, suddenly remove your Hps, and put a tiny pipe,or whistle, into the neck of the funnel, organ coveringthe pipe round with iudia rubber, or a cork,
to

make

it fit into the is

now

neck.

As

the

your

mouth the
water to

withdrawn, and
which

pressure there is

from
a

hole

through
air, the
that has

pipe
seek

will

permits the escape of the return, and in returning under

level,it will drive
continuous blown from continue without. sound the
up

the funnel

its

the

air

been

enclosed, through the pipe. In doing

this it will

keep
if it

up
were

from

the The

pipe just as

lips.
The

will of the water pressure its level within found as exercises and the the

untU

it has
water

of its weight upon the air, pressure in the pan, the greater higher the water There is

hardly a limit to the the of air, (as to elasticity and in the air-gun,) witnessed in the pop-gun, but and therefore is not practically water compressible, It exercises only its weight. is not elastic. of the pnigeus or airThis is the simple secret of the Hydraulic Organ. It is evident compresser the from it that the Egyptian inventor understood and the elastic power of air,as well compressibility of water is equal in all directions. as that the pressure also an advantage in this system of note We may level iinder causingwater to return to seek its own weight. and compressibility
a

will be that

solid

open

receiver.

It

thus
same a

becomes
amount

more

powerfulagent than if the were equallydistributed as

of water

weight upon

the top

336

THE

HISTORY

OP

MUSIC.

of

drum-shaped receiver having elastic sides, because the water from the pnigeuswill raise expelled the height of that in the outer or vessel, and pan "the weight of water is proportionate to its depth." But the pnigeus, of the organ, or air-coinpresser had two of the pipesat the top instead of the one funnel,and beingmade of bronze instead of glass, -it to see into it, as through the glass was impossible of the funnel. Suppose, then, that instead of a fiumel, you use as an air-condenser a large pewter
a

basin, inverted
circular
were

in

rim, which
The

pan of water, and, would support the be

two

near

to

the if it

basin
on

upright,let
to

there

holes

sides. tube

first hole is for the insertion with the this

of

opposite a pliable
the the

communicate be

syringeby
smaller

which

air is to second air from be then

into injected is for

a

condenser, and

hole

somewhat

tube, to carry

into the organ. If the wind into the condenser, it cannot injected escape the second tube
to

this condenser

through
has been

untU allow

key

of the pass,

put down,

it to

organ and, in

of passing,to sound a pipe. The only means this condensing receiver is well knowing whether blowing until suppHed with air, is to continue

bubbles rise from

of the
water.

the bottom Then

as

of the pan to the surface much air is inclosed as the If ness greater loud-

pressure
be

of the water

will retain.

from the pipes, it is only required necessary and to add receiver, in water to take a 'deeper, more order to increase the weight upon the enclosed air. circumstances, the only way to make Under any is to see of having a supply of air in readiness sure the bubbles rise outwards.
were

If the pewter basin

and deeper,

it

were

made

THE

CALDEON

AND

THE

EXTINGUISHER.

337

of copper used was

or

bronze, as
for this the

was

the Greek it would

pnigeuswhich
resemble
a

purpose,

bubbling up of the water from the bottom would, to a superficial observer, strengthen the idea that it was caldron,and that the a really water was boihng.
To
name

caldron,and

attribute the Latia we appearance may of cortina (thecaldron), given to the Hydraulic
"

that

Organ as, for instance,in the poem of JEtna, of which has recently been edited, from text a superior a Cambridge manuscript,by Mr. H. A. J. Munro, late Professor of Latin in that University.* extend In the sequelof this book, if it should to allusions vnU be found to the the Middle Ages, more the pipes supposed boilingof the water, to make
sound;
It
one,
even

of

as

late

date

as

the

twelfth

of William century, in the writings should

was

of

Malmesbury,
air-

be

added

that

this

in placed within a the form of a small altar, and being either rounded like a very short column, or hexagonal with its base hollowed in steps. The out, to tops of altars were the pnigeus was and a prevent the spread of fii-e, in the outer for it. The water sort of extinguisher rim or basin of the condenser was kept incessantly tossingup and down, because it rose at every fresh of air into the condenser, and it fell again injection

condenser,

pnigeus, or made pedestal,

"

"Nam

veluti sonat

hora

duci

Tritone

oanoro,

Pellit opus

collectus

aquae

viotusque movere

et longas emugit bucina Spiritus, voces, Cannmeque irriguomagnia cortina theatris modia canit, arte regentis. Imparibus numeroaa 3.TiiTn3.ni Quae tenuem aubremigat unda : impellena Haud aliter summota in furens magnum torrentibus commurmurat
aura

Pugnat

auguato, et

j^tna." 293 to 300.)

"(Lines

338

THE

HISTORY

OF

MUSIC.

at

every

emission

tube
a

int,othe
This water"

key.

of the

througlithe smaller touched the organist organ, whenever and labouring for the "toiling accounts often referred, so to, as by Tertullian
of that
air

and

others.

full explanation of the air-condenser, foregoing manded, or air-compresser, pnigeus, has perhaps been deThe because is
no

this contrivance

of ancient

science

which longerin use,, but the condensingsyringe, suppliedthe placeof the ordinarybellows,acted so much like an ordinarycondensingsyringeof to-day, of the valve, that, except perhaps as to the position understood it will be better by a glance at a of words. than from any number diagram,, of the The question then arises as to which It cannot diagrams is to be offered to the reader. be one copied from the small antiquedesigns upon to because medals they are too minute or, gems, supply the details. It may be desirable to reproduce further on, not only for the sake of the one of the Hydrauhc Organ, external appearance true of presenting to the enquirbut also for the purpose ing of the laurelled organists of one pubHc a portrait one of former days. StiU, for present use, some be adopted,such as of the medifeval designs must in earlyprinted copies or found in manuscripts, are of -Heron's Pneumatika. An

objection may

be raised

to

the

one

m-

Vetera

Mathematica, and in other editions of Heron's work, the the following or grounds. Either the artist, on
engraver, the mouths
has
so

rounded

off the

ends

of

tubes, and

in order to improve the cylinders, and pictureaccordingto his ideas of the beautiful, in yet, so little in accordance with the description of

SELECTION

OF

DESIGN.

339

the text,
to

that,instead
was

mystify the

the

organ presser, and the size intermittent

a require

they only tend elucidating, that saw subject. The worthy man infinitely largerthan the air-comhe

of

therefore the

of

other;
double
a

gave and

it

tube in

four

times

action of the

the practice, would condensing-syringe

yet,

channel
to

the size of the second continuous has and

tube,

which

had

convey

of air into the organ. shde battledore-shaped organ pipe,instead least the merit of
was

Again, he
under
a

equal flow given a pretty

of the

the

mouth

to

slide in

It has at straightone. being largeenough, but how it be a mystery must narrow groove

of

enquirers. for each artist has had his Choice is embarrassing, I have adopted the diagram in special prochvities. the Harleian manuscript. No. 5605, and, ceteris perhaps a little influenced in the paribus, I was the choice by a curious exhibition of idiosyncrasy on who be supposed to must part of the good monk have designed it. It appears that he could not heathen altar as a induce his piousfingers to draw a support for anything, and therefore he left the pnigeus dangling in the air. Our less scrupulous the stand, but the reader must artist has supplied not expect to find anything of the kind in the manuscript. the of these diagramsis of any authority, No one not of the Pneumatika oldest extant being copy fifteenth century. The older than the fourteenth or for elucidation. and onlyreliable source text is the one the condensing that be well to note It may wind pinnp, must be understood as being or syringe, it looks detached from the organ; for,in this design,
to
2
B

aU

340

THE

HISTORY

OF

MUSIC.

very

much

as

if it

were

under

it ; moreover,

the

densing con-

or wind-pump, as here represented, syringe, is of most grandeur for so small an airunnecessary or pnigeus. compresser,

"KEY

BOARD

JAj

The

Hydraulic Organ

of Ctesibiua.

Instead
one

of the tedious

series of three

or

four

letters,

for every

angle
an

of each

part
which

to

be

have

substituted

the names,

seem

sufficient for

reader. intelligent

I described, to be quite The lever by

ACTION

OF

THE

ORGAN

KEY.

341

which

condensing syringe, or wind-pump, is worked explainsitself. The little valve to admit air is at the top of the syringe, in the small box above the shoulder of the largercylinderin which the pistonworks. It falls to a restricted distance by its own weight when the piston is down, and so it admits air ; and it is closed by the rush of air from below when the piston is suddenly forced upwards. That valve added greatlyto the labour of blowing. The most important of subsequent in the improvements in the HydrauHc Organ was form and character of the valve. Instead of being made like a cymbal, or of a flat,as here, it was to catch the wind from below more as so bell-shape, balanced from the readUy. Again, its weight was valve to a Httle outside,by hanging this bell-shaped held in the mouth of a dolphinchain, which was The dolphin moved shaped balance. upon a centredown or pin, and his head went up with the bell. the weight So he took off"
.

the

of the like
a

valve, and looked

dolphin sporting. Thus, too, the popular

of
was

idea
water

the

of agency further moted. prothe

And

now

as

to

of the organ. key-action The diagram is here enlarged in order

more

to
"

show little bent

the plainly with three

key

(the ayKwvla-Koi It will be seen TpiKoiXoi).

arms,"

342

THE

HISTORY

OF

MUSIC.

that,
of thus under The

when

the

key
the

extremity by
the
to

pressed down finger,it will

on,
so
as

is

at
cause

its upper lid the

box

to

slide the

to

close in

it, and
the air to lid it.

bring
mouth

little round

hole admit

the box

of the

pipe,and
the then

of the

ought to have been pipe fitted into it,and

of
seen.

inverted, the
the action

mouth
act

slide should

below, instead
not

above, but
also take
a

could

have The

been box
as

should

have in box

been

exceedingly
and The

shallow, so
the lid
to

only to
as

hautboy reeds,
for dominos.

sHde the

in

shallower

box, the
one

speak.
alone of the sHdes. is

The

slide is the of

the pipe quicker woxdd important part, and that The wind-chest under these

spoken
organ the

by

later writers.
an

iacluded

air-channel

raised from the key, there fingerwas like the tape in a modern was a piece of string, action,to bring back the key into its place. pianoforte The attached to a spring secured to the stringwas this springwas made of elastic horn. It case, and in the diagram acting upon wiU be seen the lower end of the vertical arm of the key. The action is like key turns upon a centre-piQ, very simple. The two spokes of a wheel upon its axle. had no It has been argued that the Greeks keys
to

"Wlien

such a word their organs, because as would or express the key to a fastening named But in connection be with musical that
we

which Tdeis,

lock,is

not

instruments.

employ the Even in Latin, VitruEnghsh word idiomatically. vius uses pinna for an organ-key for playingupon the instrument, and would only adopt such a word

it should

remembered

REASONS

FOB,

FREE

TRANSLATION.

343

aa

clams up The

for the

key

in the

literal sense,

if it

were

to

lock

instrument.
of modern the organs The ancient. is does
not

hydraulic action
resemblance
to

bear the

any

objectof
the

present hydraulic action

of the touch.

only to

diminish

weight

following is described by Heron

translation, because
readers. used in For half-a-dozen

The

the

invention

of

Ctesibius,
I

as

of Alexandria. it will
a

give

free all

save

trouble like hanon

to

instance,

word

is here

different

senses.

Any straight
a

pole, or rule of any kind is besides its other meanings. Here, it is at the beam of a lever a piston-rod ; next,
rod, beam,
the fulcrum
a

Tcanon,
time

one

it is
at
once

part
its

which upon of the case

the within
saves

lever the the

works

of

name precise gathering from the

organ. reader the

thirdly, fourthly, To give

trouble kind of

descriptionwhat
The
most

hanon of aU

is there indefinite up of

intended.
or
an

tiresome

part
the his

technical author's

descriptionsis
to

summing meaning.
Heron's

words

find

out

Pneumatiha,
Greek

or

Spintalia, has
the last work
two

not

been

reprinted in
therefore, that
the

for

centuries,
contains

part of the
the

which

Hydrauhc Organ is now freed from abbreviations, and subjoined in modem to the three letters, as types. The only exceptionis, are stigma, which only here koppa, sampi, and employed to denote parts of the instrument, and therefore do not give any trouble : descriptionof
"

344

THE

HISTORY

OF

MUSIC.

"THE

CONSTBTTCTION

OF

THE

HYDRAULIC

ORGAN.*

"

Let

there

be

smaE.

altar-like pedestal of

let In the water water. (a^yS), containihg there be a convex hemisphere, called a pnigeua underneath a free retaining {e^vO), passage for water it. From let and through the top of this pnigeus, tubes be carried above the pedestal; two of them one outside the pedestal, and bending downwards (tlKX/j.) communicating with the box of a condensingsyringe downwards, and its inner having its mouth (v^ott), and true to fit a piston. Let smooth surface made the be weU fitted into this box, or piston (per) that no air may so cylinder, escape by its side,and to the piston attach a very strong piston-rod(rv). rod Again, to this piston-rodattach a transverse which shall act as a centre-pin and work "{ijcj)), (atv), lever upon an as a upright fulcrum {^x)" 'v^hich be firmlyset. must bronze "Into' described its and air the inverted another bottom box of the box size above

with {oo), mouth but closed above, quiteopen to the larger, having a hole through the upper part, by which into the largerbox. enter But under this may

insert

of small

irpbgifipoXsaairBifiyaviiivriv. "'""ICSpavXucov'OpyavovKaraaicsvii. Tavry ^fijioXeiig o ian" {pa),Hare apuoaroe koTXov iv If 'iSmp Mpa /oj irapairviXv;Tif Si l^/3oXc( tOTiti Itmi, tarw KaTiarpaiifiivov fcavuv av/iipv^s o (ru), iaxopoQ fifiiaipaipwv ^'' Si toKuTai rbv (tJijS), o a^oSpa fX'^ ''V nviyeiie, apfiol^oVTa irpog 6 t" irvdfiivi elg n^ irepog npSg Kavcjv, vypi^Siappvaiv {vtp),nepi wepovrjv
EiTrw
ne
'

o (ajiyd), xdXicEof Pio/uaKOQ

Si

iv Si Tif vSan

'

idpt].

'Airb Si r^e
'

airov Kopvipijs

Svo

dvaT"tvsTtM)(iav att}\ijv"Q owriTprifdvot

'

KivovfiaiOQ tjjv irpbgT(f (v) o avrbg Si .KtiXiiivivktjQts} irpbg opQiov leavova

" .

Tbv, /Sw/iteoj/ Big fiiv, tov 01 (^) fii^riKOTa iiTrip airifi aff^aXwf Ty Si rb eig iTructtaBiD ixTbg ttvUSi rbv (vJott) 0 (iJ/cX/t), Kara KaTantKa/iiiSvog Kai iw^iStov rb (w), avfTOV jiipos, avvnTprj/iivoe w9fisva 'irepov l3(i)fiiaK0v TTv^iSi Ty
Kario (rSoTr),
to

aTOfia

TiTprtfikvov avTy,
sk twv avia

Kal

immTraipaaiJiivov
ixov rpvTnjfm,

dp9i)v ixoiuy, Kai r^v Ivroe iTrupapeiav

xai fiepiiv,

HERON^S DESCRIPTION
hole let there
be
a

OP

THE

ORGAN.

345

plateto close it,and let this platebe upheld by pins passingthrough small holes made in. it, and these pins are to have heads, so that the plate faU off. Such not a plate is may called a valve (platusmation). "The second tube from the top of the pnigeus with the (t^ is to be carried up to communicate channel (\'^), transverse in the wind-chest [included of the organ]. Into this transverse channel the ends of the organ pipes(aaa)are inserted,and have
,

thin

their
are

extremities
to

enclosed

in

Httle

boxes, such
them. slide
must
over

as

made

organ The
"

hautboy reeds. The left open within are pipes (j8/3;8)

hds of these organ
so

hold

orifices of the

boxes

are

to

the holes

orifices of the made in

and they pipes, that when the

have

slidinglids are pushed home, the holes in them correspond may with the orifices of the organ pipes; but when the lids are drawn these back, they will pass over sliding orifices and close the pipes. Now, if the lever b6 depressed at its extremity the piston will be raised, and thus (ip) expel the is enclosed in the box of the cylinder, air which and
"

them,

the force of that box

SI

air wUl

close the

hole

in the the

Httle

above

it,through its action upon

ligrfivirv^iSa.
sttlra

aforesaid

ou

dacXivatrai irjp

aro/iaTa Se rdv

avtiDyora

iarii) ri

(/3/3;8)
"

*T7r6

Si rpVTnjfia
avTOf

XsttISiov ?otw, Kai

Am

^pacuov

dvexof^^vov did

rpq^ara

CTOfiaTtjiV ra TrojfiaTa Suoadu Sum eiffayofikvwv exovra,

Tivutv VTTO TTEpovituv K"fpa\dg Tpr][j,aTitiiv XeiriSiov' iKTriTTTEivt6 "(rTi] IxoVTttiv p.ij irXarvapdrtov. 'Airii SI 0 SyjKoKuTai

rd ivauTOig rpiifiara irojfidrbjv yiyv"a6curoXg run/ aiAuiv Si irapdkdfraeiv i^ayopkvutv Tprjfiaai

piv

twv

KUTdWrjXa
'

auiKriv 6 'inpoQ dvaTtivina (?";) cripif)auX^i (??), awTCTpripsvog iv if emKCurOoxrav vXay'uf Tifi (1^1), ol (a),Bat airif, 01 avXol (ivvTiTpr]jxivoi
roS

kui ovv

roig aiXovg. diro(ppdaaaai

6 Kaviiv TrXdyiog

'Edv

miXujveiriTm Sid

6 (po)l/i/SoXfif rov(0)ci'erAKarw/ilpof, iv ry tov UBXi^u /KTeuipiZopivog KaOdirep [v^oir) irv^iSt dkpa, og dTrOKXeltrei iXOVTSg,tK Ttuv xdria fispSiv airoig, b)V avVT"7pijpkva yXuitjaoKOfia fuv to sv Ttp (w) irv^iStiit rpvirrijia Sid

346

THE

HISTORY

OF

MtTSIC.

valve. the of

The

air

can. so

then into the

first the

tube, and
of the

pass the

only through, pnigeus ; again,out

out

pnigeus, along
of the

second

tube, into
the

the

wind-chest chest the

"

organ pipes'and the that

of out lastly, organ; into the pipes, if the holes the in the

wind-

orifices in coincide
are

lids sliding
some

and

is,when

lids, or

of

them,

pushed home. Therefore,in order that, when the pipes to sound, their orifices
"

we

wish

any

of

that,when
be

we
we

wish do
of

them
as

be open, and may to cease, these orifices may

:
"

shut,

may

foUows

[The Action
reed-boxes

the

Key.]

"
"

Suppose one

of the

(7^) to be separated from the rest, the Hd being S ; the organ pipe open part of its sliding above it being ; the entire sHde that fits below the pipe being t p ; and the hole in that slide organ which is to correspondwith the orifice of the organ pipe being ";. Then let there be a key with three the arm of which little bent arms to it {^6/"' {^9) f/.^), slide ("s-^, and the is attached to the above-named at m^ key to turn upon a eelntre-pin of If we depresswith the hand the highestarm the key in the direction of the open part of the slide
e
"

Tov

TrpoEipriiiivov
tov

irXarvaiiariov
"

eaBai, diroKXsitiTai, KaTatrKevaaojisv

rdSe.

Xiopriaet Sk Sia

auiXrjvos (/iXio;)
'Ek de
tov

tig rbv

irviysa.
tov

irviyidig
tov
tov
'

Eig ")(fj)ar\an

TrKdytovffwX^va
i/cIs

ltd iX^lt))

TOV

(t?)awXrivoe

"fkiaaaoKojuav ^^ rA OTOfia ou eyKsi^Evov (y^)) x^P^-Q larui tI" {S) 6 Si mvTiTpiliikvoQ rovTif
tUv
"

"'SosiaBu)

1v

Toiig avXoig avKbg o (t),n-u/ia Bi i"Tu) apfiouTbv OiMjvoe "'? "TfXaylov ri (?p), KoraXXijXa Eiy Ksi/ievn aiiTif TraprjKTpfijjui txn"v Tb (tj), Xifpvmi, OTUV airb tov (e) aiiXov. 'Eirro Si tiq iv ToXg v"iuiisi Xayjiivov Tci auXoic IV rots Kal AyKuiviaicog 'iTav eiatiyfdva TpiKuAog b (?9j[i*/t'), y TprfjiaTa, TOVTiOTiv,
rd

tivA. aiiT"v. ffroi 'ri TTii/iaTa, vavTO, aiXwv Iva oiv,'orav Trpomp"!"iJ,i9a Tuiv
rd ctvoiyriTai "j)9'syyiadai '6Tav Si Ibkwwv

o5 rb

TWO,

IdTio Tif (J9)kSiXov m)ji^lg fiiv Si (^?) Trtiftan irpbg T"f {/i^) mpl Kivtia9"i" 'Eav idmjv [ii'). rrjv Trcpovtjv
'

TptifiaTa'

^ovXiiiieBairai-

oiv

{fi^) KaTa^wiievTyx^^piTi axpov

tov

heron's
we ("5),

description

continued.

347 it has

shall the

push
end

the slide

inwards, and when

reached

of the

box, the hole in the lid will

organ pipe. the hand, the withdraw and thus mechanically, the pipe, do as follows :
"

correspondwith
"

the orifice of the

we

In order

that, when

sHde

also be withdrawn may close the communication with

"

Rather

lower

than

the

reed-boxes, but

at

the

level

to, the wind-chest, let a rod parallel be carried along,and to this rod fix slips of (yu* fi^J is opposite horn, elastic and curved, one of which (m*) to the reed-box (^7). From the top of this piece of horn let a catgut the string,well secured to it, be carried round extremity of the key {0),[the point of the lower angle of the key,]so that, when the slidinglid is the stringmay be pushed in the oppositedirection, the upper part of the tightened. Then, if we depress the Ud of drive home we key at its extremity(m^), draws after it the end of the the box, and the string it by this traction. pieceof horn, so as to straighten from the key, the hand is withdrawn But when the horn, by returning to its original form, draws

of, and

"

"

back
as

from the mouth of its box, so slide away the end of the to overlapand cover up the hole in the

organ

pipe.
tov Kara Kei/tevov

(J) aro/uov row rb Trujua eif irapiiaoiiev yXwffffOKOjttou, Iffoi fikpoQ wffT", 'oTav lfjt7ri(7y sis TO ayKioviaxovmi
'

to

{Sy) yXiDcrffdeo/xoi/.
avrov

'Ek

Si

tov

axpav

vivpa

airo-

SsQsiua dnodsSiiiaQd} oiffre l^u)

rb ivrbs jitepof, tote

to

iv avTif av\ov

KaTaXKrjKov Tif
'Iva oiv 'oTav Tb aiiTOfUiTOV

tov

Tprj/ia yiveoBai.

rb {0) iiKpov, irtpl t ov irapiaaBevros TriijiaTOS

vsvpav.

TtTCUsBai rnv

'Edi/
tov

ovv

(cara-

to tad) wapdiaofuv Tb vtjfia eii; fispog, rb oJffre tclSe. kiriaTTMSSTai airaQiov, Tbv avkbv, EffTai vevpd ri 'jrapcO^d^y aiiTOV pif "tTTOKtiaBd) vwb TCt yXdjaaoKO/ia Kavwv avopQCJaat rfiv Kafnrriv Tb mradlov "Otuv Si iraXiv dg Koi ffwX^vi, a^"jiiv, Jffoe TrapnXXijXof T"fili^) raXiv Si t/jv s5 dpxnQ Kafivroiievov, o {fi*fi^)Iv KeifKvos aiiTif TOVTiit
' "

tt/v aijiiKmiuv x^'P^j icai i^iKicvaOy, iruj/ia

iavTSg Tb (/i")axpov

ayioiiviaicov

airadia ifiininiykadiit Siv Kai smxEKaiiijiva,

KspciTiva

rfrova

i^fKuvau

rb iriuiia tov

OTOiiaTOQ,

oiffre

'iv laTui Tb

{/i^)

to "jrapdhXd^ai Tprt/ia.

348

THE

HISTORY

OP

MUSIC.

"

contrivance each

of this of the

kind

being appliedto
we

the of

box
the

under

when pipes,

wish

some

pipes to sound, we must press with the fingers the key of each ; and when do not wish them to we the fingers, and then the pipes sound, we withdraw
from sound. which the slides
are

drawn

away

will

cease

to

[The Principle
is

of

the

Instrument.]
"

"Water

poured

into air
"

the I
mean

stand

in order

that

the

that the

which, when
the

abundant superdriven out

in the

of the stand the

"

raises cylinder, may

height of
within
a

the water

be retained

pipes shall always

them
to

have

that so pnigeus, supply in readiness to

enable
"

be sounded.

piston(pa)is raised,it drives the air of the cylinder, into the out as alreadyexplained, it opens pnigeus; and when the piston is depressed, the valve in the little box above it,by which means the cyhnder is refilled with air from without. So that, when the pistonis againforced up, it will again drive air into the pnigeus. "It is better .that the piston-rod should work (tu) at t round a [where it joins the lever], centre-pia and this by means of a ring in the bottom of the .piston-rod, through which the centre-pia[formed
"

When

the

a9ai, Trpof rJ aei txuv roie cdiXois yXwaao^ovKii/ieBd ^9eyyea9ai, y"vt]9sVT0)v, orav KOftov "'0 dk [ptj] avK"v KUTd^ofiEV RfifSoXsig ^9sYy"a9aiy TivaQ'TtiiV liraxpoiiwoQ jjhf iiri rb dvdi, t" SaKTvXotg Ikuvovq kut toXq ISuSeT rbv iv big dpriTcu, Si /joikbti rbv Trviyka Kara^9kyyta9ai ry Trv^iSi aipa i'lQ ayKwvitncm orav Sk iaKTvXovq, yo/icvos j3ov\"iii"9a, iTrapovfiEv tovq dvoiyu rh iv T"i" Thj^ilitf
' '

TovT(DV

oiv

Kciff fxaarov

'

'

Kal

TOTt

iXKva9'tvrit"v. "Tb Si

Xsrai,evsKa
iv

17 Trwfif dipoe irXripovToi Hart trdXiv rbv iv T(f^(DjiiUKifi ifl/SdX- l/ujSoXIa iSoip avrirv dvaj9ovp,tvov iK9XiPciv rbv rbv dkpa rov Trvtyia, eig Tripwasvovra
tuiv

vaitsovrai

iriiinantv

TrXaTva/idnov St
"

ov

f Swdev

"

rbv ix r^g irv^iSog miiyii,Xiyu ?") Tif to i-iraipovra avvix^i"9oviavov, ^liSutp

' '

BiXnov

Si ian

mi

rb rbv

Tripivtpovriv

Kivtir!9m

{ni) Kcaiiava vpbi rif (r)

FROM

HEEON

TO

VITRUVIUS.

349

by
that

the the

end

of the

must lever-rod] not

piston may fall vertically."

be

pass, twisted, but

in

order

rise and

Between

the age

of Heron any wiU The

and
extant

that

of

Vitruvius,
of the

perhaps Hydraulic Organ which

its construction. upon is ample for those who of the instrument

there

is not

notice

throw

additional

light

of Vitruvius description have ledge some previous know;

but

it has be

the

fault

of

to intelligible had others who have that experience. It is not evident, from the concludingpassage of his chapter, did not anticipate that Vitruvius any better result his labours. At least four attempts have from his work into English,but been made to translate last two all have fa;iled at this point. The are by too

being

brieflyexpressed to

Newton
as

and

Gwilt. in be

Newton the

leaves

the

hard

words their He

they stand meanings may

writes head the of the of the organ,

original, trustingthat discovered by the reader.

cistern which of the buckets

"little

supports the
wind-chest with movable of

machine," instead
and of late
"

brass

learned Joseph Gwilt, who was of the Madrigalian era, has nevertheless in music translates the Hydrauhc Organ. He misconceived "with iron finger-boards," manuhreis ferreis (instead in the next iron handles,") of "with line, although,

pistons."The

these For

handles these

are

to be tiumed

round.

reasons,

the

first

object of

new

tov Ttf TniBjikvi di ^s Ssfiaa apjioaBtiaiTOi, ijiPoXiioQ

ovar]Q SiTOpfiiag

Iv

akX 6pBbv l^jSoXca;ii}SuxuTB^iaOai, icai KaTayeadai." avuBeiaQai "

TTEpOVTiV

SL(o6sltT9al, TTpOQ

TO

TOV

350

THE

HISTOEY

OF

MUSIC.

attempt
it

should

be to write

so

as explicitly

to

make

understand. I possiblethat every one may therefore amplifythe description of Yitruvius, and the construction appeal rather to his words, to justify I have

put

upon
as

them,
may

than

offer be

such

literal translation
any
one,

with

The

sentences

by the assistance of the paraphrase. of Vitruvius are exceedingly long and

I have than

hereafter

made

interwoven, and parts.

instead Further

therefore divided
this
"

them

into
two

Yitruvius

having
his

or condensing syringes,

wiad-pimips,to
each

of one,

describes He thus
are

part

of them

organ in the

plural number.
;

his explanacomplicates tions

but
to

as

the two

ahke, it suffices to describe

for parts of that one. plurals The accompanying diagram is mainly a copy from made one by Isaac Yossius for his De Poematum Cantu et Viribus Rhythmi. Yossius's dolphins are
one,
reserve

and

ROMAN

HYDEAULIC

ORGAN.

351

made
because of
ex

to

work

by

the

tail instead had

of
ex

by

tbe

bead,
to the

the text
He but

that he followed therefore referred

were

cere, instead

ore.

those

words

cymbals ;

as

cymbals
ex
csre

the addition Isaac Vossius

was

of

would the

of metal, invariably have been superfluous.

understood

instrument, but

as

he

like

he did not complete treatingupon another subject, his explanation. Again, he wrote in Latin, technical difficulties Vitruvius, and so he left some which neither Dr. Sir John Burney nor could
master.

Hawkins*

THE

HYDRAULIC

ORGAN

DESCRIBED

BY

VITRUVIUS.

De quas

hydraulicisautem
habent ratiocinabrevissime

But

I will
as

not

omit

to

touch,
the

tiones, quam

proximeque attingere potero, et scriptura consequi non prsetermittero.

De materia
ara

as briefly sible, posthe plan of upon Hydraulic Organ, and as

to express,

weU

as

can

in

writing,the principle
A bronze

of its construction.

compacta
ea,
ex

altar-shaped
set

basi,

in

sere

pedestal is

upon

coUocatxir. fabricata,

basis of timber.

Supra basim regulse dextra

"

eriguntur
ac

sinisno

are

Upon this same bars straight

the master. Theodoret

basis of

wood,
uses

Sir

John

Hawkins because and

were

had he

faith that of

or

the of

in the

Vossius,
ascaules

-wrote

word

askoi,
the

(literally,hides
bellows
;

utricidarii

animals,) for
of terms
V^iTn

but

instead

ancient
not

times

and organists not doubt that

organist being aslcaules,he

the artist
same or

bagpipers.
was

I do

musician In tonius, Sue-

Sir John of
one

right in his correction

upon that that

in the (technites) the

sentence.

Vossius of the

point.
I have

No
seen

quotation
about is named The

to

follow the

from

passages the

Nero,

would either

justify
of the He

application
names

of
an

Organ
the

HydrauHo first,and the bagpipe

follows after for other

above is the
more

to

last.

bagpipe
or

organist.

spoken of, as

sldUed

reverently musician.

hautboy,

pipe

accompanying

choruses.

352

THE

HISTOEY

OF

MUSIC.

tra, scalari

forma

com-

shaped
on

like the

sides

of

pactse,

ladders, and
the

erected

both

right and on the left of the pedestal. The quibus includuntiir 8erei bronze cylindersof two modioli, (one condensingsyringes, each side,) tained mainare on in an erect tion posiby these bars. Each has a of these cylinders fundulis ambulatilibus, movable piston, which turned subtiliter subachas been carefully tomo ex tis; by the lathe. The piston babentibus fixos has iron elbow-joint an
in medio ferreos ancones, fixed the
et verticulis

into lower
arm

its centre

[at
The

end].

vertical is formed

of this elbow

by
the
a

the

pistonend

rod; and
CLim

horizontal

vectibus

conjunctos, arm

by

lever, the

passes through the handle of the piston-

of which

rod, and
the the
or

thus

becomes which raised It is

centre-pinby piston-rodis depressed.

with

pellibusque
volutos.

lanatis

ia-

covered

unshorn

sheepskin [to prevent noisy action].

summa

Item, in

plancirciter

In the

the

top of each
.

of

itia, foramina

is cylinders

circular

digitorum
bus in

ternum,

foramioibus verticulis

qui- hole, of about the si^e to and proxime, admit three fingers; this coUocati, immediately above

VITE.UVIUS.

353

Eerei

dolphini,

hole which
a

is

bronze

dolphin,
upon

is balanced

pendentia
tenis

habentes

ca-

centre-pin passing The through its middle. holds ia its mouth dolphin
a

Uttle

chain, which
to
a

is
vex con-

attached

smaU

cymbala ex

ore,

infra
rum

foramina celata.*

modiolo-

cymbal, with flat edge or a margin [like a modem cymbal]. The cymbal is hidden within the cylinder, [it beingjustbelow the hole of that the first pufi" so
air from it to And below will
cause

metal

stop the hole].

now,
as

to

the

In altar-shaped pedestal. Intra aqua

aram,

quo

loci iaest

the

sustinetur,

upper water is the

part, where maintained,- is

is of
an

pnigeusuti
inversum.

infundibuluni

air-condenser,called
a.

pnigneus,which
convex

form, like
funnel.

verted in-

Under

Quern subter
circiter

taxUli

alti

the

pnigeus are wedges, which, in height, are, the about equal to

XoXaw, cymbal
down to loosen,
was or

"

In

the

and

10th

manuscripta of the centuries {Hart. 2767

word into

9th and

let

down,
to

the let up

too

large
only
end be

be

3859), this
times next into to

is calata, in after

; it could

drawn

changed

colcota, and
These the is
were

cWata.

attempts
"word and I do

correct, but

to make not

good
doubt As

sense

only celata,
the

its

being

cyUnder. be let down It could afterwards; and so we find calantes, or chalantes, rightlyenough in the other part of the description. through the
open of the

right

word.

for

chalata, from

2 C

354

THE

HISTORY

OF

MUSIC.

subdigitorum ternum positi, librant spatium

breadth and space passage

of three

fingers,
a

tbey maintain
below,
of the the for

free tbe tween be-

imuin,
inter labra

water

pnigeos
of the bottom Above

lower and

edges
the

pnigeus

et

arae

fundum.

of the vessel. the neck of the

cervicuSupra autem 1am ejus coagmentata arcula sustinet caput

pnigeus is the wind-chest for all the pipes,which

sustains
the of the organ.

machiiiEe,

part upper The windin Greek

quae
Kavicv

graec^
fxova-iKos

chest

is called

appellatur.

"

The

music" In canales

regulatorof the (Canon musicus).

the wind-chest
are

cujus longitudine
;

In

air-channels
est
,

si tetrachordos

fiunt

running airlongitudinally ; four

channels six for if for four six

quatuor; si hexachordos,
sex;

stops ;

stops ; and

si

octocbordos, octo.

for an eight-stopped eight organ. Each

canaliSingulisautem bus singula epistomia

sunt

of these

tudinal longiis

air-channels shut in is

inclusa, manubriis
collocata.
cum
area

by

its

stop,which
an one

ferreis manubria

Quae

worked

by
When

iron of

torquen-

handle.

tur,
nares

ex

in

handles is turned patefaciunt the canales. round, it admits air from the wind-chest
or

into

that These

channel
Ex canaHbus
autem
canon

groove. air-channels have holes in open into

verse trans-

habet
verso

ordinata

in trans-

them, which

foramina, respon-

corresponding

VITRUVIUS.

355

dentia in

naribua
summa

quae
;

aunt

boles above

in tbe

tableof

tabula

quae

board,

or

sound-board wHcb
"

tabula

the grsec^ TrtVa^dicitur.

Eegistertable" {pinax). Inter tabulam et canona Sliders are interposed this between regulsesunt interpositse, registertable and and ad eundem the

organ, in Greek

is called

The

wind-chest;
sliders
are

these

modumforatae,

pierced through with holes which correspond

in

size

with

the

verse trans-

holes above-named.
et

oleo

subactse,ut

faci-

The order

sHders that

are

oUed, in
may and

liter
sus,

impeUantur
rursus

intror-

et

reducantur.

easilybe
withdrawn. These

they pushed in
are

Quae obturant

ea

amina, for-

sliders

for

plinthidesque appellantur.

stopping the holes, and called they are technically

"The forms
to
an a

Plinths,"
kind

as

each

of basement

Quarum
alias

itus

et

reditus

organ pipe. (Plinin thides.) Their sliding

out

obturat, alias aperit and

will

one

way

terebrationes.

the open, and will close the have been

other holes

way that

bored

for air-

Hae
rea
cum

habent regulae
et

fer-

passages. shders These conductors and

have

iron

fixa choragia pinnis;

juncta

fixed to

them,
the

connected of the

with

keys

organ.
2c 2

Then,

356

THE

HISTORY

OF

MTTSIC.

quarum motiones
rum.

piimarum
efficit

tactus

the will

regula-

toucbing of a key cause a ing correspondmovement

of

its

slider. Contmentur bulam supra

taex

foramina, quae
habent

upper the before-named table which

are

On

the

side

of

canalibus
sum

egres-

the

registerholes through
make

spiritus.

the air must

its egress from the airchannels into the pipes.

agglu- These holes have rings tinati, quibus lingulse fixed in them, into which includuntur omnium orrings the orifices of aU the pipesare inserted. ganorum.
sunt

[lis]

anuli

And
the E modiolis
autem

now,

to

revert

to
densing con-

fistulse sunt continenter

cylinderof the syringe. cylinderhas a tube

from it with which it to the the and

Each
ning run-

conjunctse

connect

pnigei ;

pnigeus, in
air
out

is of

densed, con-

the

cervicibus
que ad

pertingentes- pnigeusthrough its neck, (which is formed by a

short

tube,)up
which orifice is

to

the

nares

quae in
tomo

sunt

in
asses

orifice of the
over

wind-chest,
a

arcula
sunt
ex

quibus
Qui

weU-

subacti,et
cum

tumed When

valve

placed.
has

ibi

collocati.

the wind-chest

received its supply of air, recipit arcula animam, closes the patiuntur, this valve spiritum non and does not obturantes foramina, reorifice, mit perdire. the air to return.

Now,

to go

back

to the

VITRUVIUS.

357 lever. When the handle

Ita, cum

vectes
ancones

depresses the ducunt elbow-joint of the is at its piston,which opposite extremity, and it thus brings down the fundos modiolorum piston of the arrcyhnder to its lowest ad imum. Delphinique, point. Then the dolphin before qui sunt in verticulis in- which, as said,
extoUuntur, clusi,
ctalantes
in
os

de-

is

raised, it

is

set

cymbala,
rum. modiolo-

pin,
which

a upon lowers the

centre-

cymbal
from its refills air.

hangs
and

replent spatia

mouth,
the On

thus

with cylinder the the other lever

hand,
raises

Atque
lentes

ancones,

extoliatra
mo-

when the

and the piston-rod, diolos vehement! with pulsos piston is worked crebritate,et obturantes vigorous frequency, it foramina closes the hole above cymbalis superiora, aera, qui est ibi the then cymbal, and clausus, pressionibus the enclosed air is driven, coof the actum, in fistulas cogitur. by the pressure Per quas in pnigea conpiston, into the tube. et per ejuscervices currit, Through the tube the passes pnigeus, and air into from the the the

fundos

pnigeus, through
second in
arcam.

tube, into

the

Motione

vero

wind-chest.

By
air

continued of the

vectium

vebementiore,

movement vigorous

spiritus frequenscompressus,

lever, the

being fi:equently compressed, it

358

THE

HISTORY

OF

MUSIC.

flows

througb

epistoiniorum aperttiris et influit, replet aninda organ

eainales. the

tbe' tures aperleft open by the refills stops, and that

are

air-channels in

included chest with

the

wind-

air. when

Itaque ctim manibus tactse,pinnae, propellunt et reductint continenter regulas,

alteniis Obturando
nis

Therefore,

the

keys
touched
,

of

the

foramina^altef-

aperiundo,ex musicis artibns,multiplicibus

modulorum
sonantes

by they continually propel and the bring back closshdeifs, alternately and opening the iQg holes. Thus, by the art of music, these pipes
forth their resounding

are organ the hands,

varietatibus, send
excitant
voces.

tones, with
varieties of

manifold tions. modula-

I have endeavoTired, Tit to pbtui niti, obscnra to res per scriptn- the best of my ability, dilucid^ pronuncia- explain this obscure subject ram in writing; but it retur eontendi; sed bsec

Quantum

non

est

facilis

ratio.

is

not

an

Neqile omnibus expedita Neither ad intelligendum prseter be intelligible to who eos qui in bis generibus aU, beyond those
habent exeroitationem. si parum
e

matter. easy will this explanation

have in But

had

some

practice
this
can

Quod
rint
i-em

iatellexe-

cum scriptis, ipsam profecto coglioscent,

things of if they
but

kind. stand under-

little from

this

inveniertt

curiose

et

sub"

tiliter omnia

ordinata.

description, yet, when the they know thing

THIN

METAL

VESSELS

FOK

SOUND.

359

(Lib. X. cap. 13.)

cap.

8 ;

olim, itself, they will certainly

find be every

part

of it to

curiouslyand arranged.

ously ingeni-

From

the above

it will be evident

that there before that

were

with four, six, and organs birth of Christ; and, as a had

was

eight stops
consequence,

the

they

different
so

quaUties of

tone.
so

The much
cannot

reed in

principle

understood, and fully its application to the organ doubted. Organ pipes must
close
or

favour, that
sUders any
to

reasonably be
had
was

have there

these shders could only have worthy name, been managed by the fingers actingupon keys. Before partingwith Vitruvius, a few words may be said about the metal the seats, or among in Greek theatres,which fifth book.vessels fixed in open spaces otherwise to the audience, near vessels he describes in his

open of the

them, and

when

music

an They were ingeniousand scientific both voice and instrument, for assisting contrivance which and the principle constructed they were upon be thus familiarly explained. may fact that, when It is a well-known a harp and a in the same and in precise tune are pianoforte room, wiU together,a chord struck upon the pianoforte produce a correspondingchord fi-om the harp. The has set into vibration that the pianoforte sound-waves the strings of the harp,and they have reached

have with

sounds in unison sujBScient power to excite new them, from the tightlydrawn strings of the The if efiect will be the the
same

harp.

with and well

two

fortes pianoother

instruments.

dampers are up, This principle was

with

understood

360

THE

HISTORY

OF

MUSIC.

by
and

the ancients.

It is referred

to

both

by

Aristotle

by

Aristides is but
a

Quintilianus.
reverberation travels like
or

from It differs,
one

echo,
The

which main

of
a

sound.

body angle at
Greek

of sound be which

billiard

ball,and

it will either the

returned

deflected

it strikes the

accordingto object.
for the purpose The sound-waves listener
were

The of

vessels in theatres
power.

were

this waste utilizing that were acting upon at the from

as
a

the

ear

of the

of sound waves excitingnew another body, by setting it also into vibration sound-board, when they would otherwise have
same

instant

been The

had travelled away. deflected, or vessels

must

have
a

had

either

contracted may be
a

edge or hp, or producedfrom

reed,
as

else

hole

in them.

Sound

air set

in vibration
or

by
from but

the

in from

pandaean pipe ;
the hole in
a

edge of the lip of

sound

or phial,

flute

no

will

blowing into a tea-cup. In that case the It requiresthe strong breath will only be deflected. round the edge of a tea-cup, fiiction of a wet finger to set so wide-mouthed of a finger-glass, a or body
ensue

from

into vibration.

The
to

vessels thus

set round

the theatre
to

were

tuned

the different notes

each

of

scales, even

quarter-tones,
one

because is

vessel could

produce but

note.

It

strange that this scientific contrivance should not have been utilized in any way by the moderns, with
the well-known before

harp and pianoforte them. to reverberation, Surely it is preferable its adding power, and from both from its eighty, years
were

fact

of the

simultaneousness. About after

or

Vitriivius wrote,

provements imthe

made,

attempted,

in

KOMAN

CONTESTS

ON

THE

OKGAN.

361

of those improveHydraulic Organ, but the nature ments is nowhere explained. Suetonius reports of the Emperor Nero that, having finished a consultation hurriedlywhen his enemies were approaching,he and of the day in exhibiting passed the remainder in discussing the properties of HydrauHc Organs of a new kind, which he had resolved to bring out.* Just before his death, Nero vowed that, if he escapedthe him, he would appear upon danger then threatening the stage to contend for victoryon the Hydraulic Organ, on the pipe for accompanying choruses, and the bagpipe; also that, on the last day of the on he would games, appear All these dehghts were enforced There suicide.
are as an

actor

and

as

dancer.''

lost to

the

Romans

by

his

reign of this Emperor, and of several other Roman Emperors, which were given for victories gained in pubHc the Hydraulic Organ. of organ-playing contests upon
extant

medals

of

the

One

such

medal, of the
with Max." the

time
on

of
one

Nero, is in the
side the
"

British the

Museum', and

it has

head

of

Emperor, Caesar Aug. P.

have Pontifex

inscription, Imp.

Nero

without capitals, would

stops been, Imperator Nero, Caesar Augustus,

"

letters are, as usual, in them. between If in faU, it

The

Maximus."

He

was

indeed

strange
vite

Tranaaotaque raptim consultatione, reliquam diei partem per et ignoti tydraulica novi organa circumduxit generis ; ostendensque
" "

''

"Subexitu

quidem
se

palam
per-

voverat, si sibi incolumis manaisset, proditurum

victorise ludis, etiam

status pro

pairte hydraulaan, et
;

singula, de
turum

ratione

ac

diffioultate
se

choraulam,
novissimo remque

et

ntricularium

ac,

cujusque disserens,
omnia dioem

jam

prola-

die, histrionem, saltato-

affirmavit, si per Vinliceat." (Suetonius, Nero,

"

tonius,
defines
cum

Virgilii tumum." Nero, 54.)

twrmam Virgilii
"

"

(Sue"canti-

Macrobius
as

41.)

C.

Julius with
an

Vindex army

was

then

marching

Nero. against

saltare.

362

THE

HISTORY

OP

MUSIC.

of the high priest. On the reverse medal is the portrait of the victorious organist, and the inscription, Laurenti nica,"* (The victoryof Laurentius). The victor stands beside his organ, with a branch of laurel raised high in his righthand.
a
"

specimen for

Laurel further where

is upon the front of the the on organ, and side from the organist also are two branches,
one

condensing syringes should be. The limit of space did not permit the introduction of either of the condensingsyringes into the medal. There are other such medals of the reignsof the Emperors Trajan,Caracalla,and Valentinian, in the collection. The last-named has the inscription same
"

of the

Placeas

Petri."

In that

we

have

side view

of the

organistwho is seated, and of two organ blowers who are on one working at the condensing syringes,
each side of the organ. A front
row

of nineteen

pipesis to be seen; but, in all such cases, the number restricted been of pipes has of space. by want of the class, and same Engravings from medals in extant are copied from coins which foreign des cabinets, are depicted in Description General MSdaillons scribing contorniates, by J. Sabatier."" In deof the time of the Emperor Trajan, one
Sabatier
a,

has

mistaken

the

laurel

of the

victor

for

flaheUum. In spite of these medals or being contorniate,"" by the lathe, and having an outer rim turned raised to protect them," they are much and worn, consequentlyindistinct. They are all seemingly of
" "

"Greek,
says Dr.

vimi, Tictory.
W.

"Nica,"
with circus

Paris, 4to.

1860.

plate x.
French,
oon-

Smith,

"aery
in the

"Italian,oontorno.
tour,

which

each

party
sub

encouraged
"

its favourite

combatant."

(Latin Diet,

nicd).

PORTEAIT

OF

VICTORIOITS

ORGAJSTIST.

363

copper,
reason,

which

is much
an

softer than

bronze.

For

this

I select
a

It

is

cornelian
now

example from an antique gem. intaglio, formerly in the Hertz

in the
to

CoEection, and
would be
too

British distinct

Museum.

As

it in

minute

be

if exhibited

the gem size of the original, it has been enlarged by artist. He could not determine the character of our the Mr.
ornament

Murray, kindly informed

and the should

the pedestalof the upon of the British Musemn,

me

organ, but has since of

that

it is

wreath the

laurel,
of

have

been

carried

round

centre

been to have pedestal.The gem seems for the finger, being nearlythe length of found to be too to narrow joint. It was the portrait of the organist by the side of organ, share of if the blowers organ and therefore it. the
are name were

intended
a

fingerof

admit

his indispensable
to

have been

their

fame,

he

has

exhibited that
we

in ftdl face above

cannot
even

It is to be of this
to

regretted
eminent

ascertain

but artist, The nude

now

his initials

not

be

deciphered.
in
a

medal

is

state,
admire

peculiarin exhibitingthe victor but it has this advantage,that we

his ribs and his collar

bone,

as

well

may his as

good-humoured face. So great deserves a something celebrity

more

than The
two

mere

bust. blowers

organ

have,

one

the
;
so

down and

the other lever up and thus to work alternately,

to

spasmodic of the air. The injection of the before-named be may Smith's

diminish

the

portrait
seen

victor, Laurentius,
in

Dr.

William

364

THE

HISTORY

OP

MUSIC.

Antiquities, (under Dictionaryof Greek and Roman but oiie lookingmore Hyd/raula). A third organist,
like coin
a

woman

than and

man,

is exhibited side horn very of

on

another is organ of metal,

of

Nero,

by
a
"

the

that

horn-blower, with
of the horn is curved

cun^ed
a

made base

and The

largest si^eover

instrument. it

the

shoulder, and player's

A

passes under his arm, the circle described there

to his mouth.

by

the

horn, and

spear crosses is seemingly

placedfor

TertuUian,
of the end
to

the horn.* the purpose of steadying Fathers the most ancient of the Latin who flourished in and after the
man

Church, and

of the second the

century, compares
As every

the soul of

human the wind

Hydraulic Organ. body, and acts in

which

the soul animates

the does

part of it,so
"

"Behold,"
munificent

fillsthe organ. highly says he, "the

"

portentous and
I
mean

bequest of Archimedes Hydraulic Organ. So many members so so parts,so many joints, many many
such between many
rows

the

of that

body,
for

channels

utterance,

union

of different
measure,

changes sounds, such interand

time,

mode, and
but

so
one

of

pipes;yet

aU

togetherform

huge pUe ! So the breath, which there pants by the into about of the water, will not be separated tossing through parts ; it parts, because it is administered entire in essence remains though divided in its working.'""
"

This

ia Das 8vo.

copied
Leben 1164.

into

Guhl

and tmd

oommeroia
arum,

modorum,
una

tot acies erunt

tibi-

Koner'a

der Griechen p. 241.

et

moles

omnia.

Romer,
^

"Specta pdrtentoaisaimam Armunificientiam

;

chimedis

orgauum tot

hydraulioum partes, tot

vocum, tot

dico ; tot membra,

compagines, tot
compendia
aonorum,

itinera
tot

spixitua qui Ulic de tormento ideo separabitur non aquae anlielat, in partes quia per partes administrasubstantia tur, quidem solidus, opera divisua." vero (De Anima, cap. xiv. o. Paris, 1664. fol., p. 273.)
"

Sie et

MUSICAL

IDIOMS.

365

subjectto think the twice he was to whether as ascribing invention of the Hydraulic Organ to the right He it to stands alone in attributing person. Archimedes. Not only his cotemporary, Athenaeus,* but also Vitruvius'' before,and Pliny"after his time, unite in ascribing it to Ctesibius, as do aU earher
was

Tertullian

too

full of

his

main

writers. Three
names were

given

to

the

sliders

of

the

describes them Hydraulic Organ. First, Heron as to the pipes;next, Vitruvius, as "straight "plinths" and Pubhlius pieces of wood" {regulce); Optatianus Roman a Porphyrins, poet of the age of Constantine "the them I., terms plectra." This was, square no doubt, from their acting like the plectraof the lyre in excitingsound, although from pipes. The wind itself had a stronger claim to the designation These of plectrum, in an changes in the organ. been of sliders have a names mentators. puzzle to all com-

As well

I shall not
to

again speak
Latin

of the

plectrum,it
canere,

is

notice

two

idioms, intus

and

foris canere.

touching the lyre with the plectrum, the hand was projected outwards, and so The from the lyre. That was foris canere. away behind the strings of the left hand of were fingers used in playing, and when the the lyre, they were the palm of the in towards drawn fingerswere intus and the body of the player. That hand was became proverbialfor Hence, intus canere canere. would draw in the action of a petty thief, who anything upon which he could lay his hands, and
In
-

Athenteua,
c.

lib.

iv.

eap.

75,

p.

*
'

174

Vitruvius, lib. ix. cap. I'l"y" lib. Tii cap. 37.

9.

366

THE

HISTORY

OF

MUSIC.

glutton. Again, thieves were, hinted at as Aspendii Citharistce, for a like reason, famous because a performer on the Aspendius was the use of a plectrum, lyre and cithara,who rejected of the cithara with and played upon all the strings his performances were his left hand. Therefore of the intus canere Cicero comclass. pares altogether Yerres of his orations," to Aspendius in one
sometimes also for
a

and

Asconius that

comments

desirable

the

the upon modern reader

passage;

but know

it is the

should

of the hands the cithara in. order to position upon the two allusions. appreciate The Hydraulic Organ forms the subjectof one of the poems of the before-najneid PubUlius Optatianus. For
some reason

now

unknown, and, in order

a

he"
to

had be

been

banished
to

from

Rome

allowed

panegyric in the form of I. to the Emperor Constantine set of short poems a stantine This was flattery acceptable to Consufl"ciently the objectof the poet ; and, to accomplish further,it established him in the Emperor's favour. Among these poems are three which are respectively An AJtar," "A entitled Organon,"' Syrinx,"and which is the Hydraulic Organ. which is intended The last is a fanciful composition,
return, he addressed
"
"

to resemble

the form

of the organ.

Between

twenty-sixshort iambics and twenty-sixhexameters from the top to a vertically, singlelong line runs of the poem.*" This may be supposed the bottom to representthe edge of the register-board, upon the
*

"Aspendium
intus i,
oanere

citharistam
dioebant." edit.

quern
"

"

"

Augusto
vota."

viotore

juvat

rata

omnia Verrem

{In

reddere

20,

Amsterdam,

vol. i. p. 290.) 1724. fol.,

POEMS

ON

THE

OKGAN.

367

surface sLx each

of which

the lines

pipes are
represent

placed.
a row

The

twenty-

hexameter hexameter

of

pipes,and

letter in each by one succeedingline, just as the pipesincrease in height. The short iambics be designed for the body of may the organ below the register-table. It is difficult decide whether to of pipes. for back rows so, or The described of copper or bronze, as pipes are accompanied by others of reed. The organ is to be so powerful as to be capableof causing the hearers The to tremble. length of the pipes is no further than that the smallest defined is representedby thus twenty-fiveletters,and the largestby fifty, The making twenty-six in a row. only guess that be formed to the length of the pipes is from as cau the allusion to the trembling of the hearers. If the organ could cause a rumbling sensation through there must have been pipes the body of the listener, of at least 16 feet in length,but probablylonger. increases

Cassiodorus
the it
as

to a tower, and organ precedingquotationfrom Tertullian represents

compares

the

grand pile (riioles). Optatian speaks of only in the plural number, without organ-blowers the precise number. specifying the tone and Roman So many Emperors admired that first the of the organ the power considering pubHc competitionsin playing, and secondly the the luxiuious of the empire, coupled with wealth and patricians extravagances of both emperors at least the occasional reasonablyassume we may of the largest pipesfrom which sound could be use
a
" "

be produced. There can experiments having been scale. In the character

but made of the

little doubt

as

to

iipon the largest Eoman nobles, by

368

THE

HISTORY

OF

MUSIC.

Ammianus and
"

written Marcellinus,

quoted by Gibbon instruments of the theatre, flutes, But the costly and enormous lyres and Hydraulic Organs are constructed for their use and the harmony of ; vocal and iastrumental music is incessantly repeated sound is in the palacesof Rome. In these palaces the care to sense, and of the body to that preferred
"

year 380, in cbapterxxxi., lie says :

about

the

of the mind."*

Having
poem, his
to

enlarged upon of description

a

the the order

pith
organ
to

of

Optatian's
be
ferred trans-

note." of

In

may observe

his

self-

imposed

making each succeeding line to consist of exactlyone letter more than the former, to have been driven into writing Optatian seems and into spelling rythmus instead of quis for queis, rhythmus. that M. Danjou was the first of the It is assumed the letters of Optatian's who counted modems verses, drawn and so found out their design. Attention was learned fiiend,the Chevalier E. to this fact by my the difficult subject de Coussemaker, when discussing
aAmmianus
^

task

MarceUinus,
eiit in varios modes

cap.

vi,,edit.

Gronoviua.

Leyden.

1693.

"Hsec

'

speciesaptissima cautus, fecunda sonoris gradibussurget Perque calamis et tereti, orescentibus ^re cavo aucta, Quis bene, suppositisquadratis ordine plectris ia numeros Aitificis manus clauditque aperitque bene consona probans placitis Spiramenta, rythmis,
Sub

Quos vicibus

properantibus iucita ventia, sibi disoors juvenum labor baud bine Hinc animaBque agitant,augetque reluctans, atque propriumque ad cannina Compositum ad numeros prsestat,
crebris

quibus

unda

latens

ad motum intremefacta frequenter Quodque queat minimum Plectra adaperta aequi, aut placidoa bene olaudere cantus, et metro rythmis prseatringere quid quid ubique est." Jamque
"

PoetcB (Wernsdorf's

latini minores, Didron

Archdologiquespar

vol. ii. p. 406 : or Annates ain^, vol. iii., 1845, p. 272.)

INVERTED

REPRESENTATIONS

OF

ORGANS.

369

of the the

musical

instrum^its

of the

Middle

Ages

ia

ArcMologiques of Didron, in and afber the year 1844. I cannot follow M. Danjou in his further inference that,because the letters increase in instead of decreasing, length in each hexameter therefore the shortest pipes were the left of on the ancient have player,and he must played the longest pipes,which form the base of the organ, with his right hand instead of his left. There are of organs in that undoubtedly some representations form, but they are overbalanced by others which are
not
so.

Annales

On

the two

medals An

of Nero's

date the
was

one

is;and
an

the other

is not.
a

organ

player,but
his eye
to

engraver who spectator, would view

so

not

perhaps
when

accustom

the

he would

had

taken

and facing the organist, pipes on the right. The "wandering finger" were

place the
touch" and

long
the

"hght
far
more more

the smaUet and upon pipesthan upon the largeones. engraver of indifference which he may die. have

ployed probably emquickly-speaking

Again, an

may view

have he

thought it a

matter

design from
to
a

to forgotten right to left for

gave of the organ, or invert the whole of the

a

transfer to

seal

or

of Optatian may poems before the year 324, because, in The lauds
son

be
one

dated of the

in

or

set, he
eldest

Crispus,the
of

brave

and
was

accompHshed
put
to

Constantine, who

death

by

his

father in that year. jealous from ancient .Among the remaining passages to the authors which might be quoted as referring Hydraulic Organ, I do not observe one which will the construction the further light upon or throw
2
D

370

THE

HISTORY

OF

MUSIC.

chaTacter of the

instrument, and only sucli

are

here

required. I therefore pass on to the Pneumatic less after Organ, or organ blo-wn by bellows,more or the present manner. Since the bellows by which the organ was inflated the distinguishing it may be well to show are feature,
first how In
one

these

ancient

bellows
at

were

worked. is
a

paintingof an the smith is heating of iron, Egyptian smithy;'' a rod his two and assistants are blowing the bellows. These are, in every sense, pairs of bellows, for the
blower has
one

of the tombs

Kouma

under

each

foot.

He

throws

the

weight of

body first upon one leg,and then upon the other, drawing bellows at each up the exhausted of his body by a string. This mode movement of

his

An

Egyptian Smithy

with

the

ancient

Pairs

of Bellows.

action

that in ancient times bellows proves furnished with valves, like those of the present

were

day
not

for, if otherwise, the

have been

exhausted up

bellows

could

thus drawn
in the

by

the hand.

The

weight

"

It is included

great work

of

that

Champollion, plate of Rosellini,and

165

; also in in Wilkin-

son's

Popular Account

of the Ancient

Egyptians, vol.

ii., p. 316.

ANCIENT

SKILL

IN

WOBKING

OEACLES.

371 have

of

and depressing, been equal. If

we now

tlie

wotJd weight of raising,

turn

to

Herodotus,
the the ancient

we

shall

find,

which throughan interpretation gave

most
same

Lacedaemonians

to

an

Oracle,that

Arcadians, the
bellows of the

of Greeks, employed primitive

character.
The

Lacedaemonians

had

been

overcome repeatedly

Tegeans, and therefore sent to the Oracle at Delphi to enquire which of the gods they should propitiate in order to become victorious over the Tegeans. The jfrqpAef Who interpreted the Oracle, es, or priest, a were judging wisely that, as the Lacedsemonians brave peopleand had set their minds upon it,their that "the turn must eventuallycome, answered
war

in

by

the

Lacedaemonians

should

become been

victorious unsafe

over

the tation repu-

Tegeans."

It would

have

for the

of the Oracle that it should

a particular predict

date, lest the Tegeans should

the

still be too

Pythian was reportedto have they had brought back the bones of Orestes, the son indeed a safe prophecy, That was of Agamemnon." knew less about for the Lacedaemonians absolutely
"

strong ; so When added,

the

bones

of Orestes

than
not

we

do about

the

bones

of

Moses. Orestes should

They
had

could died.

even

tell in what

countiy

If, then, the

Lacedaemonians

again be beaten,althoughthey had brought which certain bones home they supposed to be those of Orestes, it would be argued that the Oracle the on was altogether true, and that the error was part of the Lacedaemonians, in having brought home
the bones A of the wrong person. to further advantage was be

gained by
2d 2

the

372

THE

HISTORY

OF

MUSIC.

charming vagueness
second brief consultation
was

of the of
to

reply.
Oracle endorsed

It must
;

entail then
a

the

and
with

the

likely

be

liberal

weight of the the promise of success already made, and cause, the god through his of propitiating the desirability
consultation ministers. All
went
a

fee, consideringthe

was

wisely judged.
time
to

The

Lacedaemonians information.

second

entreat
care

further have

The

still took priests for they alone instructed bones

Seek Stroke

to

could

hole, plenty of loopinterpretthe Pythian.

to

They
the

the

Lacedsemonians iii the

winds

search

for
to

of

Orestes
where two

enemy's country ;
growing.

for them
ever

with strong compulsion are

woe

blowing,

answering stroke,and

upon

woe

ever

This
to

lucid

exposition gave

considerable

occupation
one

Lacedaemonian

sagaciousfellow
had heard from whitesmith

there was brains,but luckily Lichas. them, named among

a

He
or

smith, (whether

blacksmith

that being about to expressed,) dig a well by his smithy, ia Tegea, he had found had there the body of a man of great size,which been buried the spot. This was enough for upon He in making discoveries as Lichas. acute so one hired the smithy,stole the bones, and carried them off to Sparta. For seeingthe smith's two bellows, is not
"

he

discerned and

in

them the

the

two

winds, and

in

the

answering to stroke, and in the iron that was being forged the woe that iron had been that grew on woe; representing Such confidence invented to the injury of man."' his did he inspireinto the Lacedaemonians to as
anvil hammer
1

stroke

Herodotus, Glio,cap. 67, 68.

ORGANS

ON

THE

OBELISK

OF

THEODOSIUS.

373

having fulfilled
convinced

fully prophecy,that they were they coxild then beat the Tegeans, and so
as

the

they
And We

did.
now

to

the
to

Eoman the
we

method fourth find

of inflation. of the

may

descend
era,

century
the
same

Christian

and

yet

bellows

employed for Pneumatic Organs, according to the This sculptures upon the Obelisk of Theodosius. stantinople erected in the Obelisk was Hippodrome at Conand
on

its white double

marble

base

are

three

pipers playing
and than A exceed curious Didron the
two

upon Pneumatic

dancers, pipes, seven Organs, one having largerpipes

the the entire

the

other.

of representation the may for width

see

subject would
page, and the

of

present

it in the

Annates

ArcMologiques of
in
one

1845

(p.277).

It is included

of

musical articles upon instruments, more those of the Middle Ages, by M. de Cousseespecially

learned

maker.
even

The in the

is necessarily minute representation

quarto
is alone

page

of

Didron;

and, since

one

of the organs of the

I have availed myself required, of larger size from The following woodcut

374

THE

HISTORY

OF

MUSIC.

History of
and Mr. E.
two

the E.

Organ by my friends J. Hopkins, by tbe

"
or

Dr.

Rimbault of

kindness

Messrs. These their

Cocks
men,

Co.

hands,
AU the

and that

to
can

boys,ougbt to be standing
be said
not
as

bave

in strings

bellows. that The

different upon to this deficiency is,

to

sculptor has

descended

minutise.

use as boys could be of no possible they are in the engraving. represented In point of date the Pneumatic system for the is probably long anterior to the Hydraulic. organ Heron's work was intended to describe only evidently

such
some

inventions

as

were

theji recent,

or

which

had

For not pecuHarities generallyunderstood. that reason, of probably, the only representation the Pneumatic in his book is Organ included with windmill of one a acting upon "the piston it drives air of a condensing syringe. Thus of the organ, without into the wind-chest directly action of a condenser. The pairs the intermediate of bellows so might not have been worked easily by a windmill as could a piston,but the organist would mill-instrume only be able to perform upon the windwhen there was a high sufficiently wind. The casual Roman main in identifying the difiiculty of musical
rests

notices writers and

instruments the The

even

organ among by Greek or

upon

wide organ when

significations
may the
times some-

of organon have
" "

organum.

been

intended,

word

an syrinx is used; for Philon explains organ to be The four principles "a syrinxplayedby the hands." of musical pipes were evidentlyso well understood by the ancients,that it would be strange indeed if

GREEK.

EPiaEAM

UPON

THE

ORGAN.

375

they
the
to

had

not

utilised
too

reeds

which be

were

too

large
in

for the

mouth, and Still, we

barbarous

long to

carried

about

hands. any

cannot

look back

hearing several
arisen into before

A love age. in instruments organ would

for the organ of of harmony, and

concert, must
have been

have

the

brought

ordinaryuse.
word organ instruments retained of all its wide
to application to the

The musical

down classes, Church. musical

times

of the fathers St.

are

of the Christian says

"

For

iQstance,
is of

Augustine
called organa

that
not

"aU

instruments
which

merely the
which
upon

largedimensions,

and

organ is blown by which for

bellows,but
a

also every kind of instrument be played, or which be may the voice."* The the Julian

tune

can

used

accompanying epigram
upon alludes to As

ipmperor
Pneumatic

wrote

an

Organ,

in

which

he

its metal the it

"

pipes and to epigram is written

less easy
to
omnia solum

its leathern in the form Dr.

beneath

bellows. of
an

is
"

translate.
instruiUud
cavern

enigma, Dr. Biurney,''

roots
;

Organa

dicuntur Non

their

while

menta organum

musioorum. dioitur

robust

mortal, running with

the
as

swift

et inflatur

quod grande est foUibus, sed etiam quidad cantilenam instrumento dicitur." No. 56. )
"

fingers over
makes

concordant

them,
emit translates

they

keys, smoothly
sounds."
"a

quid aptatur
poreum

et

cor-

dance,
He

melodious

est, quo
organum

utitur

ayifmxoQ
says, to

taU

qui canat,
ment.
on a

{Comon

sturdy fellow," and

to

"alluding
beat that of this

Psalm,

Augustine
the
"

the
of

force

necessary

has 150th

similar

coromentary
eat omnium

kind rude Dr. and

climisy carillon
of
new

keys
read

Psalm, beginning,
"

Organum
vasorum

instrument had

invention."

nomen generale

musioorum,
""

"c.

Bumey Heron, to underexpressed his inability

not

Dr.

Burney
thus
:
"

[History, ii., 65,)

"I
see

stand know of he

Vitruvius, therefore
but little
or

he the

could

translates
new

reeds

of

a,

about

keys
and

species,the growth
a

of another
as are

Greek derived

Roman

organs, of carillon

and

brazen

soil ;
our

such

not

his idea

keys

agitated by
blast that

winds,
from
a

but

by

from

mediaeval

writers,

rushes

leathern

376

THE

HISTORY

OF

MUSIC.

it by passingover Busby,"and others,accomplislied

some

of tbe

words, I

tberefore

attempt

more

literal

version.
"

see

ween

that

of a different kind : I reeds, or pipes, from another, a metallic soU, they have
"

perchance rather sprung up. and not by our breath wildly,

from within below the hollow of
a

These
;

but

agitated blast,rushing
are

bull's of the

hide,passes

neath, under-

well-pierced pipes, skilled artist,possessed of nimble and a fingers, by his wandering touch the connecting regulates rods of the pipes,and these rods, softlyspringing to his touch, express [squeeze out]the song.'""
There bear two For the organ
sense,
are

the foundation

several

words

in the

above

which
an

will

and thus may constructions, is not

a

form

donax instance,

wind," and

"

reed

only a pipe,"but

"

enigma. reed shaken 'by

also in
"

metal last of his

"

calamus uses pipe." Theodoret in the in a comparisonincluded Orations

on

the

third
:
"

Ten Hke

Providence, where

organ which pipes,inflated by leather

a
*

musical

he says consists of copper

It is

or

bronze when

bellows,and which,
:
"

Dr. Busby gives a metrical

"

translation the

Reeds Reeds That From While O'er

I of
not

behold, of earth
a

novel

heaven's

rigidspoil, growth, and brazen soil ! wind, biit blasts mechanic

labour
at their

breathe,
;

lungs that
a

roots

beneath

skilled

artist's nimble wakes

"

fingerbounds
celestial sounds.''

dancing keys, and

fiovaiKov,

i. p: 26.3.) {Historyof Music,lYol.

"i

"

E(f opjavov

'AXKoitiv ^jrou cltt oXXj/e fvmv opoii)SovaKW "Kahciiriq fiaXkovdvejSKdaTriaap raxa apovprig. ovS* dvsfioniLV if'r/fi^TSpot^fSovkovrca, Ayputij 'AW airb T(wpur\e vpoBopiirv amiKvyyoQ aiims inrb piZ,av icdKdfiuiv TikpBtv IvTplynyv bSwu, Kai Tig dvrip IxiavBod SdicrvKa xetpAf, Ayepuixog,
'

1aTaTai,dnfa(j"6iav Kavovaig
01 S" dvoKbv
"

aiiXdv av/ifpdS/iovag

"

diroGKifiovaw aKifrrSyvTtg, doiir/v." (Brunok's Analecta, vol.

ii. p.

403.)

THE

DECLINE

OF

LEARNING..

377

played upon by the fingersof a skilled musician, of sound."* reverberation produces that enharmonic
Cassiodorus,who
retired of his in the
own

was

Consul

of

Rome
a

in

514,
other

latter

part of his life to

He there
on a

monastery

founding.
to

wrote, among
the

works, certain
he from the comments of the the like organ
a

Commentaries

Psalms, which
derived In his thus

acknowledged
150th of his

be, in

great

measure,

of St.

Augustine.
"

tion exposi-

Psalm, Cassiodorus

describes

day

:
"

The

organ,

therefore, is

tower,

made of

of different

by

the

blowing
;

bellows,

pipes,from which, most copioussound is

suitable modulation with

secured

and, in order
wood

that

regulate the may certain tongues of

the

sounds, it is constructed
from the

interior,which

of the masters, duly pressing(or forcing fingers and most elicit a ftdl-sounding sweet song.'"" back), there is sGme doubt whether In this last quotation, he may not mean an organ with sliders only; for the would word apply equallyto reprimentes pressing back slider which down" a a forcing key and to last is the effect produced by pressinga key. We have in this case a Roman, instead of a Greek, writer
" " "
" '

before
weire

us once as

and

one

whose

date

faUs

within
were

what indeed

termed
to

the Dark The

;

Ages. They
was

dark disuse

music.

organ

then

into falling
art

in Rome
was

the and, consequently,

afterwards
xoXicuiv
diversis flatu

of its

construction
" "

soon

lost.
fistnlis
tox earn

ydp 'Opyaj/^)

loocev

carb

fabricata, quibus copiosissima deemodulatio decora

"

KaKdniov,Koi. inr' daKuiv mjyKafiivtp

tSv viro "K^vaovuivWj Kai Kivovfiivqi dworEkoX ToB "nxuWov SaKriiKiav, Udniv rixnv." XouJTi Tip/ Ivapiioviov (Migne'sPatrologia Oroeca, Theodoret, vol. iv. p. 590.) ^ Organnm itaque est quasituiris,
-

foUimn

tinaturj et,ut

componat, linguisqnibusdam ligneis ab interiore parte construitur, quas diaciplinabUiter magiatrorum digiti reprimentes, grandisonani efficiimt
et siiayissimam

cantilenam.

378
.

THE

HISTORY

01"

MTJSIC.

It from

is from

passages

of this

indefinite

class,and

instruments of rudely constructed descriptions of later date, that the employment of keys in ancient has doubted. been Cassiodorus speaks of organs in the pluralnumber would, indeed, organists ; two be requiredif the organ had but sliders. On the other hand, he refers to playing it with the fingers, and
to not

with assumed If the

the

entire the

hand, therefore
organ had the be
was

it is stUl

be

that

keys.
to

instrument

provided with and no keys sliders,

entire hand
not
or

command

them, either
thumb would

the

and forefinger the fingers. The last

used, and
the

merely

quotation fi-om Cassiodorus is, that the sounds produced by the but termed not are organists harmony {concentum), simply an air (cantilenam). This may be because point
in he be
sums

notable

up

the ""whole

efiect

as

one

but, if

to

how the of art literally, greatly must have declined in the earlypart of the organ-playing sixth century, supposingtwo been to have persons requiredto play the treble and base of an air ! The doubts Boman of
our

taken

earlier

historians

as

to

Greek

and

organs to be accounted Pneumatika John Hawkins

nor

of

having been furnished with keys are the for by their not having known Neither Sir Heron. Dr. Burney nor
refers to Heron's work tories, in their His-

they expect to find a description of the Hydraulic Organ in a work on professedly Pneumatics. Each, therefore, requiredbetter data to enable him to form a sound judgment. of the organ Having now brought down an account
from its earliest known date pass
to the

would

sixth the

century,its
ordeal of
a

future

historywill

through

GREEK

WORDS

MISAPPLIED.

379

second that The

of music, infancy instrument

can

in the emerge

Middle

Ages, before
powers.

noble

in its fuU

obscurity which reigned in those ages was and mainly due to the indifference which originally had so long characterized the Romans to arts and as sciences which would neither tend to their pecuniary assist them advance in the to an advantage, nor
State.
nor

Neither

in

the

times of

of Boman

"virtue,"
desire for

in those after times

we

luxury and self-indulgence,

that
earnest

do

find

symptoms
which
was

of

knowledge
Greeks.
a

characteristic
to

of the for
even
a a

ancient

It would

be vain

search
or

Socrates,
Claudius

Plato, an

Aristotle,a Didymus,
Romans.
"

Ptolemy, among that severely,

its
own

Bunsen

has

said,rather
for

the

divine

thirst for
a

knowledge
truth, never

sake, or for truth from

a

love of

disturbed After

Boman had

mind."

"

[Egypt,i- 166.)

they

embellished

their

conquered the Greeks, the Bomans own language by so largean importation

as

of Greek

words,
Latin

to

form

no

inconsiderable

part of

dictionary ; but partlyfrom insufficient knowledge and partlyfrom inattention,Greek of the tongue, they so misapplied many the greatest perplexity of the words, as to cause have such to as sought to learn after-enquirers of Latin pretations. interGreek arts through the medium
a

modern

This

was

the especially of Greek

terms

case

in

applicatio music, but the misfar

extended
in

beyond

that

of greatest the
as was some

arts.

Even

architecture,upon

which

Bomans
to

especially prided themselves, indifference of right meanings of words the preservation Yitruvius comments equally manifest. upon in his book of these misapplied terms upon

380
,

THE

HISTORY

OF

MUSIC.

Architecture desire but

to
see

;* but, like
them

true
to

Roman,
their

not

from

any

restored

simply to explain the words philologists.'* to us Unhappily,there was no Vitruvius to explain in music, and, the misappropriation of Greek terms consequently, they have remained, to this time, the to an intelligent appreciation great stumbling-block
.ofthe Greek Further

places, proper for the benefit of

system. than this. Western

Europe

was

taught

that there are but three through the Latin medium in the Greek cussions accents (prosodiai) language." Disbeen carried on for more have consequently than
a

century, and
have
accents

many

of the

ablest
to

scholars whether

in

Europe
Greek

taken have the

part in them,
that
accents

decide them

quantity in
of, modern

which

characterizes

Europe, or Each whether side, indeed, might they have not. been claim to have right, accordingto its different of the word accents" or prosodiai;for, acceptation
"
"

5.

Inter sunt

duo quse

autem mesaulcB

peristylia diouutur,

ante

itinera

januas vestibula; nos appellamus prothyra quae

dicuntur viriK diaiJmra. 6. Item

autem grawe si q^ua

quod inter duaa aulas media sunt inandronas eas terposita ; nostri autem appellant. Sed hoc valde est miraudum,
neo

enim

graece Grseoi

neo

latine
an-

potest
dronas

convenire.

enim

aut figura signa mutulos coronas sustiaent, nostri telamones appeUamt; cujus rationea, quid ita aut dicuntur, ex historiis nou quare inveniimtur.
tas

appellant oecos, ubi

esse,

convivia muUeres
res

Grseoi
"

vero

eas

cUla/ncap.

Tirilia Solent
non

quod

eo

vocitant."

{Lib.
ego

vi.

7,

aocedunt.

Iteiii alise

sunt

vulgo 10.)
*

similes, uti xystm,

mones, xustos

et enim

nonnulla graeoa

prothyrwm, telaalia ejusmodi;

7. Nee

tamen

ut

mutetur aut
ser-

consuetudo monis
;

nominationum
ea non

appeUatione est
qua

sed ut

porticus ampla
afhleiae centur. per Nostri

latitudine,in
autem

exponenda lologis
"

ignota phijudicavi. (Tbid.)

"

sint

hibema

ambulationes GrsBci

tempora exerhypaethras xysta appellant, quas

dicunt. Item sunt

It

remained Chammar to

so

in

the

Eton which
were

Greek I

of 1819, from

began

le^n.
Greek

All

boys

paradromi^as
grseoe

then

taught

through

Latin.

prothyra

dicuntur, quse

GREEK

ACCENTS

FOR

VARIOUS

PURPOSES.

381

while
stress

the acute
nor

and

the grave

accents

have

neither

quantityassignedto
are

Greek

author, there

other is
one

quantity. Again,
therefore claimed for them.

there

by any ancient prosodiaiwhich have for hard breathing,

them which has been

it involves

the

stress

Ancient kinds
;

authorities

define

accents

as

of

three
;

the

for the first,

;

pitch of
and the and the the

the

sound

the

second, for its duration

or

third, for the hard

consonants.

soft

three and

breathing of vowels which for pitch are are

circumflex those
accents
;
are

The

acute,* the grave,

two

the

for time in

are

identical with
to

which

still used

prosody

(-"); and the two long and short syllables for the management of the breath are the weU-known signswhich are placed over Greek vowels, to denote Some hard or soft breathings.'' writers,indeed, add
mark
"

Take

the word

The dvBpiairot. and it has

because and
a

it commands fall in the

both

rise

ia the mark

highest vowel,
of the
acute

the

fore accent, it is there-

like its semicircular

to be if there may the

case,
seem

pronounced naturally,as
no

speaks
the

of it

as

voice, something form. Dionysiua of twisting round

Iv ir^ptKKaffiv
ry

were

accent to be in

at

all.

It

voice, fi kutA

then

to superfluous

moderns;

but

the

genitive
is to be

the av9pii"Trov, up the

on

voice

thrown Thus

the

second
a

syllable.
ciation pronun-

The accent wepiffTTbifi^vy. grave signifles only the equalization or levellingof tone, Kara bfiaXiafiov iv ry ^aptig.. Both the acute and the among
over

accent

becomes

grave

accents

are

included sometimes ing stand-

upon
more

mark, very long vowels,

care

easily exercised
but of

musical

signs,

requii-ing
short
ones.

letters,and
alone. See

sometimes

in the ranks

case

Alypius, pages
edit.

4, 6,

Mr.

Hullah

the

ascent

of

our

7,

8, 56, "c., in Meibom's

'

vowels, if with
and of

continental

with

0,

as

U, 0, A,
as

pronunciation, sound the open ing, E, I, in ascend-

The

passage
commences

following is the whole It relating to prosodia.

with into the accentuation flute ; and
accents
;

by
next

and

I,
the

E,

A,

0, U,
are

in

the
on

mouth the

descending.
from vowels from

High

vowels

duced prolow
;

of positions

back, and

the

the

last

part
to

of

the the

only paragraph is
above:
"

but

the front sounds

of the mouth

referred 'lariov
Kai Effrt on

in

text

the lowest be

require the
The

to lips
or

TpiX'"S

XlycraijjirpoaifSia

elongated.

circumflex,

perispotnene, is

necessarily long.

tovt(7"p)i)TTfljOa Tolg fiovaucoigj TO OT"iia Kai 17 iKfittvrjaig tuiv

382

THE

HISTORY

OF

MXTSIC.

tliree the but the

more

to

the

above the

seven,

viz.,the apostrophe,
level under

hyphen,
no

and

short
were on

stop called hypodiastole,

the
same

marks, which
are

or

words,
of aU

Prosodiai

admitted generally prosodiai. among tion were signs to guide the voice in recitaand out of those accents kinds_, grew the
"

systems of ecclesiastical notation, called pneumata called guides for the management of the breath, now
neumes.

These of the

are

abundantly
two

exhibited

in

scripts manu-

Eastern, and
the

of the

early Western,
out

Churches

but

divisions

worked

their

did not differently. Neumes originally because musical* designateany definite notes or pitch, intervals were not If any required in recitation. had been designed, fixed musical sounds letters over the words would have been employed, as necessarily

systems

in Greek In the

music, instead
course

of such

indefinite marks. of the drew with lines

a

of

some after-ages,

scribes lines

attached

to

the
row

Western of the

Church
neumes

faint

through
while first one, These
were

each

others and
to
as

painted coloured
afterwards
two to

plummet, through them,

sa"on. of the for

lines

"

red and

guide
to the

as

the

notes starting ascent

or

chants, and
the voice. lines and

degreesof
its
are

descent notation and

Thus

the

present musical
of later date.

by

had spaces time, notes, to mark

origin. Square

round

koI ^ Iv ry koX tovoi irpoaifSia' aiXSiv,\iyCTat /ih e/ot rpiig, 6^ua, jSapeXa, TOvrkoTiv iv Tip iKijiiovfloei yivojikvq, jrepuTTruiiiivri j(p6voiSvo, /rnKpa koI irapo^vveaQcu\$^lv r) 6^ivta9m jSpaxwi rj TrvdiioraSvo, Saaila Kai "ETrrd ovv mpvairaaOai Koi aiiTOQ 6 x^P'""'')? '/'iXq. etaiv,' SsSeucrai, ms Kai ai TrpoaipSlcu. tS"v Toviav, Kai tS"v yjpoviav, rSyv (Immanuel Bekter's oXov bliia,PapeXa, iripiaAnecdota TTvevudToiv, Orceca, p. 706. See also
" '

"

iru/ievT]. Tavra

Sk

on
"

Ev

'larsov iv rovTOig. /liv Toie TTpoaifSUus rpia hriv

p. 674

e'iSritan

yilprovoe,

XP"""?!

TrvcvjM.'

2;^o\i'a tig ttjv Aiovimov and ypaii/iaTudiv, Porphyrius Ilepi jrpoaifidiae.)

the

THE

ORIGIN

OF

ACCENTS.

383

The is

word

accentus, of ad

from and

wMcli cantus,

we

derive is of
a

accent, tion transla-

compounded

which

of the Greek

therefore
as

quiteas

pros much
or

ode.
a

Length
the

part of accent,
Greek

is syllable or prosodia, The all

the

elevation word

depressionof
like the

voice.

Latin

cantus,

ode, includes

recitation
as

of verse, and all irregular as well chanting, that which is governed by strictly musical intervals. is

commonly reputed that Aristophanes of Byzantium invented" the marks for Greek accents. This rests upon the supposedauthority of Arcadius of
"

It

Antioch, who
date
our

is said to have

lived at

some

uncertain

after the
era.

But

completion of the second as Aristophanesflourished

an

century of
in the third evidence
event account 500

century before JJhrist,the uncorroborated

of Arcadius is insufficient to establish time. years before his own irreconcilable with the have works of

Moreover, his

is in I

to accents referring passages ancient authors, such as the one

alreadyquoted
Aristoxenus of

from

Aristoxenus
a

{p.89,
before

note

a).

flourished

century

tophanes Aris-

Byzantium.

had been poems competitionin the publicgames Homeric far earher poems until
are

Again, recitation of the an especialsubject for

of Greece the from the and of these copies irregularin metre

date of said

Terpander ;
to

have

been

they received the polish of the Alexandrian of the most one grammarians. Aristophanes was in the of those grammarians. Irregularities eminent Homeric excused, because they had been were poems made written for chanting. The very irregularities those simplest of marks (which required no genius for the study of the to invent)almost indispensable probable that rhapsodists.It is then by far more

384

THE

HISTORY

OP

MUSIC.

marked tlie accents afresh,after he had Aristophanes certain and had thus made polished the poems, the first inventor changes necessary, than that he was of those essential guides to rhapsodists. It be forgottenthat poems thus should not chanted,
are

the most The

ancient in

of all Greek which

accents

literature. first the

passage

the of

employment
three kinds

of is

Greek

or prosodiai

attributed

to

probably the
than Arcadius of work edition

Aristophanes of Byzantium is more later commentator productionof some of Antioch. Judging by the Leipzig
included in the acknowledged
;

1820,* it is not
of Arcadius

and
to
or

of upon the subject accents the sole authority for attributing it to him seems be
a

very

indifferent

manuscript in
''

the

Imperial,
tophanes Aris-

National, Libraryin Paris.

collection includes in the Grammar

Another

coc?ea; in the

same

this

panegyric upon

of Theodosius

of Alexandria

himself of the commentators one (who was upon Dionysius of Thrace); while the best of aU the which the one of highest authority, is manuscripts, in the Library at Copenhagen,omits it altogether. if written It is,however, quite unimportant,even by one or other of these late grammarians ; for,when evidence of much earHer date, opposed to conflicting and examined by the lightof reason, the originality
Arcadiua which De

"

Accentibus

{irepi

codice simo.

No. 2, 102), libro (Paris, Codex No.

vilia-

Tovuiv,

includes

edited ifiSiMv), Barker.

by

Edmund

vepl irpoaHenry

2, 603

eandem gram-

expositionem
matica exhibet

in Theodoaiana
:

8vo. Leipzig. 1820. ' AnstopTicmis Byzantii OramAkxandrini matici Fragmenta, by 1848. Nauok (Halis, 8vo), Augustus ait Arcadii, cui "Num p. 12:
"

igaoratliber Havniensis, longe prsestantissimus."

omnino

Again,
dam

at

p.

16

"

"In

Homericia

carminibus

jam

Zenodotum fuiase

quibustestatur,
Schol.

signia uaum

vulgo tribuitur, fateor

etenim

me

dubitare adhceret

prseter alioa, Gram.

Iliados, p. iii."

Bekk.

Arcadio

in

aolo

greee:

ehapsodists.

385*

While becomes incredible. so mucb Aristophanes tbougbt was given to the art of writingdown music in the age of Aristoxenus, that he complaiaedof the too great attention paid to it, ism mechanas being mere instead of art,is it probable that the declamation of the Homeric and others,the staple music poems for the lyres of few strings, have been altogether can without its kindred notation he
?

of

To

what of the

other

can

Aristoxenus which

refer when

writes

prosodiai

diction ? accompany Upon this pointit may be broadlystated that aU the reciters of epic poetry, and all those who used of four, five,and lyres six
were strings, mere

rhap-

chanters ;* and that Greek sodists, or music, ia our of the the word, began with Anacreons, sense

Sapphos, and others, who sang lyricpoetry, and pany employed the many-stringedAsiatic lyresto accomthe voice. The limit to
was

the fluctuations

of the voice

course in dis-

by Dionysius of Halicamassus, as cussion, within the musical interval of a Fifth.'' Any disfluctuate even which would would so widely, of ouri'-northern extraction. to men appear energetic It was probably not greater than a Fifth in those carried on at ancient recitations, althoughthey were a higher pitchthan the conversational tone of voice, for the sake of superior audibility.
fixed
It appears that when rhapsodists -without chants their holding made
*

XafiovTa tZv
See also the
on

AIitxvXovXe^ai Commentary of
i.,
wapa
"

ri /wi. Eusta-

musical

iostniments
a

in their

hands,

thins ""On

the Hiad, Book Si Kai

: beginning

they and of Homer, recitingthe poems of myrtle when recitingfrom one lines Scholiast on See jEschylus. Nubes 'sedit. ) of the 1364-5 (Dindorf
of

took

branch

of laurel while

rhv pd^Sov, ri 6, pa^ifSiaAprirai (p. Leipzig edit.,

1827.)
"" De

CompositioneVerhorwm,
edit,

p. 34,

Taudmitz's

Aristophanes:

"

"iX\d

laippivti"
2
E

386*

THE

HISTORY

OP

MUSIC.

Having

commented

to as by the Romans words, it misapply Greek the moderns, there among

a

the indifference shown upon whether they did or did not should have be been

added

that,
of

instances

like indifference

as

to

the texts

of Roman

authors,

at

least, upon

would
as

Not a little carearts. lessness rhythmical has exhibited where been it occasionally be least expected. A writer so pre-eminent had
;

the

Cicero

strong claims
but
even

to careful treatment

from tained yet ob-

his

editors

his

works

have

not

their

full meed

of attention.
on

example,we
form the

take Cicero's Treatises volume of his

Suppose, for which Oratory,

as

second

works,

re-edited

whose edition has been one scholar, by an eminent stereotyped.*Cicero is still misrepresented recently the rhythmical foot is divided as having said that incorrect into- three pa/rts."^Anything so manifestly must grate upon the ear of every thinking reader. of a spondee be could the two How equal syllables
"

divided

into three

parts 1
editors

antecedent

If any one of the numerous would but have put that

question to himself, he
to

would

surelyhave
order
to

been
at

led the

consider

the

conjkext, in

arrive have
assert

he meaning. Then proof that Cicero unequivocal foot in rhythm is divisible a author's but that it may be divided

would did
not

found that

"into three

three

"in

parts," ways." In

"

M.
.

Tullii Ciceronis
.

Opera
Car.
et

Omnia Frid.

iterum Prof.

edidit

Aug.
nasii

Nobbe,
Nicol.

Lips,
Nova

Gymeditio 2.

Hector.

stereotypa
Nova

0. Tauohniaua,

Tom.

1867. impressio. Lipsise, ad "" "Pes enim qui adhibetnr partiturin tria" [instead numeros
of "in

sit piirteiii modk"^ "ut neeesse pedis aut eequalem alteri parti,ant aftero tanto [for aut altero tanto,"read "aut altero to"i!oi) Jos"] "aut sesqui Ita tit sequalis dacesse majorem. tylus, duplex iambus, sesquiplex 11 OroiM',cap. 56, paeon." (Cicero, No. 188.)
" "
"

tria,"it should

be

"trilus

ERRORS

IN

THE

PRINTED

TEXT

OF

CICERO.

387*

the

ensuing lines exemplified. (1),

"

of the

text

the

three

ways

are

Either

the

one

part of the foot

; or,

must

be

equal
other
;

to the

other

(2),
"

It must
or

be double

the

length of

the

else,
one

(3),
"

The

must

be

in the

of proportion

three

to two

of the other."

The
error

editors

were

in the incorrect

possiblyconfused by a old text, although this

the first. The word
"

second second

is

quiteas palpableas
as represented

plus

"

has been
are

omitted, and thus the firstand second

identical.
to

For

ways the first mode of

division second
as

is,
other

"

one

part equal
text to
"

the other
"one

;" and
as

the much the

is said

in the

be,

part
more

the

;" instead of

as

much

than

other." In doubtful refer to

are
cases

it would

have

been

necessary

to

but manuscripts, Cicero

are or

corrections continues

such the

as

these

self-evident.

illustration

by examples which
For

familiar to aU. the

equal division of parts, the first syllable of which is he cites the dactyl, long,and the second and third,being both short,are long. His second example is the equal to one is short, and the iambus, of which the first syllable second long ; therefore the second is double the lengthof the first. His third example is the paeon, The first kind kinds. and this is of two principal followed vsdth a long syllable, by three commences
the first mode, short second
ones,
as

destnUe, Incipite, comprimite;

commences

and

the

kind

with

the

three
2

short,and
E

388

THE

HISTORY

OP

MUSIC.

ends

with

the

one

dSmUerdnt, and as long syllable,

two

sdnlpMes." One long is equal to

well
as

breves, in syllables as
either kind of

in

music,

so

that

or sesquialteral,

in the

is paeon of 3 to 2 in its proportion

parts.

The

poetry, and

paeon, says is therefore

Cicero, is
the
not

unsuitable

for for
*"

better
to
a

adapted
like
verse.

oratory, since oratory ought

sound

perceptible rhythm in all oratory," in good prose-writing.In these as the rhythm is constituted mixture intercases by a judicious of short with and of short long syllables, with long words, so that each sentence to seem may
flow from

Nevertheless,there

should

be

the tongue.

Its divisions

are

then

marked

by by

the rise and pause

or
as

fall of the

voice, by emphasis,and
occurs

Now,
in

punctuation. which to the word sesqui,

Cicero.
some

in the

quotation from

It is of constant have

ment employ-

supposed it to be an abbreviation of semisque,^ because a sesquilihra equals in quantitya pound and a half, and a sesquicyathus this coincidence But a occurs only cup and a half.
in certain
cases,

music, and

for the

translation

"half"

will not number

as

hold

good when greater than '2.

number number. in generally
"

sesqui is prefixedto any Its quantity diminishes

above
consonances

the

for it is but the unit rises, Our musical

its

panying accomare

the ratio of the

"

unit above
Ergo
esae

and

sesqui
numerum

9 Cicero, No. 183.

De

lib. iii., Oratore, cap.

in

orations

47,
*

quemdamuonestdifficilecoguoscere;
minime est

Paeon

autem

aptuS
No.

judicat enim
versibua
res

sensus

sed in
.
"

adversum;
oratio.
"

quolibentiuseumreoipit
Orator,
cap.

est

(11 Effugimua tamen poematia aimilitudinem. cap, 59, No. 201.)

194.)

57,

tor, cap. 55, No.

''That will

apertior. (11 Ora183.)

not

in Oratione

account

for

(11 Orator,

changeof

que into

qid,

THE

MEANING

OF

THE

LATIN

"SBSQIH."

389*

is used

them to their designate accordiag Thus the sesquialter is of proportion

to

tions. propor3 to

2,
;

and

it

represents the musical

interval

of

Fifth

is the sesquitertius proportionof 4 to 3, and therefore equal to the musical interval of a Fourth while the is the proportionwhich sesquioctava bears
a

is
;
.

to

8, and

so

represents the musical

2 to

interval

of

major tone.
The

Octave, being

duplex. Therefore the and largestproportions,

2,
or

but sesqui, the one principal sesqui,

1, is

not

of
to

of lowest

numbers, is

Perhaps, for this reason, have been adopted as the meaning of the 3 to 2 may instead of with when word coupled with quantity, number in this way only can the proportions ; and the sesquicyathus and be con. of the sesquilihra The Greeks had for. two sistentlyaccounted the proportions. If different words to distinguish hemiolios,and epi was so large as 3 to 2, it was higher than 2, and then employed for aU numbers the number the unit above specified.By signified dividingthe one pound into two parts, and adding the quantitybeconaes a pound and another such part,
unit above
2.
a

the

half Some

Orientalist may yet inform us from what is derived ; but, in the meantime, it language sesqui
to be observed that, in music, it is equivalent may it is prefixed to which the Greek epi if the number

be

higher

than

2, and
word

to

the

Latin

instance, the Greek

in

can epitritos and or supertertius, into Latin by sesquitertius, be rendered, "the proportionof Englishit must

For super. transonly be lated

4 to

3,

or

the interval

of

Fourth."
of this volume it
was

In

the

opening chapter

390*

THE

HISTORY

OF

MUSIC.

Aristotle, paraphrased frequently It is that QuintUian did the Kke and by-Cicero. that the passage well then to observe just quoted their parentof those, which from Cicero is one owe age which to was Aristotle,and is likewise one borrowed from Cicero by Quintilian. The original
stated that Cicero wiU and be the found third
''

in in
two

Aristotle's order
are

Treatise

on

Rhetoric,''
on

is in

QuuitUian's work

Oratory.
facilitate The
two

The

subjoinedin foot-notes,to

comparison.
from of

extract

Quintilian affords, unluckily,

editorial remissness
;

other

cases

but

the

fault is probablychargeable scriber's original upon the tranincompetence to decipherold manuscripts. The w6rds sescuplexand sescuplum are evidently blunders first should be sesquiplex cojiyifet's ; the and the second should be to sesquiplus), (equivalent in the text sesquiplicem.Judging from other errors form of Quintihan, we our opinionas to how may these
in
two

have

occurred.
an

manuscripts as copyist probably

q

letter q is often used abbreviation for qui,and the the

The

mistook Then the

koi

tailed

for

"

cu."

writing of plicem would

I, and
"

shortbe

also

abbreviated, after
"

letter

the

copyist,

"EffTi Ik

tpiTog

watav,

fievoQ tUv Mo

tiptinivuvTpia
tKUViiiv

yap

iaHv,
o

Bk

fikvtv

I^oirpbg irpbg

ut paeon, sit ex copying] qumn Longa et trilDns Brevibns, quiqne ei contrarius, tribns Brevibus et ex

tv,

Sk

lio

XoyoivToiriiiv 6
o

Ttaiav.

'iv ixiraiIk rwv irpiig S'lafiv riiu6\lof ovTog (AristotleDc Rhtlorica,

Lohga
plum

vel

alio qnoque
duo :"

modo
sescu-

ut

tempota

tria !ad

relata
"

iii., cap. 8.) Est quidem via eadem et aUis illud sed tenet: nomen pedibua, duorum tempo'rum, esse Longam etiam Brevem unius, pueri sciunt aut sescuplex [read sesquiplex,
*
"
" "

lib

sesquipUfor cem faciunt," "seacuplus" gives sense a wrong viz., "sixfold," instead of "three to two"] "aut duplex, ut iambus (nam est ex Brevi
"

faciunt

[read

et

est Longa), qiiique

a

ei contrarius
"

"

"

"

''

[meaaiug

trochee]. (Quintilian, 47.)

on

authority whoin Cioero, from

the

of Aristotle

and

of is

Inst. Orator., lib. 9, 4,

Quintilian

EREOES

IN

THE

FEINTED

TEXT

OF

QUINTILIAN.

391*

understandingneither

subject df the book, converted plicem into plum. This of his to be the seems only reasonable explanation having changed the proportionof "three to two"
nor

abbreviations

the

into

"sixfold."*
one

The

texts

of

the

three

authors

establish A few

another. be added to the EngUsh proas may Latin than in singing. More two

words of

nimciation hundred

wrote, in his Tractate on years ago MUton Latin with an English to smatter Education, that
"

mouth

is

as

ill

therefore
are

had

hearing as ample time

act.
:
"

Law

French." about

We

have
we

to think
excuse

it,and

beginning to
so

The

for not

having

done The

before

is this

of Latin va. the English fashion pronunciation not was only allowed, but encouraged, after the in bred test a scholar Reformation ; for by that up from one educated England could be distinguished became at a foreignuniversity. It thus a trap to catch
a

Jesuit.
to

But

since

toleration the

has
sense

been of

extended the

all

creeds by religious

good

No
more

for mispronouncing English Government, the motive Latin has passed away. of speaking the language could be manner than the English. In our devoid of authority

native upon take i and there rules

tongue
the wheel

we

have until
we

twisted have

the made

vowels the

round
a

soft

to

the

placeof e, our e to take the placeof i,and sound. To this commonly the same y to have there are to all as exceptions, are, of course, in the Enghsh language ; but of pronunciation
progressionis duplus, triSoethins
on

"

The

Arithmetic, lib. 1.,cap.

et seq.

sescuquadruplus, (piincuplus, pl^ls, for "c. See, instance. plus, septvplus,

23, lines 23

392*

THE

HISTORY

OF

MUSIC,

sucli has

been

the

general system
It has neither

of

speaking Latin
warranty
of

by Englishmen.
our own more

the

of

Scotch, of
our own.

of Northern language, English, of any European tongue, exnor Irish, cept

ancient

the field of ancient "Before quitting

to

to history
one

turn

that of the middle

referred

much

of Greek

mentators by earlyLatin comthe Psalms, and although its name is on it does not correspond with the derivation,

to, and

ages, there described

is

instrument

Greek
A

instrument. Greek where of the

has alreadybeen psaltery

it is in the hands the
muse

at exhibited,
;

p. 308, the name and

are

of Erato

and

both

of

instrument
on

inscribed the of

the
statUe.

pedestal of
It is there

teral quadrilathe

form, whereas
described psalteries

Cassiodorus
others and
more
are

by and by triangular,
be

must

therefore

nearlyrepresented
the Greek and can Etrus-

by

Trigons,or by the The Assynan Harp. had the last especially sounding body above
instead of below the The accompanystrings. ing is copiedfrom figure of the one sculptured
marble
11

Assyrian
from
a

Harper,

slabs

11

which

"

sculpture in
Museum.

the

British

were

ONE

KIND

OF

PSALTERY

LIKE

AN

ASSYRIAN

HARP.

393

palaceof Konyunjik,Nineveli, and in the' Britisli Museum. It represents are now the an Assyrian musician attending upon King Asshur-Bani-Pal his garden. in The reign of this king is known from been to have 667 to B.C. The form of the harp and its sound-holes is 647. better developed in this sculpturethan in others which king over represent the triumph of the same
taken the

from

the

Susiahs, and

which

are

also

in

the

British back of

Museum.

Here, too, the

describes

bow

shape

of the

the instrument Cassiodorus

is well defined. the

psalteryas having its in this example, as soundingbody above the strings, the harp, which he contrasts it with has its and situated hollow wood for emittingsound below the strings.* death Within of Cassiodorus, a century after the the young friend of Pope Gregory Isidore of Seville, the Great, describes the Psaltery as in the form of
the Greek letter

Delta, A.
died in 636. indifferent its want

Isidore The

was

made

Bishop
would

in 601, and but

an

Assjrrian harp
on

make

Delta,
of
a

account

of
"

its rounded

back, and

third

side to

complete the triangle.So Isidore can only aUude to of which another form of psaltery, examples will be descend stilllower in the sequel. When shown we with descriptions shall meet in the scale of time, we which in shape resembles of this instrument one as
a

four-cornered
"

shield.
in modum Buocas

Thus

it

resinnes

the form
Cithara inferius

of
enim

PaaJterium
conversa

vero

est

latione

respondet.
ventre
sununo sonos

eitharse enim in

positio.
sonoras

ligniquodam
tuto,
a

consti-

quasdam
capite
:

ligni geatat
imo venientes

chordamm

filia veni-

ubi
sonos

ab

chordarum

in altnm

rapit,et

Tatissima, quantum

modudicitur,

recipit, atque in nnam gratiam juounditatis T"iittit. (In Psal. 150.)

entibus

394*

THE

HISTORY

OF

MUSIC.

the ages

Greek
were

model.

The

of psalteries

the

middle

therefore
the

of different

kinds, and

harp class. They had no boards to press the stringsagainst, and so to make one string produce many notes, but they were played with the fingers, Hke the harp, and derived their from the general name being used to accompany voice in psalmody. Another beautiful sculpture in the British Museum deserves here, as an repi-oduction example of an ancient flute, with an unusual mouthpiece. At one time the flute was taught to all high-bom Greeks,
but

only in being of

agreed finger

Alcibiades

drove

it out

of

fashion,because

he

the beauty of his thought it disfigured raised was found too once objection
to the
"

mouth.*
serious
an

That
stacle obother

continuance
of Alcibiadea Aulus GeUius of Pamis

of

its

use

by

any

This

account in extenso

quoted
from

the 29th

by Commentary

phila. See Noctes cap. 17, 1.

lib. xv., Atticae,

FLUTES

AND

PITCHPIPES

FOfi,

ORATORS.

395*

Athenian of fashion. In the example before young itself is removed from immediate us, the instrument
contact

mouthpiece, and thus the entire face of the flute playeris rendered visible. The position of the hands is admirably suggestive of the act of playing. The original is a marble terminal the statue from lips, by
Civit^

with

the

the

Lavinia, the ancient

be
a

Lanuvium. Comus.
a

It has been

guessed to
Roman

of representation had
to

orators

sometimes

flute

piper behind
orations. At

them

give them
such and

the

player or pitchfor their

is mentioned It is of
"

least,one

instance

by Cicero, by Plutarch,
the celebrated and aU

by Quintihan.
Gracchus, whose
a

orator, Caius
in Home. stood
at

did splencarried

for persuasive" eloquence him He his had

long time
a

before

servant, named
Caius Plutarch

Licinius, who
in
"

back

when

spoke
says,

public;
a

and

this Licinius

being,as

the brator was judged when his voice to too high a pitch,and would straining then sound a lower note, in order to bring it down ; the contrary, Caius had adopted too and when, on sound low a tone, Licinius would a higher note, in

sensible

man,"

order that of of

to

indicate

that

he

should

raise his voice

to

to Cicero,was according pitch. The pitchpipe, ivory; and, as Quintihan givesit the Greek name

tonarion,we
to

kind

have

instruments suppose may been used by Greeks. be doubted that

orators

of the

same

It cannot
amount

used

certain

and

them

chanting or intonation in their addresses ; hence ture they are commonly representedin sculpwith musical instruments beside and in paintings It usuallya lyre restingon the left arm..
df
"

would, indeed, be difficult

now

to

ascertain

the

ex-

396*

THE

HISTORY

OP

MUSIC.

tent

to

which

this from work

kind

of

sing-songwas
on

carried

but the De

it is evident admirable

oratory,including of Dionysius of Halicamassus,

the books

Compositione Verborum, that the tones of the voice formed a complete study,both for recitations and for harangues,* for what is more as well as strictly
music, in
to equally
our

sense

of the word. cantus, in

Melodia, in Greek, and indeed,

musical
as

Latin, apply
;

inflexions of the voice in prose and in verse is sometimes cantus employed when neither
nor

intervals
cantus
are

in the

sounds were intended, agreeable or galli, crowing of the cock ; unless,

to

indeed, we
had
a more

the ancient cock to have suppose melodious voice than his descendants.
or

The and

Cantus,
of

Chanting

of the Christian
as

Church,
as

its variations

differences Western

ages, between the practice of the

in different

well Eastern

the and

subjectsfor a before that division took place, future volume ; but and before the so-called antiphonalsinging had of been introduced, the chanting in the churches
are
" "

branches

Church,

Alexandria

seems

to

have

been

identical with

Greek

rhapsodizing.
Materials
means

for the

of history this notice

those

times may

are

by

no

abxuidant, but
an

inference in St.

be

drawn

from

passage order to show St. the

""

fessions. Augustine's ConIt is, however, necessary to prefacethe of his own in preferences, by his account the force of the
context.

incidental

Augustine expresses his delightin hearing to musical Psalms 'chanted according modes, or
valuable
many It

This

treatise

would to the

xai ij "c.
"

rmv

TroXirocwx 34.
"

furnish

quotations
"

^p.

\6yiiiv hinaTriiui, (Tauchnitz's edition,

point.

to cite one

perhaps, sufficient here is, line : fiovaiK^ y"p ng ijv

vol. v., cap.

11.)

WORDS

MORE

FORCIBLY

EXPRESSED

BY

MUSIC.

397* iaHis

scales, having the

strument,
far
to

accompaniment of a regulateand to guide the

told him that Psalms

musical voice.

had experience
a

greater
means,

other

sung had effect upon his own than by any mind although he felt at the time unable to cause."*
at

thus

explainthe
The
cause,

"hidden

although hidden
traced he had his with

the

time little

from

St.

Augustine,may be It was simply that

to

very That

taken
ears.

difiSculty. advantageof opportunities

cultivation
was

cultivate evinced

afterwards music
extant.

and

upon He had

by his writing a treatise rhythm, in six books, which are

therefore words
mere
are

upon stiU.
more

learnt

how

much

the forcibly of music

sacred

than

Augustine

any tells us

by

expressedwith the reading or recitation.

sometimes
not

aid

that

he been

hesitated

he might whether, after all,

have

from pleasure something of earthly

his sacred with

deriving music ;''

his
own

and, in

one

of those of

moods, he contrasted
St.

practicethat
St. Athanasius in churches
to

Athanasius, when precepts he had

the readers moderate

Bishop

of

Alexandria, of whose
"

often heard. of the PsaJma

directed
use

such

inflexions of the

voice, that
than
to

approached more singing.""

it Psalms
dictis were

nearly to speaking
not

If,then, the
Dum siuB et
mos cimi
"

sung

according to
salubri-

ipsisSanctis
ardentius in

religio- luptatis et
anitatis.
'
"

experimentmu

sentio flammam quam

omnes

moveri

(Lib. 10, cap. 33.)

. . .

nostros

pietatis
si
non

Aliquando

tutiusque
mihi dic-

ita cantantur
;

ita

mihi

videtnr, quod de Alexandrino

Athanasio ssepe

cantarentur

et

adfectus

episcopo
turn

spiritus nostri,pro
habere

sui

diversitate,

commemini,
vocis
ut

qui

tarn

modico lectorem

propriosmodes
nescio

in

voceatque
occulta

flexu

faciebat

sonare

cantu, quorum
familiaritate siomim,
"

qua
"

psalmi,
esset

excitentur.

(Con/cs-

quam
x.,

pronuntianti vicinior canenti."(Con/e"sioM"m,

33.)

lib. x., cap. fluctuo inter

33.)

Ub.

cap.

Ita

periculum vo-

398*

THE

HISTORY

OP

MUSIC.

musical

modes

or

scales

in

Alexandria remained sounds

during
no

the

of Athanasius, there pontificate than by those indefinite way Greeks termed and natural
an

other

which

the

music

or

unrestricted
now

which

Eastern

rhapsodizing, employs while

a

readingthe Koran. been Having recently

this last

indulged with
say

hearing of
me

kind, I
the

can

but

that

it reminded

of forcibly about
80

saying of
"

C. Caesar

the Roman

orator,

If you are singing, years B.C., you skig badly; and if you are reading,you sing."* This kind of chanting appeared to me like a series of

attempts
was

at out

musical of tune.

intervals,every
branch of the

one

of which

sung Before
may

closingthis
wish
to

reader down

know the

the

history to
The
answer

some subject, why, after having brought of St. Augustide, no age

notice has been taken music." of

so

of what

is termed

Ambrosian ". music is not

that Ambrosian is,

The two earlya time. systems, Ambrosian did not exist at the dates of their and Gregorian, sian The meaning of Ambronow-supposed founders. of is music music according to the use Milan;" and of "Gregorian music," "according to who follow of Rome." Nos Gregoriani, we the use who of Rome the use ;" and Nos Ambrosianij we and Ambrose of Milan" the use foUow Gregory having been the foimders of the two churches.
" " " " "
"

And

now,

laus

Deo, I bid

farewell

to

ancient

; ending Egyptians,Chaldaeans,Greeks, and Romans at with an Egyptian caricature of a quartet concert The King himself is the III. the Court of Rameses
Si cantas, male
"

cantaa

; si

legis,

lib. i., ioria, cap. 8, art. 2.)

cantaa.

De (Quintilian,

Instil- Ora-

EGYPTIAN

CARICATURE

OE

QUARTET

CONCERT.

399

400*

THE

HISTORY

OP

MUSIC.

royal lion playing upon

is satirized
as
a

the

lyre ;

one

of his courtiers upon

a

as

crocodile

playing

lute ; double
ass,
a

second

long-taUed
the third

animal is

playing

upon
as
an

pipes ;
a

while

represented
ears,

or

mule, with
the

exceedingly long
the treble thus satirized
cannot

playing
be but

base

upon

harp, to

of the

King's lyre. The

now

characters

judged,
Hon is satirical above is like

not through our intended clearly drawing in the

knowing
for

the

men

the

Rapaeses
the
a

III.

In another which the

a

papyrus,
as

from

derived, iRameses,
chess A of
"

lion, is playing

game

or

draughts

with

gazellein
not

the show

hareem.
the
amount

short

volume, like this,does

manifold

its investigation sometimes in

subjects have
is indeed wide

required
times some-

in art, sometimes Music

to

in science, and
a

language.
upon, The

theme guage. its lan-

to

ymte

owing
minds

the

universalityof by
it in all ages, have

and

feelingsof they

all nations, have ing accordit,

on

been

more

or

less influenced in which been

to

the

degrees origin
its and No
man

cultivated
to

divine of

has

attributed

music,

account

its universally beneficial originality, its innocence,

even

tendency,
excess.

when has
a

cultivated
so

to

other and
to

art
so

or

science

cheered mind aU

the
as

of spirits music.
arts
"

relieved

wearied leaves

As
a

beneficial

operation it
did
a

other say,

at

distance. is
a

Justly
and know

Greek

author
to

Music

great

lasting pleasure anything

-TraiSivBtXal

all who

have

learnt

it and

about

it."*

lirnKal ^iydp flijiroupoff toTq fiaOovat JSaiog ii flovtnKrj uTraai

"

Meyaq

t"

"

(Athenseus, liv., 18.)

ERRATA

AND

ADDENDA.

Page 6, line

6.

For line

"

of 8 to five.

3," read
For "more

"

nominaUy
tlian
a

of 8 to

3." read
"

Page 18,
third

last

but

ceutary,"

in

the

century."
last line
"

Page 21,
to

but

one

of note.

For

"

searched

ford' read

"searched

prod/ace.

Page 36,
Page 52, Page Page
takes

note

line "",

1.

"Of

the

ancients"

refers

to

all

except

the

lowers fol-

of Claudius line 2.

Ptolemy.
After
"

Olympus,"
Delete "takes the

add iota

"istlie

same

whkh."
to upai.

52, line 53, line

1 of note. 17. For

subscriplum
less

awa,y

nothing
the the

than,"
in

read

"

artletsli/

away."
54. The
use

Page
the Nee

of been

lyre
added

and
to

pipe by
that
in

Romans

supplications to
and the Greeks. Ccn-

gods might
tibicen De Die

have

of

Egyptians
;edibus

omnibus

supplicationibus
cap.
12.

sacris Ovid

adhibitur,

says

sorinus

Nhtali,

Again,

(Fasti, lib. iv.)

usus avorum

Temporibiis Magnus,
Cantabat Cantabat

veterum magno

tibiciiiis
semper tibia

et in

honore

fuit;

cantabat faiiis,

hidis,

mocMtis

tibia funeribus. to

Also, Horace

(Carm.

III.

xi., lines 3
testudo,
resonare

6),
septem

Tuque,

Gallida Nee

nervis.
neque et amica

loquax

olim

grata,

nunc

et

Divitum

mensis

templis.
an

Page 58, Page 78,

tiie fourth

last line last line line

but but

four. three

For of

"adding
the Greek.

A" For

road

"

adding

vowel." in

iZuav, read

ogeiai/,as

above. line "',

16. 2. wants ap/xoviif

Page

79, note
line line

the

iota

subscriptum.
Greek music."

Page 82, Page 92, Page

For After
1 1

diazeutic
"

read
"

diazeuctic. "in treatises

on

20.

notes
some

add

110, note

", line
", line 11. The

(in
(in "15,

Page 116, note

Page 117, line
attributed

some

read fityaXoTrpcTrte. copies). iisyaKorcpeTis, read iripip. copies), irip^j, leiera

to-pa^e"m
semeia

Introduciio

Harmonica,

(erroneously)
line 2. For but last line In

to

Euclid.

Page 118, Page 121, Page scale, in

wrong. of
one

semeioi five.
to

jnouslkoi, read
For

mAjusika. read

pentatonic, rather
mistakes I have
as

penlaphonic. Conjunct
where Greek
are

132.
"

referring
upon Paramese under
are

Meibom's p. 63, Trite

name.

in

his

notes

Euclid,"

not

explained separate
Mese and be should of the

they

He and it in and

treats the the

same

and either

if two So that

instead strings, all other moved See

names

below

scale

in be

wrong added

places.
at

They
bottom

up

one

degree,

Ilypate

should

the

scale.

p. DB".

/"

402*
Page 144,
*.

ERRATA

AND

ADDENDA.

note

For For

"

tela

qm,"

read

Page 144,
kind

line

10.

"different

"tela que." passages,"rather

read

"a

different

of passage." Page 145, note on

elucidate

Plato's

miKvorrje
use

and

/iowdnjc.Parallel
words, wiU

further

the musical

of these

which passages, be found in Claudius

Ptolemy's Harmonica, cap. 3, lib. i, p. 6, fol. beginning on Une 4, and again at p. 7, line 1. ha and Icoupha. Page 180, lines 1 and 2. Delete the hyphen between add B flat," interval behoeen G Page 196, line 8. Before "Harmonic
"

and."

'

Page 196, line 9. For Bfiat a/nd the key -note."

"the

read key-note,''

"the

interval

between

that

Page 203,
Page 226,
scharf "solte." als

line 18. note \

Hyphen
line 6. engeren

misplaced.
After

It should

be to

"diese," add
and

"sind in line

aber

die

ersten

IntervaUs,"
"

quarter-tones.'' viel weniger not 7, sollte,"

" ''

Page 228, note,

line 11. For For

"

For
as

iiberbriugen, read
"as

''

"

ubergingen.

Page 229, Page 251,

line 10. line 23.

attribute," read
For
a
"

to attribute."

"

Fifth,"read

"JifthOctave."
once
"

Page 264, last Page 276, line trumpet."

line but 18. For

three. "like

seeing,"read trumpet," read "like

can

to

see

once."

tlie bell end

of

given as to the degree by pitch in large organ pipes. Pitch is affected both by the size of the tube and width of sUt through which into the pipe.at its lower air is admitted also by the extreme; the sharp, wedge height and by the size of the emboiKhure, of which like edge, called the lip, forms the The wind be must part. upper directed that and width must cutting edge. Again, length against vary according to the quality of tone to be produced, and according to the tact weight of pressure upon the windchest. Lastly,pitch is affected by conwall or roof. A 32 feet pipe, with with 16 vibrations per second, sound-waVe of not less than double a creates, according to computation, is in excess of due mathematical its own width, which length. AH proportion to other pipes of the series,changes the quality of tone. is often practicallybut 32 feet pipe of an Although the nominal organ Thomas in length, Mr. 28 feet 6 inches HOI, the celebrated organthis diminution in length is attended informs that me builder, by His musical words sacrifice of true "The are: quality of tone. of pipe which diameter produces the exact 32 length is 15 inches, and and this, extended upwards, is found to produce the most pure able agreescience and in a diapason." Herein tone practice are therefore
which increase of diameter will lower
-

Page 277,

line 4.

No

broad, general rules

be

"

variations between them which have not yet agreed ; but there are take two accounted for. If we hollow tubes, such satisfactorily of the one Pan's a as. pipes, of equal length, but the diameter quarter, of an and the other of three inch, they will produce the same eighths, breath to sound it. Indeed, the note ; the larger only requiringmore limit to width, in pipes blown by the mouth, is the too great practical of sound those exertion of But, in the case large size. required to been

horns,

Mr.

Carte, and

his

foreman,

Mr.

Charles

Goodison,

who

makes

ERE

AT

AND

ADDENUA.

403^'

me firm, inform that, if baritone enlarge so as acquire a quality of tone, the tube of the former being 6 feet 6 inches in length, will only be shortened is increased by about one inch, although the diameter by several sizes. And the other there will be variation yet, on a hand, of an inch and half in the length of two horns of small a size, to from both. note The actual scale for horns produce the same having thirds two of cylindricaltube and the lowest third of conical form, ending in a beU, is as follows :

the

scales

for

the

braSs

instruments horn

of

the
to

it is desired

to

tenor

"

Tube, i inch in diatneter,length, 40J inches, sounds AQ. Tube, 7-16ths of an inch in diameter, length, 41f inches, sounds Difference for the
more

AJ.

of form dilated

in

the

two

the cone, that

be one cones cause may the flatter the pitch. But

of the there
are

variation,
so

many

bearingsin these
unless solved within
room,

cases

the

subject is

one

of considerable

difficulty,
one

science here
a

wiU

at

mde.

step in. It is a pretty problem, but not there is not, perhaps, a brass Oatlands, where And might practisethe horn in yet anyone
but have
a

to

be

instrument
a

drawingskilled

if he

would of

bell to
more

take

on

and

off.

The

most

by by any precise Hill, Mr. Carte, and Mr. Goodison, whose authorities I have already quoted, I have to acknowledge practical information,kindly given to me by Mr. Kemp, and through him, Mr. Bryceson ; also by Mr. Bishop, through the kind ijitervention of Mr. pipes
to

manufacturers In

still act

experience than

laws.

additioti

Mr.

Griesbach.

Page 289,

note

last line but four. '', line but further the

seven.

For For

"

plain,"read
w"

"

plane." meaning to harmony when

last Page 305, note "", On note *. 310, Page be that

are

Trspt, read

6c ircpi.

consideration, I take Plutarch's

Phorminx make Octaves and

the

Psalmos

and

they
man's often about

for a was played together" not each separately. The Phorminx it had ordinarily but ten strings. The vocal Psalmos was of a feminine be character, which would accompanied by instruments Athenseus cites a passage from octave higher than the Phorminx. an

voice, and

Telestes

in

which

he

refers the

to

the

acute

sounds That

of mode

Pektis-Psalmos
was

employed
whole
tones

for

hymns in higher than

rot

Lydian

mode.

in itself

two

the Dorian.

5'

KiiSiov vjivov.

"7njKTiS(i)V \l/dkflOlQ O^V^btVOl^ XphKOV xiv., 626.) (Athensens,

"

Page 351,
mittoTO."

line

of

the

Latin.

For

read "praetermittcro,''

"praeter-

Page 353, Page 364,

line 1. end

For

"

read dolphini," For

"

delphini."

of note

".

1164, read

1864.

2/2

From First

the

marble

statue
now

of the

Satyr,
British

or

Faun,

with The

cymbals,
statue

of

about
as

the the

Century,
Faun.

in

Museum.

is known

Rondini

THE

BALLAD
AND

LITERATURE

POPULAR MOSIC OF
A

the

OLDEN TIME;

History of
their

the Ancient

with
and

Tunes
of

by
The

other

Songs, Ballads, and National Dances of England, those which referred to by Shakespeare^ : especially are the and constitute our dramatists, and which early poets
Music
of

Kngland. and Iheir enduring are arranged chronologically, which include is thousands of popularity proved by some quotations, with notices of them at successive dates ; sometimes anecdote,and sometimes merely by passingallusions which tend to establish their long continuance in public favour. Each division is precededby a sketch of the state of music associated with music in England. at the period, also, of the amusements
Airs
and

National

Songs

and

the

Ballads

W. The

CHAPPELL,
to

F.S.A.

Harmony
In Two

the Airs

by

G. A. MACFARREN.
Price "2
2s.

Volumes, Royal

Octavo.

OLD

BNGHjISH:
A SELECTION OF

3DITTIES:

THE

FAVOURITE

SONGS
FROM

AND

BALLADS

"POPULAE

MUSIC

OP
WITH

THE

OLDEN

TIME,"

BY'

G.
The very

A.

MACFARREN.
in some
cases
new

long

Ballads

and compressed,
the

Words

written

to

Songs.
from Is. in ing containEngraved Plates,

LARGE

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