The History of Music v1 1000021237

THE

HISTORY

MUSIC.

OF

(art ant" Science.)

I.

VOL.

FROM

THE

RECORDS

EARLIEST

ROMAN

OF

EXPLANATIONS

WITH AND

OF

THE

AUTHOR

OF

"A

OF

"

BALLAD

THE

OF

THE

THE

OLDEN

Co., 50, NEW

THE

MUSICAL

INSTKUMENTS, OF

SCIENCE

MUSIC,

MODERN.

CHAPPELL,

HISTORY

CHAPPELL

MUSIC, FOE

OB

ANCIENT

WHETHER

W.

OF

BASIS

PHYSIOLOGICAL

TEUE

OF

FALL

EMPIRE.

SYSTEMS

ANCIENT

THE

TO

FS.A., LITERATURE

AND

MUSIC

POPULAR

TIME."

BOND

STEEET,

W.

AND

SIMPKIN

"

STATIONERS'

MARSHALL, lAlL

RESERTED.'l

SIGHTS

\

COURT,

E.G.

;

LONDON

PKINTISRS, HKNDKHtiOK,

RAIT.

AND

F"KTON,

OENBRAL

60, OXFORD AIAU?LBBONB

LANB,

ST.f

W.

INTRODUCTION.

It

is

nearly

now

Histories John

of

Music

Hawkins

F.K.S.,

and first

were

from

by

Dr.

Hogarth,

and

by others,

from

the

The Art

of their

works

following and

the

of

without inducements that

I

to

now

am

passages

many

thirdly, whole

Besides

of

so

this,

that I

ancient any

can

afford the

able

music,

reader

give

to

the

may reasons

the

but

;

First, which

insurmountable

been be

ment, amuse-

difficulties

will

to

earliest

threefold.

as

as

the

of

an

writing

away

have

trust

as

been

classics men

I

mainly,

the

from

of

solution

the

original,

History

new

reputed

this

system

practical,

to

been

because

or

intention

clear

learned

which

whoUy

undertaken

was

able

in

either

Music

have

that

secondly,

of

publish

hitherto

have

of

any

as

reaUy

a

study

George

predecessors.

Science

The

records.

is

minoi

by

offered

Sir

Doc,

subsequent

not

were

by

Mus.

Stafibrd,

by

derived,

avowedly

are

times,

Burney, The

Busby,

General

two

earliest

pubhshed.

histories

but

the Charles

by

the

since

century

a

;

clue

a

to

interpretation doubtful to

and,

;

explain

theoretical

the and

understand for

so

it. many

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 for the

simple;

sounded

notes a

only

minor but

between

ancient

Egypt

in

even

well-tuned

difference

scale

of

major, and

with alternating

tones

by

the

change

made

of

eighty-first part

of

those

and

introduction

the

to-day is

musical

the

they differ This

string.

a

of

.

from

as

melody

the C

I will first say

historians,and

history. Dr.

On

second

were

died, but

Dr.

Burney

them

I

am

very

a

new

lived

years

year

delayed

was

published

not

Sir

year on

and

the

tiU

claim to have

the last few

John 1814

been

of his

;

his

life,and

one.

the first appearance with

volume

fourth

livingmay

musical

two

our

printed in

were

last-named

contemporariesfor

commonly

complete work

the

now

In

pianoforte.

of desirability

In

that, many

among

about

the

his third and

sonant, con-

harmony.

Hawkins's

Burney's

1789.

Hawkins

in

words

show

Sir John

Dr.

before

met

so

few

a

thus

till 1782, and

so

not

Burney's first volume

1776.

the

on

Thirds

major

imperfectionwould

unnoticed, but

pass

E

to

former

the

of

intervals

of the two

oppositefortunes.

histories, they

Popularityran

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 decided unhesitatinglyin favour of Dr. Burney. The

plan

of

Sir

Jehn

Hawkins

was

too

elaborate.

INTRODUCTION.

Ill 6

It

combined

the

of bibliography Sir

John's

because

with

music for

reason

at that

be found

to

biography'of

any

upon

and

the

historyof

the

art.

the

attempting

there

time

musicians

was

much

so

work satisfactory

no

of the three

one

was

branches

at

"

least,not in the Englishlanguage. In

of this

pursuance

the merits after,

order valuable

musical

work, but

the

most

of

a

much and

the

by

authors

it is too

Sir John

has

and

Sir John ancient he had

Greek

music

;

the

for it. "an

several

opinions that

at

statement

plan is as

of

reference,

rather history,

"

had

not

that

have

could

he

my

than

only one

been

issued

not

understand

impression is,that

language,which

Greek

giving

"

The

on

instituted. over-hastily

and

with

word

treated

are

for him

so

himself

The

it involves

subjects

same

book

should

that

account sufficiently

"

for

unfortunate

found

learnt

not

and

;

whole. well-digested

comparison was had

art

of

some

history thus

the

supplieda

of. his rival's work the

embrace

His

and

continuityof subject;

to

as

logical chrono-

analysisof

an

dates.

of materials

further

was

of the

different

of very

consecutive

when

adds

slightto

branches

of book

in

desultorycharacter

very

containingstores

them

cusses dis-

of his extensive

He

library.

condensation

thus

volume

shelves

because repetition,

same

fatal to

It

take

might

the

author, and

after

important points.

becomes

one

he

from

each

and

of author

book, just as

John

tripledesign,Sir

He

therefore

contented

impartial state* different been

coined

times when

would

of

have

Sir John

the pre-

wrote.

INTRODUCTION.

IV

vailed a

the

among

moderns."

or

from

obscurityof

the

desire to demonstrate

of technical

which

words

he

general readers.

By passing over

use,

he

his

scholarship.He

no

raised

but

one

wrote

others which

even

grave

Greek

a

they had

because

were

not

doubts

as

been

admitted

"

he

the

authority of

But

who

would

Aulus

the end

of the fifteenth

is said

to

the

relyupon of the

to

by

he should

but

have

to

Aulus

"

The

to

in

the

writer

describe it

he would

by

"

of

name

proper

And

wherefore,

Greek

a

and itself,

is to be

treatise upon deemed

music

it

sary neces-

English language,

explainedits meaning Then

world

Gellius,a Roman

If Sir John

hemiolian

"

ratio of 3 to 2." ;

Vogelsang.

"

This

"

:

Andreas

German

a

nearlyevery,

Greek.

a

add

or

new

(I.,86, 4to.)

"

century, whose

simple enough

in every,

written

a

it

to

to

always

formed

centviry,for the meaning of

It is

found

was

authorityof

second

word?

been

English

Micrologus,lib. ii.,on

Gellius."

he

them,

not

were

Ornithoparcus1

that

have

notes

and

;

notes

as sesquialtera,

his

in

Andreas know

not

words

added

subscribes

for

name

Ornithoparcusasserts

was

the

he

adjective, hemioHan," another

to technical

into the

example, having

For intelligible.

not

words,

understand

coidd

but

the

of sufficiency

the

to

scholar

explainthese words,

with

technical

anghcised Greek

not

subject,

might

limited

language. Sometimes, indeed,

is but

he

from

for quite unintelligibly

fullyunderstand, and

the

himself

trouble

unwillingnessto

translation

this,whether

In

have

to be

"

been "

sesquialterais

in the gible intellinot

so.

INTRODUCTION.

In the

consistingof

as "

obscure

same

magades

of

"

"

these

;

"

diastems

such

one

defines

string

stretched

simply

are

"

that

It is true

Sir

of

intervals

translators

Latin words been them

and

;

the

another

into

understand

acquainted with than

the

be would

informed

English numberless

works

the

the

plan "

case

;

perhaps

be

that

musicians

which

words

did

of which

he wrote

1st Voice.

2nd

3rd

When

ridicule

Voice.

Voice.

the the

both

by

Sir John

Some

folks think

it

Hawkins'

the

CaUcott,

this

style of catch,

the music

: "

Hist'ry?

quite a myst'ry. brain

"

How

d'ye like him

Both

I've

That

Burney's Hist'rypleases me.

and

for

incorporated

J. W.

and

filled his wondrous

read,

well

so

mischievous

a

the words

you

third

always

not

Sir John

Have

Music

terms

text. original

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

composition into

Greek

prepared

not

first better

indeed, readers

were

have

however, must

of the

meaning

the

to render

was,

into the the

into

not

reader

naturallypreferan

new

most

music

might

There

Unluckily

the

17."

adopted by upon

right,which

the

writer.

to

prove

been

subject,and

the

gives

ample authorityfor

language.

objectionto

one

he

sesquidecima-

they had attempted

or

again,

great advantage, that

be

if he

case

It had

one

to

sure

ai'e

"

had

of Greek

it has

"

;" and

as

two

over

the ratio of 18 to

John

styleof writing.

of the

"

monochord

a

bridges;

"

charmingly long words,

septima ratio,"instead "this

stylehe

meaning

;

V

Is it plainV

?

must

singerhas

agree

sung

his

part, the

VI

INTRODUCTION.

three

take

'

order

(1),

like

him

"

Sir

"

:"

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

the

up

"

"

(3), Burney's Hiat'ry,Barney's Hishis Hist'ry! Burn t'ry the last sounding like burn his Hist'ry! of fatal to the success This pieceof waggery was 1

"

"

"

"

"

work

a

been

which

upon

the

until within In

Music

the second Sir

1853

volumes, with

octavo

by

notes

Dr.

John

republishedin

was

the

had

the

few

during

remaining volumes

of his

and

to them, great objections

refer,because a

twentieth

History of

of

posthxunous

curtailments. of

second

a

his life ;

historyhave

I cannot

which

to

find that

part of them

;

three

been,

never

There

I shall

others

edition

the

but

likelyto be, republished.

not

are

present

closelyprinted large

triumph

of his first volume

in the background

Hawkins's

addition

a

had

years

half of the

two

the

author, and

Burney

of many

remained

Its merits

expended.

century.

labour

are

presently

have

noticed

but, in the meantime,

to

as

his first volume. Dr.

music

Greek

Hawkins, to

have

far

so

done

advanced

by

Burney

the

one

the

writer. intelligible

the than

who

made

It

the

of Sir the

upon

subjectwas by

the

may,

the

attempt

at

not

standing under-

further

other, although least

first,appear

numbers to

John

moderns

advantage in being at

that, among men

ancient

upon

possibletowards

was

Therefore

that

with

reliance

as

all that

had

writing

identical

was

it.

Dr.

of

Burney's system

of

an accountable un-

learned

understand

the

INTRODUCTION.

Greek

system during so

have

Vll

succeeded, especially consideringthat

hereafter modern

be

to the

shown, even

system of music.

So

for

fact,that the Romans

the

by

the

meanings

are

the

the

two

only

student

been

Greek

then

through the technical limited

been

a

his

imder

printed only consider

he

musical the

The

Romans

avail,

in which

through

the

musical

Latin,

misuse

by

was

a

of Greek

was

or

of Greek no

means

hand,

he

been

examined

music

from

the Latin

his

degree in

therefore

employed

the

books

of reference

in

treatise

on

music

Greek

by

But

before.

that

He

volumes, which

in two

century

Greek,

School.

music

on

he had

he took

to include

sure

treatises

it necessary

because

The

of

would

pupil at Shrewsbury

the

copies of

only as

ject, sub-

all that

treatise

Church.

education Btirney's

authors

He

unlearn

the

in

to music.

having

when

nearlyidentical

language

language by

"

diatonic

"

meanings

Latin

derived

Western

and

begin again,trustingonJy

modern

been

"

round

nary extraordi-

so

that, to unriddle

the

seems

twisted

in

tone

first to

No

any

had

terras

So

to

as

to

authors.

would

had

words "

our

is to be accounted

had

remain

had

taught

and

terms,

he

which

two

languages.

the

Dr.

Greek

fashion,that perhaps

a

had

generalfailure

the

of

result

simplea

But

this

it will

quarter-tone,to be

ludicrous.

nor

should

one

no

ages,

many

should

at

works

not

knowledge

treatise of

music

did

study them,

to his

as

case

he

were

the

Boethius,

university.

of

the

Greeks

of need.

by Boethius,

upon

which

Vm

INTRODUCTION.

Dr.

Bumey

relied,has proved

inheritance for modern have

countries because but

himself

tell whether

scale

BewUdered

bottom.

the

Greek

a

he

and

took

up

he did music

Boethius

of music

knowledge practical

of in Greek

that which

arithmetic.

of

branch

a

;

music, ;

did, or could, learn from

to teach

understand

of various

ancient

Latin, instead

ever

unable

was

Scholars learn

it to

to

in

of them

one

Boethius

as

flown

it is written

no

Europe.

unfortunate

most

a

;

he

began the

by

not

simply had

could at

the

no

not

even

top

at

or

words,

two

it.

nete

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

and

and

"

"

should

arrived

have

not

yet it is inexcusable

And

scale.

musical

is

reader

will find the

he

elementarya piece of several extracts

by Nicomachus,

fullyexplains the

who

one

music

on

so

he makes

information, because the treatise

at

that

from

Nicomachus

and

words.

two

The

explanationgiven by Nicomachus

(Seep. 36.) Having dispensedwith the only sound grammars of Greek music, by rejectiagthe Greek treatises. began. At p. 17 of Dr. Burney's difficulties soon in

one

of the

followingpages.

his first volume "

more "

The

and

time

few

some

: "

concerning perplexity

however,

by

he says

I

meditation than was

very

I

Greek

scale is

a

subjectthat required

able to bestow

was

unwilling to

rule, how indisputable

fragments left of

the

leave it tillI had

to determine

music, by

a

the

mistake

upon

it ;"

(I)

discovered,

question,as in this

the

particular,

INTRODUCTION.

would At

be

much

as

length,an

injured as

infallible rule

great Euclid, who

regarded for

has been

this

of all for

necessary

have

but

the pages

opened

write,he would

to

meditation

have

:" he would

in

the

After

top, without

all,it

from

was

which

of text

If he would

before he

found

discuss

had

diagram which

a

bottom

of

trouble

the

that

diagram that

of

not

Burney

the p.

edition

pro

judge of

meaning

knowledge

and

Whether

"

in

108

page

and

con,

"

had

the

had

145

of vol. i.,from

a

of

the

which

pages

He

there "

conjectures

and

sums

as

up

the disputants

first ascertained

Greek

word

harmonia.

it necessary in the

the

to

include

chapter.

strong preferencefor deriving

of the Greek was

of

ancients

parts."" aU the

think

even

reason

to

37

the

and

definitions of harmonia

Dr. his

"

the

nor

Greek

learnt

to the

judge. Unhappily, neither

the constituted

did

reading.

he

chapter of

a

music

opinions

"

moderns, both

Bumey

scale

Burney's method

of Dr.

question,

collects all the

correct

the

the

devotes

counterpoint,or

of the

time and

"

even

specimen

writing history,he to

began

accompaniesit.

another

As

treatise,

point of date, and

sparedall his

have

will not

Euclid's

of Euclid

been

lator legiscode."

their

Euclid

to

scale,although he refers his readers

the

"

been

of the

the

as

ages

beginners.

sufficiently distinguishesthe from

many

neglectof

utter

in the works

me,

writingshave

is the first complete one

the most

so

polishedcompliment

Dr. Bumey's palliate which

whose

it backwards.

by reading

poem,

a

presented itself to

of mathematicians, and

Even

IX

authors

at second-hand

evidentlybecause second

aU

edition

unless

my

it saved

after-quotationsare otherwise

;

him

derived, specified.

INTRODUCTION.

the trouble Greek He

Meibomius's

adopted

that when

notes

upon

even

too

his views

the Greek

authors,

indiscriminately ; so

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

Meibomius

Meibomius any

decipheringthe contractions used in printed during the preceding century.

books

read

and

of

is

his

particular lapseson

noticed

part are

in the

followingpages. Burney second one

printingwas third

the

period of century

for in

I

Middle

;

therefore in

second).

I examined

benefit of any

Ages,

it could

have

both

doubt.

been

be

whyche

instead it is prefyred,"

"

The

word,

few

a

same

lines

Nehiloth, used

to

the

his

to

p. 241

of

us

the

All this is from

an

he

p. 241

Psalmes

as

that

title to

"

the

before

"prefyxed;" and,

read

we

informs in

the

on

first

of the

follows:

"

the Hebrew Psalm

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

teenth six-

looked generallyover-

so

reader

"after

below,

expounder

embrace

only be sought

the first line

In

to

to

editions,to give him

the

text

English

earlyprinted books.

states

only

down

of the first edition and

(p.235

volume

He

to

recall the

must

old

historywere

the

Burney's deficiencies that

that

him

some

decipher,and manuscripts? The second

of his

manuscripts,or

help of for him.

to read

for

he do among volumes

the

first volume

much

too

could

and

his

undertake

to

man

without

himself

capablethan

proved -in

what

bold

a

third volumes

and

more

had

indeed,

was,

"

v.,

The the

English Bible printed.

INTRODUCTION.

in

1549/

H

is indeed

than like

the

usual

r

ballads

;

print,and

the seventeenth

reader

may

the value of Dr. there

could

he

small

is

x

have

little

a

had the

to

their end

of

strange that Dr.

"eems

able to

been

from

was

this form

John

Sir

no

copy, and

decipherit. opinionas

an

Hawkins

Twining

no

to

from

to

whom

help him,

as

followed necessarily

I have

have

Burney's steps,and his

letter,down

letter

Bumey's readingsfrom manuscripts,

bis firstvolume. of

black

century,it

not Burney sho].ild

when

the

capital

in black

B

a

that milkmaids but, considering

printedin

The

The

letter.

black

nearlylike

more

modern

in an

in

XI

guessingis even

that, in

found

in

some

scripts, manu-

than objectionable

more

beretrages."There he makes harmless nonsense, inverts the sense but in manuscriptshe frequently be amusing, if of the author. A comparisonwould 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

attention afforded make

was

shown

He

him.

the

judgments 1869

"

I had

It iathe

Becke's

dined his

authors

also occasion

first edition

Bible,which

of Edmund

includes

Tin-

Johnson, every

fashion,from

and libraries,

their

upon

Dr.

him, every facility was allowed to well,he was

to

after transcripts,

manuscriptsin

from

to

in his

history.

Prologues,fol. 1549. Daye and William

John

of the

publishedhis

go to Oxford.

dale's

by

he

any

It

In

wa^

Printed Seres.

h

Xll

INTRODUCTION.

for the purpose

in the fourteenth

music, written of in

Dover, the

the

only known

Bodleian

English, and

George Parker,

Mr. in

the

and,

they

as

Parker's

I made

of the the old It

related

then

wrote

escaped

work, I did the

between

should "

rise

belowyn

be

two

such

has

but

"

Parker's

"

an

Mr.

sent

a

tion modernizathe

side

of

the

rules

The

had

been

once

read

difference

is,however, remarkable. the text

that the voice

are

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

"levyd" ("leaved" it is

says

curious

to

to invest

from

one

in the

that of

Burney

or

comparison between

a

April,1870,

Ricardi compositio ancestor

"

twopence

with transcript volume.

"permitted" to denyd." If any reader

make

oppositeversions

his second

;

abown"

of the 9th of

Choir

of

for,after having

versions

two

me

The periodical,

often refer to it.

not

so),he

and

so

should

the

"

it is

where do

;

for

lines of introduction.

that

me

assistants

rules

printed by

few

request

my

music, I

musical

be a

the direction^ in

Where

able

additions

language,to

published by Burney his

the

only the

text, and

had

very

church

to

transcriptto

Choir.

At

copied those library,

Bodleian

in

Theinred's

48.)

of the

one

some

written

are

with

up

842, fol.

is included

observed

then

I

bound

are.

(Bodley,No.

treatise.

of which

copy

Library.

on

century, by Theinred

singingdescant, which

short rules for old

a manuscript treatise collating

of

and

to compare

Burney,at

states

Cutell

of the famous

manuscript,he purchaseof The

de

these

Mr.

p. 434

of

rules to be

London

"

Captain Cuttle

haps per-

"

"

but

INTRODUCTION.

the

manuscript attributes

the

"copying,"instead

again,with

XIU

only the operatio, "composition." So,

to him

of the

Theinred's

treatise

although Bumey

;

quotes only the first line of the Latin, he

it

states

de Quoniam musicorum incorrectly.Instead of 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 towards history; but he could only copy specimens from others. The study of ancient music," says "

"

"

he, iti his Preface, an

have

been

respecthad read;

in his

upon

he

445

of upon

whose

his

have

It

might that

flippant judgments he

could

not

lost occasions

as

a

of

he, at

in deficiency

works

he relied

Dr.

Burney

he Royal Society, either in musical

p.

and

"

;

antiquary.

an

sense

would

which

musician

a

check

a

the business

for

great attraction

writing.

Although of the

as

musicians

then

but

smartness,

well if his

acted

of old

of

claim to be

not as

become

now

than

antiquarymore

least,would

is

"

of his first

was

admitted

does not or

as

exhibit

Fellow

a

fications great quali-

in acoustical science.

volume, he

The

"

says

interval,for instance, of the

: "

8th

and

At

pound com-

4th,

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

h 2

XIV

INTB0DUCTI02Sr.

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

is here

strike

C, G, F,

the lower

because

sound

such

no

the root

of C

as

This

is

music.

concord

No

sounds

To cultivate tastes

the

model

of the

of

praise;

and

is, in

some

but,

exceeds

smart

and

misstate

his very

music.

and

the

as

Italian

direct

evinced

as

to

music

cases,

often

of and

an

The

in

a

themes

greater prominence not

of

happens

author

sweeping

a

other

direct

be

badours Trou-

music, especially

all but exclusive

original.In order clever.Dr. Burney

the words

ideas

His

music.

upon

disparagement,if of

Rousseau;

Burney 's two

caustic,but shallow and unjust

he raises them

condemnation,

two

any

root.

one

Rousseau,

Rousseau's

are

undue

Burney

J. J.

of

able to follow the fashion-

historyof

a

Provence, and

opera,

an

for

the

science

between

to

Dr.

were

musicians

writingsupon 1 taHan

day

clever and

Rousseau's

arise

be traced

his admired

was

basis of the

livelystyleand

a

of the desiderata

to

is

arise from

ever

can

proved in unequivocally

can

if they cannot

F

our

followingchapter tipon

he

That

F for the base.

C, and substitute

other

term

by

away

people call concord, and the first they discord. Burney is demonstrably wrong,

what

of

take

pianoforte. Now

the

on

countries.

plagiaristfrom with to

does

imitators,

appear not

very

scruple

in order to make

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

jokes at

his expense,

to

"^'

INTRODUCTION.

limited

to

of the

subject, they afford

one

fact, without

further

our Unfortunately, unable to judge of the

neither

the

one

enquiringfrom Thus

sometimes

in

a

age of

script,written

century, is postponed

the

precautionof

the

paleography. and of history, importantmanu

course

An

first half

of the

the second

half of the fifteenth is antedated

fourteenth

century.

be

if it

necessary,

Music

should

it

adopted as

we

have

which

is the

most

allowance

not

been

music

face of those

that

have an

too

Dr.

been

very

music.

The

the

as

is

now

often

treated out

be made

for

a

various

notation

of his work. the who

man

in which

those

ancient

Every

fails in

languages,ancient

upon This

affait.

requirements for

numerous

death,

lectures

to

of

before

his

authority; for,since

the 'obsolete technicalities within obsolete

times

old

Burney's History

melancholy part of

of the

the

adequatelytested

simply cut

are

may

therefore

re-work

to

of the

evidence.

new

It is unfortunate

was

only

were

of

one

as

historywould

new

the whole

materials,but

changed by

A

thirteenth

fifteenth,and

the

to

equally

were

skilled in

manner.

the

in

took

were

inverted curious

of space.

earlymanuscripts,and

other

those who

they have

devotion historians

two

the

nor

sufficient evidence

some

histories of

and

modem,

the languages,

music

is

written,

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

particularscience,the

wide

extent

of

general

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

INTRODUCTION.

XVI

character

chance

be

amusemefit,

himself

gain

texts, to

of music

time

for

any

and

overcome,

specialstudies

undue

at

the

then

foundations

abler

who

men,

lost those

basis to

number

an

of it.

Henceforth

chain.

Commencing

ample

arrangement Modern

Europe The

Greeks. D,

E,

to

and

tone

derived

same

Next, the Greeks ancient the go in

back

Greek

to

an

in

the

in

the

third

knowledge. have

to

part, and in

continuous

end,

keys

Common

Greek

organ.

Greek

Romans

is the first

note

Their

of organs. the

on

be

action

c,

scale, conveyed

proved

"diatonic"

of

b,

intervals of

derived

In evidence

work

The

to

proof

from originally question,our a, "

to the very

extant

well

may

organs

in every and

made

pianoforte.

will hereafter

Egypt.

proof even

task

hope

"

modern

of the

keys

the

semitone

the

authorities

good

our

through the

us

the precisely

from

keys

"

I

upon.

simpleand

from

white

G, form

F,

been

advantages for- want

copied from

was

have

have

of

fundamental of

how

white

or

start

in that

submit

long

willingto

particularbranches,

upon

last succeeded

the

for

authors.

grea,t diffiqultiesof

have

secure

seeks,

credit

is

step in and raise the generalstandard we

who

who

requireone

once

securely laid, the

of the

it

but

for the earlier porthem, especially tions.

to

But, when

Hitherto

the

as

;

one

their

to superiorability

of

Histories

are

excuses

some

find

difficiilt to

as

devote

task,

,

perversionof

a

the

.or

afford

be, will

may

would

by

the

of

their

this,and

to

be

scale. organs ing carry-

of the

key, we Pneumatics, written

century before

the

birth of

INTRODUCTION.

Christ, by Heron kind

new

by

of

of Alexandria.

pneumatic

windmill,

a

called

organ

invented

the

the

had

to

of the

test

that

the

of it.

If too

the

surplusair

reaches

much

the

remain

is,that

overblowing the wUl

the

it

be

the

so

appliedto

wind-chest, and

the

so

it

tage advan-

one

prevents the possibility

through

escape

hydraulic

consideration, I

instrument

pressure

model

du-ections, and

especialobject,and

his invention

of

After

working

little

a

of Alexandria,

latter,I made,

principleof Heron's

to

the

recently

barber

the

friend, a

a

perfectly. By

answers

injure

to

as

the

bellows, before

water

instrument

it

wUl

uninjured.

With

this

of the

ordinarypneumatic

Through an

oracle referred

the precisely in

same

Egyptian

Greek as

those

is here

Next, that those identical be

late

as

the fourth upon

seen

the

sculpturedupon century of

bellows, and

by throwing

his

hke

those

the

wind

-chest.

our

"

we

era.

"

bellows

organs

The

as

blower

them

first upon

the

illustrate

pairsof

Roman

'*

picted de-

see

paintingsin

exhausted

weight

I find

bellows

copied to

them. to

blown

which

the

on

one

are

history

the

pairsof

"

tombs,

of

to

by Herodotus,

to

smithies

which

organ,

directlyinto

bellows

that the ancient

evidence

go back

information, we

to-day,by

stood

been

of Heron.

of description

according

organ,

were

of description

teacher

reputed

assistance

sufficient

find

full

a

by Ctesibius,the Egyptian

Heron's translating

of

as

then

a

be set in action

to

one

organ,

well

as

It includes

hydraulic,which

and

with

XVll

one

nately alter-

leg)

XVIU

INTRODUCTION.

and

then the

upon whether

wind-chest the organ

the

was

weight

of the

man,

small.

But

in the

largeor

was

the pressure

Therefore

the,other.

upon

not regulated, only by making the receiver of a size in proportion to the instrument, but even to the nicetyof a pound, 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-actinghydraulicorgan, as given by Vitruvius about 20 years B.C., although his description has been reputed to be unintelligible.

hydraulicorgan

Neither

Sir John

Gwilt, and

a

Hawkins

the

attempt it,and Then

quotationupon preciselythe

the

three

Greek

chromatic.

This

readers

is

altogetherin

between

another

in the

same

quotationhad

the

soil of the

Greek, including

best

been

writer

with alludes

Greek

Greek works

Egypt, teachers

of

and of

The my

to

evidence

expectation, any

difference

systems of music, upon

the

science of

Aristotle, were

the

ceding pre-

music, but

upon

passed unnoticed. accordance

to all

open

authors

music, saving the Problems on

computation,that Egyptian musical scale

in the

as

Egyptian and

although the

ton, architects,New-

astronomical

an

Greek

the

would

reallyunintelligible. I found, through subject,

of the Greek

importancehad

no

of

Burney

scales,diatonic, enharmonic, and

its

because

translations

of notes

was

be

Dr.

nor

others,are

turningto

the number

could

the pressure

written

Egyptians were

musical

science

doubtedly un-

to

the

INTRODUCTION.

Greeks.

It

claims

eftectually disposesof Greek

comparativelylate

set

for their

writers

the

of originators

as

XIX

enharmonic

by

up

men countrychromatic

and

scales. Then

next

the

to

Babylon, and

again I find,through

which,

comment

the

planets to

and

thus

had

we

between

There

could

understanding the

but

have

flourished and

under

who "

of any

and

differences

are

of But the

like Greek, wonderfxilly Greek

unmistakable here

my

for

assists me, that in the

Book

and the

and

Rome,

enables

to

me

of the

names are

not

the

and

mention

no

not

frequently in-

m'usical

Daniel, if Jewish, there

ilpon Jewish

of the

who

Judaeus

that

that

friefid,Dr.

revision

of Daniel

of

formfe

learned

committee

and

PhUo

Also Book

in the

named

instruments

music.

loss,

a

writers

system, although they

of

refer to

at

language.

they make

said that

have

been

Hebrew

",s

were

system of the

of Greece

such

"

that

By

munications. frequentcom-

Jewish

to

empu-es

in Greek

wrote

Josephus

referred the

had

have

should

I

Fourth,

systems of the

the musical

to

as

the

the Hebrews

they

not

through

that

Egyptians.

which

of

intervals,

intervals of

musical

whom

Next,

I

the

as

with

situated, and

Hebrews.

musical

same

identifythe

great ^nations

two

motion

everlastingharmony,

the

may

the

musical

regulated by

Octave,

Fifth, and means

be

of

men

astronomical

an

usual, supposes

as

make

to

Chaldseans

learned

Ghaldaeans, or

ate

lyres coins.

Ginsburg, one Old

Testament,

state, upon musical

derived

of

his

thority, au-

instruments from

Hebrew

INTKODUCTION.

XX

roots

and, further,that he has found

;

Talmud

of the

Jews.

henceforth

So

have

we

we

Then

the

at

time

It is not

Egypt.

the

end

which

the

the

at

g.

had

Court

will

of

of

following

find,towards

caricature

Rameses

of

of

use

it, he

a

III., in

fiddle,because the

at

of

matical mathe-

a

the

in

first

but) instead

instruments,

doubt, but

Egyptian

an

arrived

not

the

Undoubtedly they

"

is shown

King plays,not

Egyptians

"

of

system

B, c, D, e, f,

the reader

and

vohime,

concert

1

of

matter

a

Egypt,

of this

quartet

that

buildingthe Pyramids

of

certainty. This chapteron

the

musical

A,

our

practise harmony

even

by

organ

interestingquestion arises, "Did

the

ancients

the

at

the

fairlyconclude

may

last arrived

at

hydrauHc

Asia, and that it is

ancient

did"

of the

use

proofsin

the

bowed the

sounds

lyre. All

this tends

science

of music

field there musical

for any

historywho

started

meanings

the

it from

count

scales,it is

our

A,

neglected

elementary

an

sound.

Let

and

and

the

to

take

us

the

two

chromatic."

The

diatonic A, b, o, the

Seventh.

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

changed

As

to

as

d

If

e we

"

in modem the

quarter-

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

of this

the two

with

scale is the

the Fourth

minus

the

dihgent enquirerinto

words.

enharmonic

and

open

direction,as

of technical "

antiquityof

vast

an

of principles

another

enharmonic

F, G, A,

tones

of the

named,

Greek

the-

been

in

Now,

show

also what

;

has

knowledge

last

to

scale,they were

INTRODUCTION.

both

and

were,

just

the

as

could

authoritythat the

part of

the

the ancient

and when

Aristotle

diatonic,on

so

long

it

as

that

as

says,

melodies

of their

the

was

for

custom

dithyrambic choruses, it

certain

that

the

gentlemen enharmonic

they come and

want

reader on

without

ear

support of

the

will find this

the basis of the

and rejected,

problem of preferred

the

for

taken

attempt valid

to

sing for The

one.

Seventh

not

are

accompaniment,because to that of the

different

a

fullyexplainedin

science.

simplicity,

be

may

minor

minor

The

key-note,

minor

scales because

for it'in is

the former

so

The

base. the

chapter

Seventh

major Seventh, only half

the octave, is substituted

The

;

gentlemen to sing

a

below

to the

them

gentlemen'sreason

different roots

from

employ

and

not

was

and' the

ascending Fourth

did

The

quarter-tonesin chorus.

sing by

sung

and singers,

were

ease

in the

easy to

not

.

account

preferringthe

essential

an

in his fifteenth

enharmonic

the best

were

did not

phrase,

a

upon not

they

manner,

of

whines, for

that ancient

states

in singers

to

It rests

quarter-toneswere

scale, and

1 9, that

end

at the

his violin.

originally.Plutarch

Section

grace-notes,

as

player sometimes

modem

expression, upon

used

be

only

little graceful whine

give a

to

of harmony, and, insusceptible

are,

therefore,they

XXI

our

is tone

a

present

imsatisfactory

ear.

chromatic

Greek upon

the Greek

enharmonic

minor

the changes

two

scale

was

a

ment great improveIt includes

enharmonic.

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

quarter-tonesinto

f

sharpand

c

the it

sharp.

INTEODUGTION.

XXll

these

By

sharps,when

naturals,it adds of notes

This

;

kind

the

Scotch

named

Or pentatonic,

of

cofiipound. The of the

omission it

would

notes

If

B.

it

white

be

in

be

I offer

sharp. order

tion

'df the

Uttle

impressionon

notes,

Explanationwhich "See

at

a

Greeks.

It

specimens

of

memory I

ears

of

tise

the

is remarkable

Greek

given in a more Bumey, one hymn

Dr.

althoughthe Greek of such a scE^e. It in or

a

on

the

make

by

rule

the to

that, out

should

system

employ,

and

of

the

be

but

scales,-and

Egyptians

in

of

the

we

the three

readers than

will

by

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

pieceof musifc,thus making

Mese,

recapittila-

form intelligible

find here

F

vividlybefore

of the

mUsic, which

froral

digestedform

but

a

and

pianoforte,

order

mere

;

make

glance the

appreciatethe

of the

intervals,would

the

the

posing, Sup-

omitting F

points more

or

by

scale.

this

The

name

the pianoforte,

c,

keys

'reader.

mind

we

A,

explanationsin

the

of

G,

the black

bring ihe

to

of the

tones

cal equivo-

caiised

are

regular ascending

the

of

B,

less

a

of the

keys

D,

c,

transposedto

would

in

the

on

semitones

If the

be

nainor Thirds

two

last is not

Thirds.

minor

recently

consists,not of

would Greek, pentCiphonic

be

must

The

and

popularly

been

"five-toned."

and

tones

been

it has

it

number

same

the Fourth

major has

because happy designation,

onlv, b'ut of

of the

wanting

scale, and

called

a

each

ing correspond-

of the

instead

major scale

a

the minor

as

Seventh.

the

used

third

note

a

a

Second

of the scale.

key-note, Yet

how

INTBODUCTION.

natural

it

is, having

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

to

begin

to

changea minor it,againstthe

laws

And

pointwhich

to

gometimes

to

now

the

Romans

no

it extended

into

has

the

affected

three

four

or

various

centuries

in

meaning When

anti

is

case

in

Greek

as

it last

at p.

the admitted

to

but, I

;

of

a

verted per-

prepositionanti.

into

compounded

;

One

note

a

generalexample

the

terms

authors.

architecture

in

the

by

the

within

(herequoted

terms

words

sciences,and

Greek

the

may

grapher. the lexico-

musical

to

made

from

simpleand

very

from

and

arts

translations

corruptionof a

musician, and

Greek

limited

means

suffice to establish

380) will submit,

the

consideration

fron^Vitruviiis

extract

guided

ear

cerns immediately con-

more

of misapplication

by

was

thus

developed through music,

now

The

scale,

a

of the time.

little further

a

The

major key.

a

as

note, c, and

reader of classics than

which, being deserve

third

the

on

into

a

XXIU

newly

invented

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

"

"

author

aa

"

in all references

commonly

rendered

placeof.''

If

be

"

in its

a

thing be

place; "

incorrect, or,

by

at

third

"

more

stronglythan

firmlysupportedby

loco,"or

"

one

a

of these two

secondarysense,

anti is then

hitherto the

time

into

it is

"

in the

"

against another, it

translation,which

is

a

"

best, but

there

future

a

the Latin

therefore

with which

the word

to

cannot

be

must

due

compounded.

to

But

should be brought notice,and

highestGreek

one

authorities

too to

INTRODUCTION.

XXIV

all doubtful.

be at

means

"in

with

its fellow

instead,"

"

not certainly

the

simul-

to constitute

is often necessary

of the two

taneousness

the

it is

agreement

because place of" anjrthing,

the

"in

and

;

and

perfectconcord

is in

against,"it

or

harmony.

Meibomius, in the prefaceto his translation Greek

upon

but

still he

;

for the

another

The

meanings

upon

their

primary sense,

which

depend

the

in

with." to

"the

with;"

to be

seems

seventh

more

Perhaps

the

we

In

nearest.

Scott

meanings

in

"

"the

fellow,"or

to

these

anti,but

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

I submit

word

three

in

counter,

not

have

no

exact

word

the

Thesaurum

suum

other." the

"Counter"

excellent lexicon

appear

only

as

in

sixth

and

composition.

transoripsitStephanus),cum

"

(quam

one

three, if correct,

compounds.

our

to

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

fullyin

and

Liddell

is

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

both

means

of

anti

express

one

letters,

opposed

yieldsall the

counterpart,

opposed to," but

"

so

four

of the

is nearlyexpressedby composition,

compounded

be

to

against,"as primary

"

as

two and, consequently,

"

must

that

three

of the

for," which

"

followingreasons.

have

anti, cannot

preferspro,

well

perhaps doubtful, as senses,

this

music, admits

authors "

sense

as

that

them

by

seen

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

anti

"

It will be

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

'

"c.

sit

INTRODUCTION.

Two

but

;

"

fellows

"

placeof his

sense,

Romans

accompany

may

also be

another.

the

with

that

Latin

words,

in

as

well

as

one

in the

such

cord con-

then

are

him.

of

sense

"

their

varied

use

corrupt meanings of Greek

which

more

many

the

Upon

wiU

in this

'be shown

beginningwith

Byzantine Greek. to

If

fellow

"

neither

opposed

anti stands

tua

to,

alone

path

of my

=

of

nor

to

;

as

followingpages, Interdum

enim

aoouaatio,qnam

substituitur Grseei

"

tatlvam.

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

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

:

for the

^

nnm

first.

is where

of the word

anti

iam.

column,''

second

having travelled

in

familiam

out

in

two

are

neither

can

Vareno

pro

nostronimveroconcer"yopiavvooant, "

a

yet

antibasis,it

as

substitute

a

in which

dirucar))-

to

it has

examples,there

mu-

at

to the consonant

as

base of

meaning

for

the

anti, which, therefore,

and, without

seek

to

Aristotle,down

compound

a

companion

or

and

all agree

such

take

we

the

given here

are

greater prominence than

the real test of the

But

the

These

deserve

received. is a

Plato

correspondingsense

seems

to

point of antiphonary and

authorities

antiphonalsinging,full

and

the

only through

It is

antiphonary,""antiphonal" singing,

"

sense.

p. 11,

The

against,"

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

take

secondary

a

of"

that

Greeks.*

in

follow and

may

admission

derive

we

hostile,and

"instead

anti

an

of the

that

another

one

other,and thus become, ia

employed

from

Or,

substitute, or

sometimes

as

may

they

"against"one the

XXV

mean

Anchiran-

[Ibid, 10.)

"

Columellae

basis in

.

colnmna,

solo forami-

Posterior

octo.

quae

Greece

dicitur

PaaiQ. (Vitruvius,lib. vuJgo 15.) "

minor

.

x.,

avri-

cap.

10,

INTRODUCTION.

XXVI

"against"

the

"in

nor

the translators

cases

"

placeof

placeof."

have

rendered

(loco),and they thus

the authors.

The

first

where following, but

rather

the

use

the

instrument

have

changed it into advice accompaniment by their "in the

he

the

perversionof have

must

words

been if

order

to

rendering of

anti

was

Rhetoric

at

by

modus.

He

Athens is

romanized

In

reference

remembered were

but

and

that

further

the name

thick of and

do

to

two

they

Sophocles,of

The

the

Greek

Roman

of his name,

this second

were

the

Chair

Julius

example, it

in

a

of the weU

Pollux., is to

paintingsagree far

as

I

can

as

a

an

ox,

to

two

trace

retained AU

horns

them,

only

been

made originally of

be

lyre,

The

to have

of kollaboi.

as

under

authorities,there

lyreseems neck

of

Corn-

Emperor

as

his

originalis

oppositesides.

on

koUopes,as

so

6? Trepi

generallyknown,

more

which

(translating

written

appointed to

which, having been

authors,

driven

horns,usuallygoats'horjis, to

of horn

skin

been

has

that, according to

use

the pegs,

now

form

second

for justification

a

loco.

by

an

the

In

Sophocles had create

without

instead

of."

of

the

the translators

fully conscious

by Polydeuces,who

the

recommends

place of"

translator

the

as

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

the

accompaniment

instance, p. 305, a

Phalereus,

sing

to

of the

p. 53

accompany

it in tune, and

keep

to

to

of

meaning

Demetrius

reputed

musical

a

voice,in order

to

at

in the

"

by

the

reverse

Dionysius of Halicamassus,

of

of "with

anti

quotation is

of these

both

In

who

for

from the

sculptures only,as make

INTRODUCTION.

of the

mention specific material lower

horn

as

bar,

if

would

attached

a straight,

and down

to

unfit for the

not

up

these

Upon

if

horn

of

am

the

on

demonstrably

would

disarrangethe

opinionthat

used

in reference

when

Archelaus father

Herod

Matthew

ii.

his

to

the

there

word

fiiture time. "

For in the

Archelaus

tov

room

irarpos

could

as

are

is

instance,

"

"

was

they

Greek

reignedin Judea, {avri'UpdSov 22),

rest.

rejectingboth

for

when

a

be

"against"and "opposite

reason

incorrect

pared

lyre. of

sense

for,

The elasticity.

its

to

;

were

length,it

owing I

the

cumference, taper in cir-

being primary translations,because

not

"

size and

is sufficient

to,"there

would

horn

a

for the which

lyre,to

largepieceof

a

grounds

to anti in the

As

the

stringwould

one

third horn

any

natural

purpose,

of

unsmtable

been

primitiveinstruments

in

suitable

a

drawing

have

lyre.* Such

of the

parts

hypolyrion,of

or

stringswere even

XXVll

neither

of avroO

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 reigned "correspondinglyto," or "

"

like

"

his father

"

of anti

by

"

Herod, since like

"

in the

must

decision "

Tqe

left

be

of

our

wholly eminent

Xvpae

JiiyowKai

to

and

Homer, of Plutarch,

...

are

matured

Greek

scholara

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

yap "

anti-

questionswhich judgment and to the

the

TO m^vsita vpHroQ XiyeraiKcparoiv Svolv TO fiiv X'^WC

im^a'Sm 'Ep/iijg xal

of

These, however,

elsewhere.

the rendering

compound word,

in the works theos,"godlike," and

admit

we

phion.)

INTRODUCTION.

XXVUl

It is still rightthat I should

points

which

terms

may

musical

the

evidence

stiU with

the

immutable

laws

of nature

laws

This

I

of

in writers

take

the

and

I

musical

determine

take

may

but

can

sounds

den

Tonempjindungen die of

This

Theorie

has

der

been

series of lectures of Great bs' the

make

of readers.

are

the

even

well

ous, reaUy curilaws

which

understood,if

popularworks

instance

selves them-

Die

of the

Lehre

von

als

the

Universityof Heidelberg. widely popularizedthrough a

delivered

Britain, and Professor

more

physiologische Grundlage Musih, by H. Helmholtz, Professor

Physiologyin

work

should

not

are

I would

examples.

as

fur

that

which

be

can

the

great desideratum

a

the science

of the most

day

pipe,from

Nothing

be

think

some

generally

largestnumber

of misconceptions

Some

of the

it to

by

explain

to more

a

the

modern

or

by revertingto

historythat they

understood

form

ancient

in

is

first learnt.

were

should

they have, perhaps, been

stringand

the

simple,and

sounds

than

presented.

teachingof

we

to

science, and

endeavoured

have

as

manner intelligible

hitherto

musical

which

laws

251), I

(pp. 186to

those

is

scholars

Greek

for

store

science,whether

basis of all musical

the

There

compounds.

ancient

chapter on

those

upon

in

tionably unques-

;

anti. preposition

the

In

in musical

so

that

me

direction

any

musical

to

appears

this

in

runs

amusement

some

it

to

Greek

of investigation

suggest, and

it is

attention

draw

of

at

the

Royal Institution

subsequentlyin Natural

other

Philosophyin

parts, that

INTRODUCTION.

institution. 'bears the the of

The

date

Eight

third

of

The

the

second

Sound

by

Professor

on

lectures

Helmholtz, but

of Hehnholtz's

edition

1870, and

Lectures

1869.

XXIX

still

edition

include

of

Tyndall,

largelyderived

are

they

work

from

antidotes

some

his doctrines.

to

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

of

causes

and

consonance

dissonance

;

imaginarycauses

of difference in the tone

instruments; and

as

tones," to which

he

"

difference

such

of the

I

since

might

physiologyis

the

demur,

simply

Helmholtz

would

assignsthe

contending a

scale

have

stringfor

of

name

this

to

defined

of the laws

above

Hst

"the

as

of

of

nature,"

within essentially

are

had

of the scale of natural he

new

suffice.

If Professor

which

add

of musical

of "resultant

nature

assignedthe

constitution

examples as

it,and may

use

has

tones."

but, objections; doctrine

to the true

his

to

as

of

taken

his No.

Tables

of the

in the

Treatise

that

sounds of

"

they

harmonics

or

overtones" are

not

"

the

of the

primary note

1, justas

Dr. Pole has done

harmonic

Harmony by

notes, the

to.

and

I

but

over,

successively rising sounds

natural on

name

duly appreciatedthe

"

he

whole in his

incorporated

Rev.

Sir F. A. c

2

INTBODUCTION.

XXX

Gore

The

Ouseley,Bart.

is obvious.

No.

of

sound

1 is the

itself into

No.

2, when

half

simultaneously sounding the

No.

3 is when

to

on

it divides

Mem.,

sounding

the

Octave)

that

the

with

identical

In

order

the reader Octaves the

Fifth

added

fundamental whole

of the

note.

string is

fore string,there-

half

of the

above

Twelfth

note, viz.,a

same

parts,each

in

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

sounds

whole

raise the

raise the

you

Stop the

quarter

the

interval

and string,

of

you

part, and

.the seventh

Fifth

to

a

minor

a

6, and

still smaller and

seventh

you

Fifth.

Stop

a

raise the

raise the

you

pitch by

pitch by

Third, it being the

the exact

Scale from

Stop the eighthpart of

These

called

and string,

Fourth.

part, and

of the

true. Seventh

a

by

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

less than

of 7

part of

you

half

the

"Stop

the remainder

pitchof

third

of the

Octave

one

say,

and string,

a

of

I

the interval

pitchby

the

lie within

Therefore

string.

Octave.

sixth

they

as

and string,

the

(a

1.

of the whole

that

the

part

two-thirds

they yield the

an

the

No.

above

Octave

Twelfth

the

above

third

halves, each

two

itself into three

it divides

three

of the

it so preferring the whole string;

for

reason

a

interval

interval which the

Harmonic

and string,

between

tion propordivides

Seventh. raise it

by Harmonic,, or

you

the

thing some-

the Octave. and

eighthsounds

are

not

used

by

INTRODUCTIOK.

in

US

music, but they are

of the

interval

in the

key

divisions

of the

of C.

viz.,C

to

sounds

which

Fourth,

lack words

we

divide

"

minimum

technical

to

will

use

diminished

permit

we

stop

the

tenth

a

division

the

stringdivides

smaller number diminish

the

and

the

a

by

a

a

former

a

string is struck, aU

tone, and

minor

tone.

holds

these

a

How

If this

harmonics

elbows or

We

in music. the

upon

This

key. arrived that

at "

sounds

once,

like

use

taneously simul-

and

116

127.) itself

divide

such

no

well

of

a

shell held to the

an

a

ticular par-

to have

Resonator "

our

Octave of

seems

ear

thing

playwith

sound

singularconclusion

a

intervals

lay the fingerupon

through the

a

pp. 262-3, and

be

might as

as

into

simultaneously'?

can

and pianoforte,

at

more,

these

art

are

string can

a

true, there

theory be

concord

notes,

all

into

by

theorythat,when

Sound, pp.

possiblethat

is it nodes

on

So

fied (exempli-

musical

superposed(seeHelmholtz, Tyndall's Lectures

ninth

major

is divided

aliquotparts,the pitchrises.

Helmholtz

Professor

But

been

but

them, unless

of

itself in nature

harp),or

of

by

raise it

to

part

in the ^olian

as

have

further,stop the

raise it

stringto

a

just as

by

the two

cause, Fourth, be-

of the

name

it,

Third, and the latter the minimum

minor

pursue

part of

a

to

us

of

below

express

each

give to

C,

Third.

minor If

Third

Fifth

Third, we

minor

and

number

same

to

the interval

having alreadya "

the

for the

as

G

betv?een

as

has

Fourth

G, but

primary divisions

Nature's

Nature

for that

XXXI

;

getting for-

it mightbe

INTRODUCTION.

XXXU

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-

to

-them, perhaps a thousand

to

try

to follow the scale

the

test

final note

I

I heard

as

rising,and

it

those

accustomed

manufacturers

all tuners, whether

and

that harmonics it is Helmholtz's him

into

to especially to pianoforte

pianofortes ; also

to

succeed in this

error

others.

numerous

one

freely.

very

musician, but practical

any

of the'

Some

grand pianofortes yieldedharmonics

appealto

many

were

experiments.

it is not another.

putable indis-

Surely has led

respectwhich

should

reader

If the

.to

the

touch

by trying to

ear

in those

me

by,

times, in'years gone

pianoforte. There

the

upon

sharers with old

of my

judgment

listened

I have

primary sound.

the

rapidafter

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

turn

to

"

"

fundamental

sounds

then

succeed

which If

more

evidence

are

heard

before

"

the

harmonics,

each other in the order

of

be

Professor

required,turn

to

pitch."

TyndaU's Fifth Lecture (pp. 202-3) for an account of Kundt's experiments. He strewed the lightdust of lycopodium within a glasstube, and the formation of the

nodes

could

be

seen,

changed with any change impossiblethat a column

and

of note.

how

they It

of air within

were

is,of a

all

course,

pipe

can

INTRODUCTION.

divide

itself

simultaneouslyinto four, five,and

parts, because with

those

XXXUl

the

nodes

of the

of the those

five,and

altogetherdifferent

four

six

interfere

must

of the five will be

firom those

of

the

It is

six.

as precisely impossiblein a string. The little paper jockeys that are saddled by experimentalists upon

the nodes

of

stringare thrown off the moment is changed, and note they prove that the no longer exist in the same places. These are

the

junctionpointsof

act

in

opposite directions.

rest

the

by

the

a

equalityof

uniform

nodes nodes which

vibrations

Each

tension

is

node

kept

those

in

at

opposite

directions.

Next, Professor addition "

to

of such

that

of

the distinguish

to a

This

It falls to

the

harmonics

groimd

differences of tone

stops?

He

when

emit certain has

Helmholtz

having studied know

of two

Professor

to

one

ables en-

from both."

violin from

the

the

are

for the

account

harmoniums

same

!

great

of many

that the

aware

the

fact that

springs

harmonics, but only Resultant

no

notes

two

written

are

upon

sounded

square, in breadth

three

are

and

together.

harmonics

for he sufficiently,

that, if there

one triangular,

clarionet

a

of the violin

be surely,

them

a

by

once

produced in

cannot,

of harmoniums Tones

at

the learned

harmonics)

is,indeed, a strange theory.

of the flute and

would

of

of

call

it is the

"

pitch,which

same

sound

flute,and the sound

(Tyndall,p. 127.)

How

(which I

of the

tones

that

asserts

"

overtones

fundamental us

Helmholtz

organ

the third

a

without

cannot

even

pipes, one parallelogram

of sides to breadth

of

ends,

XXXIV

INTRODUCTION.

tone, and

of they will pro(iucedifferent qualities aU have

the

Next, the

harmonics.

same

to

as

in their

fullyexplainedthem

I have

of Helmholtz

to the

sent

I printer,

anticipatingmine, expressed by Sir

covered

have

if I aegis,

Next,

had

of Helmholtz's

Resultant

by

his

In

quotation

I have

re-quoted

at

237, but

p.

Herschel's

in sufficient time.

Tones.

his

The

change

Difference

to

each

puff through

puff then

becomes

therefore,

unsoundness

of the

Tones

he

He

of

name

misled

was

the

employed

one

to

a

hole.

He

forgot that

separate column

separate instrument.

a

sound

causing intervals time

a

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

a

the

concisely

more

Sir John

the passage

tion, explana-

an

shown theory is,I think, sufficiently

Tones

numerous

heard

been

imperfectexperiments.

Syren,

one

had

myself with

247-8.

pp.

my

that

observed

theory

sheet had

After my

225.

Griesbach,

Resultant

to

as

them.

221, and the

Griesbach.

noticed

and

consono

Herschel, in

John, through Mr.

should

at

John

J. H.

Mr.

given by

Sir

from

misunderstands at p.

follows,at p.

pressed exsufficiently

is

derived

names,

yet Helmholtz

dissono, and

been

words

two

Surely

dissonance.

and

consonance

of those

meaning

yet

of

think.

of

each

air, and,

Although

he

neutrahzingthe other, thus silence,he did This

was

the

not case

allow

self him-

of the

two

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

p. 258

the the

of

waves rare-

INTRODUCTION.

XXXV

factions of the other

;

the

forward, the

of particles

air

backward, and,

the

neutralized

other.

the

this may

by

be

The

practiceby

of equal size tuning-forks set them

and

into vibration the

turn

each

sometimes

held

and, if

You

;

and

should

together;

exactly equidistant,but

hold

them.

but

completeneutrahzation

is

this

rough experiment,from The

because together, begin on the half

another.

one

hold

the can

person

in hardly practicable lost in

must

it is necessary vibration

are

easUy attained,

the time

forks

two

other,

finding

the short duration

distance,and requisite

vibrations.

is

it ;

forks

two

another

Partial neutralization

the

to

of the

neutralize

two

the

the

two

close

the tone

equidistantand

was

angle to

an

slowly round

will diminish

it

Take

ago.

at

one

prove

as

one,

any

to perhaps requirea looking-glass

may

them

to

perfecttune

hold

other

exactlyequal,they

drove

experiment

repeatedly in days long

me

ear,

other

urged

one

having equal forces,each

two

in

put

therefore,while the

be

not

that

of the

of the

the

struck shall

one

other, in order

to

neutralize its sound. I

persuaded that

am

hasty book,

vsrritten under

engagements,

and

that

the

Tonempjindungen

the the

popularitywhich has attended not fullyanticipated.Therefore was some

upon has

its

a

of manifold

pressure of

amount

is

fame

and

production was

the

value

of time

largelyconsidered in its composition,and experiments, such as those necessary very

too

harmonics, been

so

were

omitted.

widely attained, it

But, since may

be

success

hoped

that

XXXVl

INTRODUCTION. ,

the author of his bear

will find time

popular book, and,

in mind

Chi

va

va

sano,

I will note

more

one

but

stands

means

invariable musical

the

When

who

3.

Thus

the

me

write

upon

the

above

3, and

to

5

to

4 to

an

Hehnholtz

seems

Fourth

note key-

Sixth

the

as

ascribe

they

discords.

two

string divides

five vibrations the

of

the

proportionof

itself

into successively equal parts,making three, four,

three,four, and five and

It

mathematicians

to proportions a

science,

only because

not

alone.

proportion of

concordant

of

men

in it Professor

because

of practice

in the

he will

so, that

for

motto

error,

scales,to mark

as

in

no

doing

piano.

importantone, by

in

admirable

an

edition

revise the next

to

in the

time

same

as

vibration

one

whole

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

the four

This

may

the Seventeenth

Double be

may the

to

a

"

the

above

and

parts

verified

scale

also

Octave)

at

be,

F above

of F to 3 of C This

of

this

will

concords

take

such

nominal

a

only be

as

as

C,

key-note,our

one

wUl

book]

refer but

the

to

4 to

3

i.e., as

"

true

if you

or

the two

key

:

stringis too long or

the

C, as

as

the

C, and the

of F.

octaves

in

tions 4 vibra-

play F

below

it

ear

A, the sixth above

belong only to base

parts.

scale to be that of C

and

"

five

who

one

base, for F is the requiredTwelfth two

the

satisfactorily proved

C is stUl marked

8.

from

any

217

p.

Suppose the

moment.

5 to

by

(a Major Third

If

below too

we

the

short,

INTRODUCTION.

and

change our

we

true

3 and

4 to

of C down The

to

of the

their be

ours

are

places.

more

to

those

has been

old

gentlemen of

To

which obligations have of

a

these

been

not

in preference, their

I

any

names

other

ai-e

to

sing Plaustrum

Some

largelyparticipate,

have

books

often

out

before,

appeared

in

particularobjectionagainst

have

been

wholly by myself, for what

I

perculi.''My

corrected indifferently

hardly read

can

was

intended,and from

errors overlooking typographical

upaet my

great

pointed

too

critically, knowing

of

to

times some-

expressed.

having

proofswould

draw, and

which

errors

after, their

I have

than

desired

situ,but there

in

a

"

owe

gentlemen acknowledgments

to

"

I

subjectswhich

often

to

I confess

if

We

objectionsto

print.

own

Scales,

Pyramids

the sanction

have

having

than

may

roots, derived

of

range

inclined

usuallymade

are

rather

be

myself of

authorities.

scale

a

Octave

the

entails,I have

might

to avail

them

suspected.

music

I

limit

Egypt.

to hear others, especially

conclusions

of

Scale.

Fourths, which

or

from

exceediaglywide

historyof

G.

to

old mathematicians

not

has two

borrowed

hitherto

the

authors

did

Tetrachords

been

down

the Harmonfc

not

called

Greek

only

the Fourth

misapprehensionof

changed. Although not Each reallyso.

to have

as

of E

order

show

consult

Sixth

The

C, are

The

two

a

the

of

key

intervals,but

proper

from

In

into discords.

they knew

calculated

They not

and

;

is that

to

concords

5 to 3 in the

G

reason

XXXVU

apple-cart" I

am

done

worn

for !"

them often

sight.

XXXVm

I

INTRODUCTION.

had

from

also the

Greek,

in the year of

a

dread

a

of

since

trippingin my translations studies ended my antiquated

learned

very

most

looked obligingly

of

p, 30, which

I

and of

the

to

Lecturer

of

most

J. P.

Eev.

except the last had

Mr.

Mahaify I

am

of

the

Egyptian

caricature

p.

399,

which

Prolegomena This

calls to

Gardner It

have

given

musical

the

to

Sir

contain

and

am

the establishing the

ancient

the

proofsj

printedoff. for the at

appears

to frontispiece

use

my his

1871.

the

woodcuts

in

on

Ancient

Egypt.

Sir

me

to

adequate representation of

the

of

ancient

to

certain

Egypt,

Wilkinsdn's

examples

sometimes

indebted

University

scarcelypossiblefor

splendidpublications upon I have

note

to great obligations

very

Gardner

more

which the

from

been

an

been

indebted

works

instruments

recourse

they

my

casts

the

also examined

History,8vo.

Wilkinson's

would

have

forms

mind

for

Murray

Mr.

further

Ancient

to

hard

Mahaflfy, f.t.cd.,

History in

To

and

the

contributed

revised Dublin, for having carefully

after all sheets

first

Hydraulic Organ. Lastly,

Ancient

on

the

proofsof

his initials ; he

of Heron's

indebted

am

kindly

bears

translation

my

contain

and

;

the

over

eight chapters,which

on

Wright,

TrinityCollege,CaiDabridge. He

Bursar

passages

assistance

Aldis

W.

friend, Mr.

M.A.,

Greek

the kind

had

1823, but I have

than

without

works, all the

Egypt together. drawn

from

other

for

other theless, Never-

sources,

Lepsius's Denkmaler

for

practiceof harmony among three Egyptians. When pipers are

INTRODUCTION.

XXXIX

playing together witli pipes almost

we

can

are

playing. have

I

learned

had

the

friends

I may T.

establish

friend

Mr.

the

at

B.

G.

Birch, LL.D.,'Sir Charles

Samuel

A.

value, and

thought ;

A.

Dr.

F.11.S., and

Pole,

have

often

for he

is

of my

endeavours

that

truth, and

had

might

support,which the

I

As

judgment.

have

having

tell,not

writers

Too sufficiently.

the truth

sit dictum be my

own

that

"

hope

of true

be held

sible respon-

expressed.

I

arrive at

to

I have be

read

the

of

est

added

jam

any

value, I really

works

often have

warping

of modern

I been

reminded

dictum

quod

non

prius,"by findingthat what I supposed to fore, Therehad been anticipatedby others.

probable

because

most

Still,no

the effect of

may

nuUum

I find it safer to more

had

whether

to

cannot

of

of the

part

my

of

pre-conceivedtheory to

no

which

originalremarks

on

great

trains

new

have

I may

of

Europe.

friends is to

opinionsthat

only plead

can

in

old

my

Harmony

been

into

me

musicians

learned

more

for any

led

have

unquestionablyone

scientific of eminent one

criticisms

of

J.

Mr.

cases,

Macfarren, Professor His

M.

them

among

Ginsburg, Professor

Dr.

Griesbach, besides, in numberless

H.

they

consultingother

of

specialsubjects;

F.R.S.,

lengths,

which

notes

advantage

upon

Dr.

Wheatstoiie,

I

the

gratefullymention

Chenery,

different

of

I have

that

started book

make I

no

have

may

without

that

the

from

false doctrtne.

may

claim.

be

been

any

found

It is aU

the

anticipated,

crotchets.

Still,

useful

sifting

a

xl

INTRODUCTION.

I have tioti

been the

by

those

who

intention

My

to have

Music, and

understandingthe Judseus

these

to

history. I

printed off.

I then

Music

will form

a

explainGreek

from one

the

first in Row.

was

authors,

such

one

to

me,

my

such

offer,

an

extent

an

volume.

sheets more

appears

to

as

This

had

been

sheet to my with of

starred Hebrew

to

make

an

attempt years

ago

historian,George Grote,

gatheringsat

Street,and doubt

on

volume.

intellectual

no

Philo

part of the

that

many

therefore

eminent

Eccleston It

Greek

proposed

added

second

not

ing Greek, add-

in

music, proceededmany

late

of many

could

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

after

recommendation

The

While

volume.

Ginsburg's History

Dr.

and

pages,

at

undertake

of the

only

work, which

own

Hebrew

Ginsburg took pity

in his hands

discovered

was

following

included

from

extracts

to

limits

the

exceed

enter

to

it for the

wrote

in the best

be done

the

of

care

exceedinglyglad of

was

subjectgrew

not

for jjook

Septuagint,with

even everythingrelating,

ought to

to

few

a

offered

and

case,

one

language,I

the

friend,Dr.

learned

in

only

thicker

a

Josephus, who

and

the

may

Hebrew

than

further

advance

pointsof

to have

made

It is to

friend.

a

given to

was

long introduc-

subject,and when, through not

that

labouringat

for

who

be

Space can

reason.

my

main

some

and subjects, aU.

of

feel interest

may

numerous

write this

to

recommendation

epitome of

givean

upon

induced

his

house,

afterwards in Savile

owing to

my

havingshown

xli

INTRODUCTION.

for disposition

a

the

of

cause

addition and

and

Airs

taken

the

poetry, and and

Musical of

their

the

pubUcation of of

customs

earlyEnglish music.

their

latter

musical

unknown

for

working

been

chain, to advance of

cultivation at the

and

good

form think

the

small

to

have

that

no

it too

science wiU little volume.

the

much

to

help will

acquaintance

at

end

to

now

the

of

improve the

to

still laboured

be

How

in many

to

a

so

on

the

unite

of the art.

in

science

digest.

direct

to

highest order

one

and

I have

intends

seen

The

Thus, he has

knowledge

be

many

bring forward

to

knowledge practical who

in

I could

brother

of the

years

presentedthe one

me

of the science.

concerts.

music, while

service

with first-rate musicians

gems

many

the

pubhcation

other, to establish the basis,and

scientificwith

hope

those

patrons of

for the

and

;

the

Monday Popular Concerts, and

many

the

exemplify

around

youngest

my

ballads,lyric

discussions

improved my

subsequentlyenabled the

whose

of the art principles advantagesof association

like

old

did

brought

the

societies

two

societies flourished

two

and

years,

thus

and profit,

with

The

projected

forefathers

our

musicians, from

eminent but

The

time.

collected

had

would

as

prose

eleven

in

1840,

had

history,and

Antiquarian Society,for

together for

and

1838

part in carryingout

such

advance

quarto volumes, the National

two

active

an

would

duties, I

day

with

Percy,for

manners

Between

every

published,in

EngHsh

"

music.

to

which

work

any

I

simplea

musician

greatlya

wQl little

parts of this

xlii

INTRODUCTION.

Grote's

Mr. exceeded

enthusiasm

mine

;

if I should science

and

art

moderns

and

last volume

when

the

the

favoured

those

Greek

writers

with

the

that the devote

Greeks

illustrious

could

author, in deference took

the

of

the

StUl, it appeared to

wait

until I

uninterruptedattention

an

to

be able to

might them

me

;

and

thus

passed on.

years

It

therefore

was

Greek

upon

music

improbablethat

not

might

Greek

Kalends, but for

recent

date, in consequence

the

with

jump

a

house, gave

books In

then

were

the

me

anecdotes

to add

been

of

taken

from

of

comparatively

This for

confined

reading,and

I had

EnglishAirs, and

had

them, that

I

many

re-

wrote

changed the

Popular Music

de Scriptores

title to

I had also assisted M.

Musica

the

so

airs in

in his

to

enlargedthe

so

work, arranged the

Time.

me

the shelves.

in illustration of

Olden

veterum,

chronological of the

de Coussemaker nova

series,so

having prepared for publicationsome mediaeval manuscripts,copied from the as

to the

attemptingtoo youthful

time

more

attempts

my

deferred

accident

an

interveningyears

entire

order, and

have

in hand.

gun

collection of National

the

twelfth

History of Greece, with

music.

upon

of the

proposalrather

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

first

of

suppose

his

to

far

not

greatlyadvance

of the

from inscription

I did

succeed, a knowledge of Greek

would

But

lukewarmly.

recollection of the

now,

therefore,I received

;

somewhat

Greeks

and, althoughmy

fresher than

language was that, even

for the

dozen

British

xliii

INTRODUCTION.

Museum

the

or

Bodleian

Library. Having

retired

from

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

Greek

out

such

authors

music, I continued

on

definitions of musical

terms

to

copy

I then

as

countered. en-

I

to

as

the

to

but a

of success began without expectation understandingthe music of the Greeks, owing number

of abler

I

thought the definitions might be glossaryof musical terms projectedby

Dr. Rimbault.

My

to afford the

clue, and

the

subject. It

perversionof of

the

I could I found

musical

Music

no

understand

that

of the Greeks from

evident

became

Greek

made

soon

useful my

the

theoretical

had

been

way

system. and

borrowed

friend

however,

the

had

the

means

the

that

;

for

interested

me

terms

great difficulties in the then

baffled

little glossary seemed,

enquirers(althoughby

or

it had

whom

men

in

Roman

been

one

of

previous only one),for Eventually,

practicalsystem entire from Egypt

Asia. and

togetherby

Astronomy the

passages

were

so

intimatelymixed

ancients,that

some

of the most

about

were

gathered from

music

of the planetarysystem, in descriptions to the supposedharmony of the spheres.

cisive de-

reference

d

xliv

INTRODUCTION.

of

music, which

which the

woiild but

have

"

enquiry a

years

by

Music

with

of earlier has

a

in the

"

a

zeal which

cathedral "

music In

the

culminated the

by

England.

the

desire

mence com-

to

as

suggested so

was

have

the

to gratifiedme solution of the 'riddle,

to rank

The

mob

for

the

highestamong many

ages

over-zeal of would-be-

in the

the first cloud

in

;

life of the

sixteenth and seventeenth

organs threw

it

tell

cannot

position undisputedfor

in all civilized countries. reformers

whom

music

days.

just claim

It held that

arts.

Greek

earlier,so

two

during

It would

presentedhim

in memory

or

year

this volume

ago.

over

I did not

that

great regret

illustrious historian

have

sciences

an

pubhshed

definition

supposed to preside.Whether

were

one

the

many

and

arts

Egyptian originfor gratified my late friend,I

of

I have

have

comprisedall

the Muses

result

in the ancient

included

Astronomy was

destruction

during

the

the

over

centuries of all

wealth Common-

cultivation

of

radical

of the change, some zealots objectedto alternate,or antiphonal,"singing, the psalms are wherein chanted by one half of "

the

choir

alternate

in response

that this

the Psalms

of

was

such

other,each

history,they an

David,

into the Christian with

the

taking up

verses.

Ignoring church know

to

ancient or

Church

did

Jewish

that it had

spreadimmediatelyfrom

the eastern

care

to.

of chanting

way been

in the fourth

unequivocalapprovalon

not

introduced

century,and

all sides that to

the western

it

xlv

IISrTRODUCTXON.

branch.

The

Puritans the

bandying about

termed

other like tennis balls." the very the

of

meaning words

no

would

They

of

but

the

that

be

with

"

to

words

if unsung.

Psalm

a

them

"

the minister

confusion

of

and

the

then

tongues

his

own

the

took

Babel-like the

strove

man

to

its difference

distinguishable by at

one

pace,

the

"

about

place of

each

;

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

pitch and

voice

A

people.

orderly, time-keepingchant, and make

music

read, without

yet they inconsistentlybandied

between

sung

instrument," and

musical

a

the

side to

one

not it signified

"is

constitute

can

have

To them

Psalm

"

accompaniment

that

from

Psalms

"tossiag and

it

companion of mirth incited to dancing and the

they complainedthat it was and frivolity, and that it sports,all

which

The

down.

be sorrowful

and

ought,in

whose

is

"

sin

who

;

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

take

doves, to chatter like

care

whether one

lifewould

;

and

know to

no

that

in secret

mourn

it

"

others

might

be desirable if such

be

other

mourning

go

for their

cranes

think

may

of themselves

of

peopleshould be not is Lachrymce; whose tune

sighsfor

others' sins." Some

pressing ex-

even

of their sect, the mourners,

like

not

"

In the words

for mercies.

dancers, but music

unequivocallyto put their judgment,only to

full of lamentations

thankfulness

Prynne, one

desired

they

world

most

own "

and should

questioned to be its

were

melancholyemployment. d

2

xlvi

INTRODUCTION.

The

but

now

these

it may intellect,

is

music

left upon

men

even

It is

graduallypassingaway.

slowly and not

from

removed

hoped that,when

be

to

which

cloud

settle down

to

stop

side of the

one

any

upon

other. Music

incomparablythe

is

of perfection

the

has

Music

far

a

the mind

upon

than

the

delicate

more

than

music

soothe

imitation

far

as

even

Fine

painting,imitation

in music.

It is but

piecesthat

it is in any

To

bring up

cultivate The music new

is

may

is be

one

quially collo-

are

a

in great perfection

is

hardly admissible in

descriptive

permissible.

from

cultivated

? While

emotion

accessory

way

which

raising

perfect representation

a

is

an

is to add

music

taste

as

of

power

aU those which

of Nature

child

a

the

to warlike

moods

art

the

overburdened, and

to have

of

cheerfulness, to

induce

to

that other

What

ear.

Arts, and

in her best

of Nature

the

largelyinto

enters

termed

and

England,

far exceeded

has

organ,

;

yet, since

And

art.

is

influence

puritangloom over

excited,the

mind

so spirits

of

claim

can

alike the

overworked

other

any

:

tendency.

evil

no

immediate

more

of the eye

the cultivation

a

greaterand

melancholyadvent

the

the

art, for it has

an

arts

Music

intellect.

of human

creation

it is the pure

of original

mo^

a

infancyto

pleasureto

new

never

to

hear

dies any

away.

and

to

its life.

Indeed,

extent, and

afford

pleasuresat every stage of cultivation. Beginning with the simplestsounds, one at a time, the ear graduallyled

simultaneous

on

movements

to

the

appreciationof

in the

most

delicate

many

and

xlvii

INTRODUCTION.

intricate combinations

even

is

of sound.

perhaps invariably susceptibleto

music, but this giftof Nature and

The the

is too

music. the

complaints are

often

These

bad

neglecthas

this

point T

there

are

can

much

men

become

certain

of

whose

music,

to which

it

solace

the

to

adopted console

is

did

himself

as

with

as

the

Puritans, for

be

or

Bedlam

so

great

a

universally

the

did

been

statistical

a

almost

Let

music,

have

Bethlem to

nerves

largelyin

of the

be

treatment.

dispositions

ought to

increase

to

Such

shattered

found

now

insane,

in their

their

perhaps,also, of

;

first descendants

Music

irksome.

often

specialrequirementsNew built.

was

But

knowledge.

even

of

insanity. It

of the

days

Upon

then, in after life,

read

we

greatest comfort

increase

and

away,

or

to bear

for

ears

which, through long neglect,susceptibility

pitied. Too

morose,

unable the

speak vrith

or tantalizing,

be

to

are

bad

nished dimi-

continued.

long

pass

becomes

of

too

in

cases

put aside

generallyrecoverable,if

are

been

not

does music

ears

made

of

powers

is so neglecteduntil susceptibility that

infant

irritable

Achilles

with

man

his

lyre. Many love

of

admiration and to

of

music

Shakespeare;

less

must

only

they

in other

deceive

There

the

but

before it.

wonder

now

persons

the

enthusiastic

simpler kind

expressed by

will find

expressionsof

like

great writers, both

These

their

own

be

truth

because

at

men

age

all have

cannot or

in it.

cultivation

of his time

that

of the

combined modems.

is Susceptibility is

diminished, and

now

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 first of an all sons of musicians organist,the "

second of

of

violin teacher

a

consent

so

universal

time

coUect

to

thousand

a

Plutarch's

passage

from

because

it bears

have

been

in the hands

of

four

tions representa-

see

mented heavilyorna-

as

and strings,

five

or

These

useless.

gods and

frames, because

and

and

goddesses;

Thus

emblerns.

Plutarch

earlytimes, the the their

indeed

not

work

no

and

of

the

only as

Theologiansof

philosophers, sented repre-

because

instruments

in

they supposed them

pipe,but

appropriateto

more

"

holding musical

as

play the lyreor

to

because

god

a

theyjudged

than

harmony

music."

The

should '

hands,

ancient

most

gods

"

:

says

the

to their

them

he intended

poses, pur-

usually

are

painteror sculptorhas indulgedhis fancy as forms

one

supposed difficulty.In

instruments, which, for musical

fanciful would

cite

Procreatione^

Animce

paintingwe

only

lyres,with

questionof

a

I wUl

proofs.

instruments, such

of musical

found

a

but

be

De

upon

sculpturesand

ancient

other

it would

that

of music

in favour

nations

of ancient

The is

third

the

composer,

singer.

tenor

a

and

25th

first step to the advance be the of

George

necessary Under

repealof

the

for

the

the

of music

that unwise

Act of

Second, which

in

Parliament,

made

public performance

plea of preventing thefts

and

England a

of

license music.

robberies.

xlix

INTKaDUCTION.

room

every

other be

garden

or

kept for dancing,musick,

"

of the

publick entertainment

licensed."

should

Why

be

men

singinganything that they are Other

countries The

to

go

have

their

fiddler

did.

The

effect

of of

persuade

themselves

race

the

govern

demagogue

can

rather disturbance

the

well

to

be

been

If

a

alone

they that

little less

a

train of excitable

a

grievance,and

for

State. the

the

The

every

that

If

country.

would

be

further

shabby

a

it

far

stimulate

he

"

but

and

hereafter.

all may

have

A

paltry "500

as

the

a

a

Only

Royal Academy

disgraceto England.

to

the

would

a

few

at home so

useful is

Royal

than

the

deserve

the

music, both

buy

a

for

a

an

a

a

assistance,

proper

can

be

to

of the

would

of Music A

had

ministers

all lovers of

Beethoven year

would

there

institution

useful

Royal Academy of Arts hearty acknowledgments of now

Act

music

treatment

which, with

more

which

long ago.

in their "

lowers, fol-

boding

Government

repeal of

about

storin

of Music

Academy

spouting

draw

of

to

fitted

are

so

about

would

one

only

country,

the

to

they

as

been

faculty of engendering demagogues, have

allowed him

pay has

Act

that

now

to

house, and

who public-housepoliticians,

anxious

bring

deserve

from

sary. precautionneces-

licensed

again,and

a

would

restrained

should

They

engender to

distant

a

admission.

for

must

permitted to speak \

find such

not

kind,

people require social gatherings,and

always

cannot

pay

do

like

or

picture, shilling.

institution

stigma and

singlechurch,

such

as

a

St.

1

INTRODUCTION.

amount

still

Maritana

wears

on,

Turn

"

sings

the desire of the

fiiends

old Time!"

is rather

who

begin to

proAddethat

volume

period complete

a

of

author

such

of those

than

In order, to

work, each

embrace

receives.

now

no

of

one

patrons shall incur the risk of having an

or

unfinished

on,

it

deserves

art

although the

and

young

feel his advances. my

than

consideration

more altogether

Time

Indeed, the

its music.

upon

that

Street,spends at least double

Wells

Andrews,

of in

this

history will have

itself,and

its

index.

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 preparationshave already been made.

It

has the

and obscurity,

My

friend

historyof

hitherto

rivalled

present

Dr. Rimbault

modem

accounts

and

it is

possesses,

will be which

one

has

or

early authors

a

to the

to,

carry

a

Lodob, Oatlands or, to the

Ohappell,

at

50,

care

New

of my Bond

new

off.

of

and

He

modem

one

world, who

largelibraryof

very

out.

Park, StJEREY

errors. a

musical

only a musician,

access

can

boon

progress

in

size with

to

leave

may

CHAPPELL.

Jime, 1874.

Steafpobd

B.

in

to write

WM. 1st

abound

music, uniformly as

commencing where I exhibit,by extracts, the

harmony, which

music

proposes

mine, and will

Greek

;

Son, Street, London.

GLOSSARIAL

{Oreek

A,

B,

C,

D,

and

E,

G

F, of

B, 0, E, F, A,

the

the

Greek

the

Common

and

kinds

in

modern

taking

Adrastus, -lEnAN,

as

the

.lEoLlAN

harps

a

ancient

123,

five

of

and

like

notes,

non-essential

being

intervals

modes,

minor

of

and

the

pentapJionic,

a

Seventh

unless

prepared

or

a

omitted

were

for

them

by

music,

in

its

support

166.

discussions and

the

about,

for

stress,

and

grave,

the

without

the

modem

Greece,

fall of

of

ad

the and

381

to

earlier

hard

and

soft for

only

them

to

Accents

385*. date

three

than

the

necessarily

long,

381'.

voice, cantns,

Of

given

now

circumflex

The

383.

or

380.

circumflex,

stress

Of

381".

signs,

a

for

xlix.

bars

and

and

pittance

a

translation

of

the

293.

lesson, 307.

by on

xxxi., to

the

minor

miserable

quantity,

292,

music

Platonist,

known

for

form

383.

quoted

Harp,

the

including

tiny cymbals,

Achilles

ages,

compounded

ode,

pros

AcetaMla,

in

acute,

rise

a

(Accent),

Greek

for

musical

both

and

for

grammarians,

Alexandrian

Accentus

of

or

Essentially

Fourth all

A,

sharp,

suited

numerous

Greek,

among

because

the

Genus,

pentaplimic,

xxi.

keys,

Royal),

The

Europe,

included

of

xvi.

Common

F

first

the

ear,

The

pitch,

ancient

in

pitch

the

166''.

381.

breathing,

v.)

238.

guides

as

for

;

intervals

quarter-tones

E,

Government,

our

Poetry

(Greek),

Accents

is

Greek

for

grec

the

scale,

which

sharp,

The

(The to

C

B,

by

discreditable in

y

Greek

added

major

Music

of

the

two

scale,

xxi., 177,

harmony,

Accents

A,

shunned

Academy

the

xxii.

scale,

because

form

Diatonic of

scale,

unavowed

note

modem),

intervals

Chromatic

for

five

the

italics,and

in

Greek

INDEX.

xx.

Greek

second

(The

Genus,

B, C, E, F, A, the

EXPLANATORY

words

Enharmonic

grace-notes, A,

Latin

and

Egyptian, A,

AND

of

the

musical The

186.

the

Smyrna,

Theon

of

meaning

fact

ancients,

105.

aiid

of

syllabe, i'JK

wind

the

acting

the

among

modems

strings

upon to

St.

of

Dunstan,

236. jEolian after

Mode, Plato's

our

time

A, B, C, D, was

F

minor

E, F, G, with

in a

Pindar's

minor

time,

Seventh,

101, 103.

but

in

and

lii

GLOSSARIAL

Alcibiades he

thought

designedas Albxasbeidbs

of

example

get the

discontinuing the

disfiguredthe

it

for

INDEX.

EXPLANATOEY

AND

of

beauty

his

flute,because

of the

use

mouth,

394*.

flute

A

this,394*.

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

on

Alexandeias 383.

Alexandrians,

famed

by

the

Greeks

musicians.

as

Harp,

Pipes,

311.

267, 277.

(Dean),misconstruction

Alford

Aloga, Alypius, of

of

a

passage

ratio,appliedto intervals

without

his Greek

are

relatingto music, 145". foreignto a scale,148'*.

notation, 115, 184, diflters somewhat

musical

Each

Quintilianus, 131.

Aristides

in Plato

which

by

from

capital letters,172,

that 184.

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, Ambrosian Mtrsic, so called,but later than the date of St. Ambrose, ,398*. Its meaning is according to the use of Milan," 398*. ATnetabole,without mutation, or change, of mode or scale,104. of the 18th dynasty. Lyres of 17 strings before the Amosis, first Pharaoh Notes

of

a

hymn

a

Fourth

in the

lower

"

birth

of Moses,

word,

to

which recitations,

were

included

in the

general

music, 32, 49.

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 The intervals alike,xviii.,xix. 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 preposition)discussed,xxiii. to xxvii.,11, 53, 305", 306. base of a second and minor the column, xxv"". Antibasis, string,an octave below, xxiv"., 12. 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 strophe, 13. Antistrophe,a had

Anacreon

a

A

296.

.

49'.

(Fame of),due

Amphion

xxvii. Antitheos, god-like,

Antitheton, the corresponding sound Tablets

Apis Apollo

(Hymn

108.

His

Apollodorus,

Apotome, Apuleius,

the on

an

octave

below,

13.

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.

for

to),174, 178.

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

GLOSSARIAL

Apycni, for

AND

the

extremes

the

lowest, and

sound, Arabian

of

the

EXPLANATORY

Greek

two

synemmenon,

144''. A

Pipes, proverbiallylong.

end

viz.,prosXwmhanome.noH for the highest

systems,

hyperbolmon, or

nete.

liii

INDEX.

called

was

Arabian

au

Abatus

(Greek hymns Aecadius, of Autioch,

of whose

man

tongue

there

was

no

piper,268.

in the

Oxford

edition

of), 156.

De

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

of

Aristophanes

sing,xxi. the

Third

of

Greek

86, 87, 176. Takes

note

inventor

scales.

of Greek

See

130 to

134.

On

390*.

because

Antiphon,

11

heavens, 76''. Stateliness omitted

note

on

the

(jrenera, 126.

easier to

of

13.

to

On

the

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

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

of different

accents, 383, 384.

diatonic

preferred to

the

The

above

On

the

not

copied from, 4, Music

mode, 81, 110.

minor

107.

"

"mixed

melodies

Cicero

octave, 46.

Dorian the

Byzantium, 384", 385*.

grammar, Enharmonic

Aristotle.

the

305", 385".

Aristophanes, His

Plato, and

Greek

On

axiA

Harmonia

Nmnes,

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.

Octaves

4, 5, 16, 56, 80, 92, 100, 109, 118, 119, 123, 125, 126, 127, 128, 129, 131, 300, 383, 385.

Aristoxenus, and

Ards

Thesis, in music

the

up-spring the stronger,but a

pons, the

or

beat

up the

and in

reverse

foot, in verse,

down

beat

;

music, 164.

in

the

dancing

The

two

stitute con-

89.

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

Artemon,

Roman

Askoi

on

than

a

Greek

(Greek), bellows

282. Assyrian

Astronomy,

Athanasius

an

organ,

inade

Harp,

Instruments,

Musical Otlier

of

of

hides, 351".

numeral, ten, 291.

Asor, the Hebrew Assyrian

a

instrument, 280.

examples of music

vAll appear

392*, Dulcimer, 291, 'Trumpet,

in the volume

on

Hebrew

Music.

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

System a

branch

same

of ancient

as

music,

3.

liv

GLOSSARIAL

INDEX.

EXPLANATORY

AND

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

Babylon.

See

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 separately,296". in poetry, 164 to bar music, 164 Bars in music How equal to measures to 166. De

Bartholinus

Barypyhwi,

TiUis lowest

the

Veterum, 256'',262*. stringsof tetrachords,

but

only

in the

Chromatic

or

scale, 145, in Note.

Enharmonic

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,

Bassoon, and

a

base

the tube

to "

167, 178, 181".

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

Made

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

tubes, but

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

on

imprecates Menes

BocCHORis Bodleian

BoECKH,

the

vibrations

the

Library, 4, 21. 100.

Probably

of

for the luxuries

Egjrpt,320, 321.

he introduced

into

Egypt, 69.

xii.,xliii.

Inadmissible

Inscriptionwm,37". modes,

end, 276.

His

date

for Psammetichus

difficulties

Proslambcmomenos,

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

about

104.

GLOSSARIAL

BoETHitrs,vii. 31,

Misunderstood

36, 41.

BoMBAED

the

73, 115, 120, and

Mete

music,

EXPLANATORY

AND

324.

of the

His

Greek On

178.

treatise

on

scale,viii. of the

harmony The

liypate,323.

Iv

INDEX.

great

His

treatise, 6-10,

spheres, 251.

confounder

understood Mis-

of

Greek

arithmetic, 391*".

Ages, a long base pipe,probably deriving its name Bombos, 262. of a long pipe with Bomboa, the base part of a scale,and the name 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 from

the

Middle

Greek

"

"

"

Museum,

British

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,

the

Brycbson

(0. C. J.),28", 60", 61, 61", 68, 69, 290*. BoEETTE (P. J.), 34% 147', 157, 159, 160, 177, 178, 184. BuENEY (Dr.),History of Music, i.,dates of publication,ii.,popularity,ii., treatises unstudied, vii.,consequences, vi.,Greek first volume reprinted, 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 Odd an Egyptian urn, 19. On the difficultyof Greek comment on music, 23, Nile story of the invention of the lyre referred to Apolloof Meibomius, 96''. Makes dorus incorrectly, 39", 40. Copies a mistake about' Harmonia, Mistake into 99. Greek the two one, 98, systems 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.

BuNSEN

Mistakes

about

Tromha

Marina,

Copies

an

of the

Marcellinus, 317. now

The

and

the

Monaulos,

Also

about

the

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

Sistrum, 288.

psaltery,without

a

Egyptian people Could

275.

not

from

understand His

a

false text

the

translation

of Ammia;nus

hydraulic

organ,

of Julian's

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

375. Busby

Photinx

283.

imaginary

character

the

the

organs,

3.32,

epigram, 378.

Ivi

GLOSSARIAL

AND

INDEX.

EXPLANATORY

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

flutes

or

pipes made

of the

might

wood

Oaccini

(Scaleattributed to the time of),240". (C),the Roman chanting, 398*. orator, on unmusical 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 startingpoint 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 intervals,and not necessarilysinging,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

Games

(Musical contests Thanks

Cakte

at), 32.

to, 403*.

(Richard). Cassiodobus, 5, 6, 258, 367, 377, 378, 392*, 393*. Castanets made of nutshells, cockles,oyster shells,and (Greek Krenibala,), And later of metal, 293. beating down the limpets from the rooks, they made a noise like castanets,"294. 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". ' '

learned, 41''. See

Ohalumeau. ChampollioSi Chanting Chappell Chabactbr and

Chdys,

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

Chbneby Chilmead

Chinese,

99.

from its shell back, 29, 295. lyre so named to, xxxix. (ProfessorT. ). Thanks editor Oxford of Aratus, 156. (Edward),

edition

some

on

metres, a

Clarionet.

of Gaudentius

the

inventors

modern

organs,

Presented

his

prepared

157.

to Meibom, of the

free

reed

281.

Use

canes

used or

in

all

reeds

of

harmoniums, great

and

size for

in

organ

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

the

conduoting-rodfrom

the

key

to the slider of

an

organ,

355.

GLOSSARIAL

AND

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

EXPLANATORY

clarionet

order, the

only

not

a

Ivii

INDEX.

same

as

string,but

also

For

Pythauloi, 265. musical

sound, 28=",

stringswere

attached

a

146".

Chordotonos,the and

lower

bar

of the

where

lyre

to

which

the

they were tuned, Chorikoi,pipes for accompanying choral dances, 267. Chroai, shades of difference in scales, 121, 127, 128, 129. 306.

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

and

canere,

Careless

AspeTidiicithariske,366.

foris

explained, 365. by his editors,

canere

of Cicero

treatment

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

CiTTEBN, Clarion,

lower

octave

an

is of the

(The)

produced,

stopped pipe, and Only two pipes,242. of

nature

than

other

Twelfth

one

scale, 242.

peculiar harmonics

The

Wheatstone,

Shawm,

Schalm, Schalmuse,

A

end

of

264.

straighttube clarionet

a

The

in music,

Didymus,

diOferenoe

as

the

Lesser

and

major

a

(The), a

or

entitled

of this

Enharmonic

centuries

makes

ago,

The harsh

"clarion,"

minor of

b6ll

tone,

account

on

of

the

Comma

being

comma,

(80

tone

harmony,

Olympus, 52,

its ratio, 202.

syntonic

minor

scale without

System

and

the a

in

comma

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

Komyna

Pythagorean

the

between

Genus

Conjunct

at

of

the

293, 309.

sometimes

great importance Common

stiff reed

Sir

by

represents

is conical, 264.

diminutive

the

notice

few

a

harmonic

266.

Alexandrinus,

of

of

hautboy A

into

be

can

of the

clarionet

Chalumeau

the

harmonics 9

brought

The

useless, 264.

is

3 and

sounds

268", 330, 331.

Clemens Commas

first

242. or

while

clarionet

name

of its power,

Claudian,

F.R.S.,

therefore

a

another, Nos.

above

Charles

264.

284.

trumpet, 266,

octave

an

Clarionet

81), 204.

to

the The

204.

Fourth

Seventh, 123,

or

same

123.

Greeks,

Additions

95.

made

It

to

it

the

was

by

a

hymnal

tetrachord

at

time, 92. Fourths

Consecutive

good

reason,

key),

146.

Consonance Sir John Copernicus,

in aU

and

Fifths

cases,

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

true

not

because

221.'

allowed

they

by

make

Hehnholtz's

theory, 237.

the

Greeks

consecutive

incorrect

(and with

changes theory,

of

225.

Iviii CoKKBT

GLOSSABIAL

(The old),formerly

INDEX,

EXPLANATORY

AND

of

horn, is

now

of

metal, and

called

Corno

hautboy, aa the bassoon is the base, 261. the hydraulic organ, why so called,337. Cousin (Victor),indifferent translation of Plato, 143, 144. CoussBMAKEE (Chev. de), xUi.,368, 373. Crotala (Greek Krotala),clappers,originallyEgyptian, used by the Greeks 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 splitreed or wood, with heads or maces called of the noise account stork The on crotalistria, together,293.

Inglese;it is the tenor to of Cortma, the air-compreaser

the

strikingtogetherthe two bones of its beak, 293. Alexandria, the son of an Egyptian barber, and, therefore, His date also a barber, inventor of the hydraulic organ, xvii.,xviii. 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 "Cymbals are compared," says St. Augustine, "to our lips,because Roman Faun with cymbals, they sound by touching one another,"293. made

by

Ctesibius

of

from

D'Albmbbrt

an

the bird

ancient

in

statue, 404*.

Daniel

acoustics,236. (Book of). The musical

Danjou

(M.), 368, 369.

on

instruments

have

Greek

xix.,259.

names,

after the laurel,had musical 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.

Diatonic,

The

derivation

of

the

word,

129".

It

meana

261.

"on

the

stretch

throughout," being the most tightlydrawn up of ancient scales,131". Scales Diatonic (Greek),the intervals of tones and semitones as on the 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 highest stringbut one (thelichanos or the Diatonos, of any tetrachord in the diatonic scale,97, 98. paraTiete) DiAZBUCTio Greek Tone, the disjunctivemajor tone between two tetra chorda in a scale,81, 82, 129, 193.

6L0SSAEIAL

EXPLANATORY

AND

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

that

could

His

be, 197.

which

is next

Greek

quarter-tone, 203.

true

lix

INDEX.

above

scales the 204.

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, originallya limma, or semitone, 79. Later a third or a quarter of Correction

He

a

of

True

ditone, 204.

the

first carried

in the Chromatic

tone

diesis has

the

Enharmonic

or

ratio

quarter-toneof

of

scales,79.

125-128, which

The

is less

modem than

monic Enharthe

true

203.

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

On

172. On

the

DiONYsius

DlONYSlDS Dionysus

the

extent

of the

fluctuations

of the

voice

in discourse, 385.

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,

189. "

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

Dioxia

' '

five

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

Discords Disjunct

System

Called

the

DiTHYR^i-MBic birth

Ditones, were,

Donaldson Donaldson

Perfect

the

Greeks,

System by

Choruses

in

the

the

or greater'

Claudius

two-octave

system,

97.

Ptolemy, 79".

Enharmonic

scale, xxi.

Verses

on

the

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,

of or

Dominant

of

148.

ancient

251.

reed, and a reed pipe, also a metal organ pipe, 376. firm, and manly, Mode, originallyassociated with words 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.

DoncKC,

a

Dorian

Ptolemy, 113. DoRLiKs reputed to

be of

Egyptian origin,303.

Ix E

GLOSSARIAL

sharp,a

Eak

deairable addition

less (Tlje),

cultivated

xlvi. laws

The

ear

to

than has

INDEX.

EXPLANATORY

AND

our

scale, 220.

the eye,

xlvi.

Its Bad

ratio,216*. ears

music

for music

in all ages

guided to true More delicatelyorganizedthan

able, recover-

against the

the eye, 205. times, 177. of the eye while that Octaves, Range sounds,.234, 250, seven haardlyexceeds 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 century B.C.; 328. Egyptians reputed founders of Greek cities,58, 59. their own Egyptians kings, learned, great and free people under inventive, scientiiic, skilful, industrious,sportive,and mirthful ; more humane than Assyrians and civilized,317, 318. more Romans, because Two additional points in Egyptian religiousceremonies imported into Christianity,289, 290. 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 Rhythmical music, 66. together (see also Grotala),292. 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 of

the

for musical

a

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 therefore it was the string,and fitted for natural derived from more were

singing,125. Enneachordon,

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

a

Epigoneion, an by Epigonos, 68, 149, 311.

310.

The

name

transferred

to

to ""

the

Greeks

psaltery,149,

GLOSSARIAL

AND

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

"

EXPLANATORY

Ixi

INDEX.

Introduced

his

Brought

in music, 149.

Chromatic

the

forty-stringed scale and

tuted insti-

chorus, 311.

a

Epimorioi,superparticularratios the unit above another number, 206. 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 (A peculiar), pipes,267, with double reeds, 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 origin,282. trumpets and horns reputed to be of Etruscan "

Euclid's

treatise

music, ix.

on

of the Sectio

but

Not

of the IntroductU)

author

ffarmonka, lation, modu-

On

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

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,129. On 131. Symsyntonon, pJionia and Diaphonia, 136". Of pyknoi, barypyhnoi, oxypyknoi, and within the Octave, mesopyknoi, 144''. Transposition to any semitone human

On

music

voice, 109.

On

the

The

179".

EULER,

103", 103''.

base

of

in

one

scale,262.

a

236.

Muouae, the now

vowels

"Seculorum,

of

mistake, the

a

v

being only

Amen,"

the old form

spellingilvooae

The

54.

of the

letter

is

u.

EaphoHon, 256, 296", 301. EupoLis

gave

name

of

Harmoge,

137".

40, 89, 165", 296.

Euripides,

Chronicle, 177.

EuSBBius,

Eustathius, F"tis

the

to Harmonia

Commentary

the Iliad, 385".

on

catgut,26". 56. flute, Supposed by him to Deficient in knowledge scale,57". Greek

Error

and

cats

(F. J.), on

138, 139.

Harmonia,

have

KUhara,

about been

not

understand

57"

;

tian Egyp-

Chromatic

in the modern

of harmonics,

Did

29".

also

Greek

stood misunderor

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.

but

ventured

correct

to

Corrects

141 to 143, 150.

FiiTHS, the not

to

nearest

permitted by

Athenseus, 274".

equal division the

Greeks,

of the

a

Fifth, 207-

scientific which

reason

being will

the

not

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

consecutive

Twelve

Fifths

Consecutive that

perfectFifths

breath

Arts

Finger-boards Flageolet

(The), more to

or

less imitative, but

music

lutes, guitars,or violins (The

use

not

so, xlvi.

of),44.

(Principleof the), 271e

is

the sound,

271. Fine

they

bear, 146.

2

Ixii Flutes

GLOSSARIAL

of two

flute is

kinds, blown

INDEX.

EXPLANATORY

AND

at the

and

end

at the

side ; the

side-blown

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

Egyptian, in

in

Greek

"

England, and the at the end, like the Egyptian : see frontispieceand p. 63. Their tone produced without 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 about, 57". Used for three kinds of scale,58. FoRKEL misled of the Nile story of the to the author as by Dr. Bumey 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 condensing-syringe for the hydraulic organ, 352. Galen Galilei

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

Galileo

(The great mathematician

Gamma,

or

on

the

base

note

G

Mimca and

included

in

imiica, 156. astronomer), 73. a

late Greek

scale,130.

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

Gaudentius,

included

in the

creed

of the heathen, 167.

Gehenna

not

Gbrbert

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

Gerhard German

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 slidingtop to hold the reeds or tongues with which pipes of the clarionet or hautboy 267. kind were played upon, 266, Glottis,the mouthpiece of a pipe in which the reed or tongue was inserted, a

266". Goats'

Horns

GoODisoN "

Grammata,

to Greek

(Charles). written

lyres,xxvi.,xxvii. Thanks

to, 403.

lettered characters,to represent notes

for

music,

185.

GLOSSAllIAL

AND

Ixiii

INDEX.

EXPLANATORY

,

XrKBATER

Systbm

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 oiilytrustworthy remains o' Greek to Kalliope, music, 158. Their historical interest,162. 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, Greek

167.

May

have

music

long

Probable

172. Greek

of the

Musical

Greek

notes

date

to

See

to

vowels, 172. hymns, 177, 178.

called

Alypius

explained,114, US',117.

Octaves

musical

The

Abistides

syllable,172.

each

of,

notation

sometimes

nemeia, and

semaaui,

and

for

note

one

short

of the

Notation,

168, 172.

maia,

restricted

not

gram-

Quintilianus.

Exemplified

on

the

lyre,

octave

112, 113. Scales

Greek

all minor,

beginning on Third below, resisted

ears

the

perfect major scale among

no

Third

of the

which

is Nature's

Greek

laws, 177.

key makes key-note All

the

a

them,

major,

Or

176.

But

115. on

the

for all minors, 170.

Greek

derived

Egypt,

scales

from

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 misapplied by Romans, vii., ^xiii.,379, 380. Sinoing

a

gods a great

to the

long

Greek

Worship

of Athene,

strain upon the lungs, 107. of all principalmodes very

The

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. Greenhill

Greenwood

Rome,"

GuHL

(J.H.), xxxiv.,xxxix.,237", 244, 248, 250, (George),the historian,xl.,xlii.,xUv.

GuiDO

Hadrian

and

in of

398.

Griesbach Geote

the

Koner's

d'Aeezzo,

Das 9.

Leben

Behind

der Griechen his age

und

in musical

RBmer

403.*

(1864), 364".

knowledge,

21.

(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

Ixiv

GLOSSARIAL

have

may she

AND

been

given to

the

supposed

wife

of Cadmus

to

express

science

of music

to the

her

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, occasionallyby 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, expressivemelodic progression,238^ 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,217, 218, xxix. to xxxi. Its importance root one or 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' Harmonic scale developed only in the last.century, 235. scale,234. 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

the

INDEX.

EXPLANATORY

as

husband

said to have

Harmonic Harmonic

scale,236, 237.

Seventh,

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 occasionallyby ancient mhior Greeks, 197, 201, 202. A sixty-fourthpart flatter than our 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 strings,74. 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 them at will,235. A necessary 236. Are produced study for composers, of the lungs from pipes,279, 280. Tempered scales with some exertion the

the

seventh

Fourth

make

false

harmonics,

proportion to the

241.

had

for

name

created

been

The

number

of

harmonic

any

tells its

string,218, 223.

(Greek),another

Harmonike which

whole

between

harmonia, harmonia

to

and

avoid

the

confusion

enJiarmonia,16, 127,

137. Harmoniums makes

have them

resultant Harmony Proofs

audible

harmonics, xxxiii,,233. for organs, unsatisfactorysubstitutes no

This 246.

deficiency They

emit

tones, 245.

(The practice of) as of the

Greek

and

old

Roman

the

pyramids practice,147 to

as

of 153.

Egypt, Names

xx.,

274.

of able

GLOSSARIAL

discussed

who

men

AND

Dr.

Bumey's

mistake

the

charm

harmony,

of

Hahmony

(in the discords,237the

Habps

that

question to the

as

224.

technical Good

in

Greek

before

or

or

the

last century,

word, 154", 154''. of the

Reputed harmony

sense), concords bad

Ixv

INDEX.

EXPLANATORY

effects may

intermixed be

Wherein

lies

spheres, 76,

77.

with

foretold

153.

occasional

hearing

without

notes, 187.

Transition to the (Egyptian),originallybow-shaped, 65, 67, 306. sake of having short stringsin the angle, 315, triangularshape for the Called

319.

And Psalteries of triangularform, 307. Trigone when with of both Extant with the hands, 307. being played fingers to Greece twenty-fivestrings,67. Harps introduced by Simicos and with a nd Duets for harp and 312. Epigonos thirty-five fortystrings,149, Sir J. G. Wilkinson's flute,149. description of Egyptian harps, 3X3. from

The

Egyptian

Greek in

letter

the

of

name

a

harp Bouni,

delta, A, which

British

true

are

about

Museum,

Harps in Trigons,found

316.

500

years

B.C.,

and

the

form Greek

a

on

of the gem

Etruscan

among

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 fullyexplained, 333. Did not know description,378. Hebrew System of Music same as Egyptian, Babylonian, and Greek, xix. Greek musical in the Book of Daniel, and Greek instruments lyres on Jewish in the Talmud, coins, xix. xl. The hydraulic organ mentioned XX.

(An epigram of)

Hedylus organ,

Helikon,

an

date

of Ctesibius

for

instrument

measuring

sections

(ProfessorH. ), Tonempjmdungen.

Helmholtz

theories, xxviii. for

instrument in

fixes the

his

and

of the

hydraulic

326.

Harmonic

of

strings,75. Objections to

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

Scale, 219% 229, 230.

Siren

certain

of his

trustworthy improvement proposed to his theory of Antithesis not

a

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 237.

"

"

Hemiolian, the ratio of 3 Hemitonb,

See

79.

Hercules Hermes Hermes Hekmippus,

2, iv.

Semitone.

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

Herculaneum Erato

to

"

with

a

294.

Ixvi

GLOSSARIAL

Herodotus, Heb5n

of organs,

AND

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

reeds,267. to organs,

holy water for Egyptian temples, 290. His Pneumatika "plinths "to the pipes, 365. Of

discoveries then Herschel

INDEX.

EXPLAXATORY

comparativelynew,

Terms

sliders

consists

of

374.

(SirJohn), xxxiv., 237.

Hesychius, xxiv.",12, 13, 258. Hewitt (D. C), experiments upon strings,251. and HiEBOOLYPHic, for "good," a lute, 61. With bridge,tail-piece,

pegs,

62, 63. Hill

Thanks (Thomas), 402*. to, 403*. Hippophorboi, pipes for horse-keepers,made

Historians.

Causes

of

failure

in

Greek

of the

bark

music,

of

20.

the The

laurel,267. numerous

requirements for musical history,xv., xvi. History of Music, i. (George), HoMEE. Antitheoa, god-like,xxvii. AmeibomenaA, responding to, 11. Lyres, four strings,26. Chant 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 originallyof 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 notes, or inches,only lip acts as the straight,282. 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. HuLLAH

the

and their scale,381". production of vowels or Hydraulikon. See organ (hydraulic). Hycl/roMlis, IIyksos Egypt, 2, 69. (The),or Shepherds who invaded movable under the a bridge string of Hypa^ogeMs, 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

(John),on

Hybeattlic

OBflAif.

a

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

Hyper-Phrygian

mode,

mode,

"

"

the

GLOSSARIAL

AND

octave

lyre, 110". transposed,113.

Most

EXPLANATORY

used

of all modes,

Hypo-Iastian, or Hypo-Ionian mode, Seventh,

of

key

Ixvii

INDEX.

The

notes

flat minor

with

110.

B

of, 112, a

minor

103.

Hypo-Lydian

mode, key of C sharp minor

with

Seventh, 103, 112,

minor

a

transposed, 113. Hypo-Phrtgiau

mode, key

of B

minor

with

minor

a

Seventh,

103, 112,

transposed, 113. Hypolyrios, the lyre were

cross-bar

to which

the

lower

ends

of the

stringsof

an

early

attached,305, xxvii.

Iamblichus

(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 dialogueof Greek tragedies,165".

Iambic

Metbb.

"

"

Iastian

Scale.

Immutable

See

Ionian.

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

system

Index

Instruments

of music

Interval

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

loBAS.

See

Ion, hymn Ionian

translation

a

without

means

emblems

as

within How

to

of Octave

the

add,

divinity,xlviii. be misplaced may

deduct, and

to

of

ametaboU.

It

104.

so

as

to

make

a

intervals,198,

to compare

Juba. for

lyre,93, 94, ten-stringed

Scale.

E

101.

His

Mese

or

key-note, 161.

flat minor,

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

Isidore

op

Italian

Japanese

Seville

(A report of),like

music

the

story

of

primitive Egyptian music,

304. four

Jehovah, Jbwi-sh

coins

letters in

with

Greek

Hebrew, supposed originof lyres upon

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

the

name,

54.

them, xix.

xix.,xl.,284.

Junius

(Adrian),Nomenclator,

Pneumatic

the

Organ, 375.

Three

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. Kanon, for measuring proportions of strings,74. The many meanings of Kalamavioi

the

word, 343, 354.

Katalexis, to make Kemp

(Mr.), 238".

Kepler,

Harmonia

up time Thanks

Mundi,

of

verses

to. 403. 106.

like

a

dot

or

rest

in music, 167.

Ixviii

Keras,

GLOSSARIAL

AND

horn, 276.

a

EXPLANATOEY

Kerata, homa,

often

INDEX.

those

the

at

sides

of

a

lyre,

306.

Keraulos, a horn Kemx, a horn

pipe, 276. made

of

a

shell,used

by

Greek

and

Heralds

Criers,283,

284.

(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, KiECHEE

a

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

skin

afterwards

and

of horn,

xxvi. See

Krembala.

KrotaXa.

See

Castanets.

Orotala.

Ktenid,,the fore-arms Kondt's

of h

experiments

LAORANtiE, Lanobainb

the

on

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

xxxli-.

celebrated

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

work

on

tha

Greek

musical

autht)ra,157, 185'. idioms

Latin

draio

in

thieves Latin

derived

from

the

lyre,intus

anything ; foris canere, drew in anything

who

treatises

on

Greek

music

of

to be

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

illtheir way, no

use

to any

a

365, 366.

body,

vii.

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

Laubel

the

Law

recitations,94. Laws

oe

Sounds.

Lectuees

on

Leimma,

See

See

Nature's.

Bumey,

Music, copiedfrom

xv.

Limma.

Lehidoi,cymbals, 292, 293. Lepsius's DenkmaUr, xxxviii.,60^ 61% 62, 64, 65, 66, 282% 320, 321. stringon the lyre,7,7",35, 83. Liclwnos, the fore-finger "remnant" of a Fourth after two major tones are the ducted deLimma (leimma), 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 a end, like the augur's staff,284. Lituus, a Eoman of the for use cavalry, but sometimes Usually short, exceeding four feet in length, 285. Loceian

Mode,

LoaABiTHMS, scale

scale, same

as

Hypo-Dorian, 110.

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

if to to

or

GLOSSARIAL

sections

of

calculated Longs

and

stringhere

a

for from

Bbevbs

short LuoiAN

AND

EXPLANATORY

reverted

1 to

Ixix

INDEX.

A

to, 243, 244.

book

of

logarithms

1,200 semi-vibrations,243".

in music

originallymarked

only

the

time

of

long

and

165. syllables, the

on

invention

Lucretius, Lute, 302, and

of the

lyre,39".

258.

Lyeian Lydian

Mode

of

is

This

was

head

voice

Nefer.

see

flute made

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

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,

Four

29, 49.

stringsin

Greece, 30.

Some

35. scales

for

names

AVhen to

seven

stands, 82.

large on the

lyres,29.

From

and

increased

ten, 92.

How

Recommended

for

from

four

tuned

to

seven

originally,

orators, 84.

The

the

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 stringcounted as the first,83. lyre,255. Lyro-pJicmix,a Phoenician

upon

scales with

same

one-octave

the

(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 string,14, 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

Of the

a

Psalterion

Magadis aulas, a

kind, 279.

double

pipe, one

tube

to

play

an

Octave

below

the

other,

16.

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

Majoe

Greek musical

of five notes

Chromatic, laws

of

in the

xxii. the

Greek

definitions,142". 305.

Octave, first found

hymn

in

time, xxii., 176.

a

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

roots, 191.

(Rev J. P. ) Thanks to, xxxviii. Malahon, soft,with relaxed tuning, 129, 131, 131". at the end, 67. the Egyptian name for a pipe, or flute,blown 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

Mabcellinus

EXPLANATORY

INDEX.

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

and

a

the

,

The

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

212". Measure the Medals

of error,

cause

struck

xxxvii.

Its Greek

of successful

in honour

competitors in

organ

but

playing, 361

to

364.

(Charles),Cakul Mmkal, 240". 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 have read Aristotle's scales,132. Reasons, 130. Mebeens

Problems

On

158.

Dewm,

Added

132.

Music,

on

Kircher's

Greek

musical

Melodia

and

rhythm,

in

music, 16.

A

to

the

Te

22".

errors,

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

Mbister

notes

lower

voice

the

part

voice, as

in

much

speech,

as

an

in

upper,

87. and

MelopOiia,ascent

descent

of the

voice, either gradually or by intervals,

89, 90. Melos, the undulation

of

rising and

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 it combines

voice, music, and

hymns, 161, Mesodmes,

or

162.

supposed

Mbsodmedes,

177. Meson, tetrachord

of the

middle

author

of

Hymn

Nemesis, 173,

to

strings,extending upwards

to the

note, key-

95.

Mesopyhnoi, or

the

lowest

Enharmonic

Metabole, Mutation one

from

mode

or

Diatonic

stringbut

one

in each

tetrachord

or

key

Modulation, 103. into

Chromatic

If of

pitch{katatontm), change from

another, 85.

to Chromatic

or

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

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 from

of the

scale, 144''.

to

If of amative the

style {kata to

martial

octave, 179".

GLOSSARIAL

Mkrologus Milton, Minor

of

Omithoparcus, iv. pronunciation of Latin, 391.

the

on

Scales

with

Minor

XX.

Ixxi

INDEX.

EXPLANATOBY

AND

minor

Sevenths Fourth

scales without

the

the

are

Seventh

or

scales of the

Diatonic

of the

are

scale, xxii.

Chromatic

ancients,

Common

Genus,

scales

Minor

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 the

a,

"

modes," never

was

Plato

says

than

more

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

hence

;

a

and

their

Dorian, Phrygian, their characteristics,99.

of

box-cylinder

the

Modiolus,

condensing syringe

"

for

the

hydraulic

352.

organ,

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

Modulation both

to

also

Metahole.

Monaulos,

a

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

Greek

without

end

Monday

of

Concerts,

Popular

MoNOCHORD,

made

a

a

Used

272.

pipe

xli.

one-stringedinstrument, much length which yield the various

a

of

used

for

sounds

measuring the proportions an Octave, v.

within

,

73, 75. Monotone,

employed, literally

never

on

of the

account

different

sounds

of

vowels, 27. 240.

MONTEVERDB, Moses Mousike.

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

song

with

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

and

numbers,

over

which

learning, 145*.

encyclopsediaof 16.

The

mental

the

Music

Chios

three

hymns, 159. presided,xliii.

Muses

Included

all that

trainingof

reading music given both for accompanying with poems, and plectrum, 37*. hand one at

for

from hands

Miriam, 11,

a

young

Included Music

related

to

Greek,

16.

book, for upon

in Note.

the

the

sounds Prizes

rhapsodizing epic strings,and with

perfectionof art,and of greater A new than any other, xlvi. influence pleasure to Ufe, and the taste The rewards of A remedy xlvi. 224. superiorcultivation, dies, never Unwise minds and for insanity,xlvii. 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

most

originalof

all arts,xlv.

The

Ixxii

GLOSSAEIAL

Musical

AND

INDEX.

EXPLANATORY

Antiquarian

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

Musical

'

the

"

Instruments

licence

takeh

Asiatic i'

Crowned

victors, 362, 363.

Musical

"

World

Musicians.

Three

(A

Mystakos,

laurel, 338.

their

of

much 253.

poetical Chieflyof

origin,303.

Musical

Myrtle

with

with

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

emblems

rules in science, 198.

necessary

of),held-by rhapsodistswhile

branch on

(The), periodical,304*.

the emblem

Ndbla

(The Greek), 61.

Nares

(Latin),the

of the

The

recitingjSlschylus,385".

lotus,301.

various

of,301.

accounts

perforationsin the registertable which pipes,355. Airs, xli.,xlii. sound, xxix., xxx., 186, 212, 213,

admit

air to the

orifices of organ National

English

Nature's

laws

of

(the Hebrew

Nebel

Nefer,

instrument), 61. musical

Nebuchadnezzar's

instruments, xix.

Egyptian lute, two

or

One

61, 62, 106.

214.

with

a

Octaves carved

on

259. ,

each

head,

like

string,2, 43, 44, 45, 49, 50, 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,

Nemesis

Nero,

the

361, 362.

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

Nete, the shortest

as

the

the

NIth, Neumes

382. Newton NicoMACHUS.

See

the last, 36.

Greeks, 2, 58. pitch, 185,

definite

Pnev/mata.

(SirIsaac),106. Treatise

on

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

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

306".

(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 College,Oxford, discovered (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, A to Pythagoras, 118. 185. Much very early practice,attributed 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), Nile

Nineveh

GLOSSARIAL

Octave

System

AND

explanation by Philolaoa, 78. perfectsystem, 79^

The

Diflference between

Called and

seven

76.

Harmonia,

The

earliest

79.

Two

eight stringedsystems

Greek

octaves

a

exhibited,

and the modem as to the position The key-note, 84, 112, 113. Difficultycleared 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,34, 147. attributes to him the invention 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. 81.

'

a

Greek

Ixxiii

INDEX.

Egyptian, 60, 71,

Music,

of

EXPLANATORY

Octave

of the

before

324

a.d., 369.

'

clever

oi the

or proplietes priest,371. 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 lightnessof 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 the water The air-compresser,with bubbling, not unlike 334 to 337.

Oracle

inverted

an

the a

answer

indefinite

The

Organ.

the

Delphi,

at

cauldron, and

water

to boil, 337.

altar, and

round

hence

the

The

called water

air-condenser

cortina, 337. held like

in

a

Error

of supposing

receiver

its fire

shaped like extinguisher,337.

Why the Harleian manuscript diagrams of this organ, 338. The action of 340. valve, 341, 350. Improved diagram selected,339, 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. in

Defects

tests ConHydraulic organ on an ancient gem, 363. reign,361. And medals The soul struck, 362. of organistsupon, 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.

in Nero's

size, 367. Organ

Pipes, differingin shape also difl'erin tone, xxxiii.,234. of air, sound pipes,by doubling the length of the column

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. Width

metal the

as

well

fall of the

lowers

Organs reed, 376. Empire, 377, 378.

as

of

Organikoi,instrumentalists,

123".

fell into

disuse

at Rome

after

Ixxiv

aLOSSARIAL

Organists

crowned

with

Medals

struck

SSI*.

organists,362, Organs

Ornithoparcus Orpheus.

and

due of his

reverentlyby

gems

engraved

to

the

ancients, the

commemorate

derived

from

Egypt through Greece,

best

xvi.

of music,

lyre,49.

for

misnomer

a

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

to his

(Rev. Sir P. A. of his experiments

Overtones,

Treated

laurel,338.

Ettropb

Fame

-One

INDEX.

(Andreas), iv.

Fable

OusBLEY

EXPLANATORY

363.

Modern

of

32.

AND

243.

xxx.,

in science, 251.

harmonics, xxxiii.

See

Harmonics.

Ovid, 276, 290i:,401*. University

Oxford

of Greek

Graduates

were

the

greatestpromoters

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

Paeans,

study

musical

Chromatic

or

choral

songs

Pipe.

See

Pandean

of the

Apollo

in each

tetraohord

of

scale, 144''.

Enharmonic

to

293.

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 Parhypate, next to the lowest ; i.e.,the longest stringbut one in either of 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. Pelex, a kind of psaltery,302. than Pentatonic,xxii. Pentaphonic, of five-note scale, a less equivocal name Genus Greek Common had but five notes of the minor The scale,and enharmonic Greek also in minor the was a essentiallypentapMnic, the two but grace-notes,xx., 122. scale, because quarter-toneswere 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,

Pandura,

or

or

,

Society, xli.

Percy

of the

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

Perfect

minor

Ph^nias,

Phandwa,

System

key, 97.

the a

148. Peripatetic,

monochord, 74.

GLOSSARIAL

AND

EXPLANATORY

Ixxv

INDEX.

Philo

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 of from whom other scientific subjects,the elasticity he learnt,among air, 328.

BelopoMka,

His

328.

Philostbatus, xxvii". Ph(enicians, With

i.

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

with

Lyres

double

horns

268. 298.

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

the

Phrasing

in Greek

Pheygian

Mode.

only

Originallycharacterized of

minor

E

with

Pipes.

Of

Therefore, probably

278.

Sometimes

Pheynichds,

form

organ,

Seventh,

Greek

on

hautboy,

posed trans-

double

or

lamentation,

reed

principle,

to

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

discovered

an

the most

produce proportions of

science, how the

measure

of

from

the

scale, xvi.

College,Oxford,

musical

will, and

string at

great

Therefore

character, for wailing,or the

Diatonic

of Wadham

of all true

element

A

99, 112.

pitch, 109.

double

the

(Thomas),

to

which

into

organ,

the

necessary

harmonics

from

the

string

ends

of the

a

which

pipes

13, 101, 158.

Pindar, an

key,

organ

and

Flutes.

342. The

reed

or

four

principlesupon The

pipes,260.

oaten

Curious

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

doubled

lower

by

than

open,

its return, 241.

all,except

which All

made, 260, 263, 270, 273.

pipe or Syrinx, are

an

minor

a

words, but afterwards

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

Pianofortes.

Pipes

generalname

the

113.

feminine

a

277.

Pipes

under

the

by

at its true

ordinary lungs upon by Claudius Ptolemy,

Phkygian

Pinna,

included

was

Compositions,172.

key

the

strain

PiGOT

and

mouth-hole,

Plagkados, 311'*.

various

pipes, 269,

derived

bec"(use

the

Difference

from

Pan's

herds' shep-

employed, 267-

materials 280.

Stopped pipes

width, 214, 277.

extra

the

length of of shape

the

column

of air is

difference

causes

of

tone, xxxiii.

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

Pipes "

married

"

piping

when

one

was

an

277. Pitch

Pipe,

used

by

Roman

orators,

395.

320.

Octave

Double lower

pipes called than the other,

Ixxvi Pitch

AND

GLOSSARIAL

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, scale,as 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.

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 fiftyyears ago, 109. at the side, like the Sebi of Egypt, the PlagioMhs. Any flute blown of Greece, and the Photinx of Syria and Tibia Tibia or vasea, Reason for 273. of the the and Romans, 67, obliqua greater power briUiaijcyof this flute,270. See lytotinx,above. Plain Chant, or Plain Song, hpw derived, 162. Planets. of the Pythagoreai^, Saturn, Jupiter,Mars, the Sun, Tljteseven 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 standard

distance, 36, 37.

Plato, 11^,12, 41. IijEgsrpt,48. The twenty-eigljtsounds, 5,0.On identity of Neth and Athene, 58. Greeks Egyptian laws for njusic,70. 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, Does

singers,110. Defective

A

the

Plectbum

to in

passage

education, 146.

in

license

A

(The). in

Also

one

his

genus,

126, 148.

Two

RepuhUc

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

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 pipe or flageolet,271. Exemplified on the lyre, 43,

of

stick to twitch

the notch

music

translations, 143, 144".

recommended On

limit

not

of Diatonic, 128,

kinds

=""

55, 56.

PUnthis, the sjiderof Pliny, 268, 269%

an

organ,

355.

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

Plutabch.

proportionsof

Musical

the

41. Chromatic seasons, scale,51. Shrine Olympus, 51, 123, 239. at of Pythagoreans, 75, 79. The universe Memphis, 68. Doctrine stituted conOn Greek the principlesof music, 77. 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.

Enharmonic

scale

attributed

excitement

caused

of by wine, 147. Thirds 147. flattened harmony, tones Lyrists ! they obtained the harmonic the fore-fingerstrings (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.

and

Allays

to

quarter-tonesunsuitable

for

GLOSSARIAL

to, 190.

Derives

Deity,"189. an

AND

On

EXPLANATORY

theatre from the

theorem,

"to

look

Egyptian mstrum, 287,

Octave-playinginstrument, 310,

Ixxvji

INDEX.

403*.

288.

Pitch

at,''and On

pipe

Theos, "the

the Psalmos for the

as

Roman

orator, Caius

Gracchus, 395. for rhapsodizing or marks recitation,185, 382. (breathings), Musical notation by pnewmata, or newmes, 382. Pnigeus, the air-oompresserof an hydraulicorgan, shaped like an inverted 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

Pnevmiata

harmonic

notes, xxix., 243.

PoUaplasioi,multipleratios,as 2, 4, 8 ; or 3, 9, 27, p. 206. Pollux (Julius). Onomastihon, xxvi., 74, 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.

or

musical instruments, 257. among the Pythagorean, 105.

Pbioeity Peoclus

the Theban flute player,58. Proachorda, unison strings,12, 13, 143, 144. Proslambanomenos, the lowest note in a scale,the Octave in any tetraohord,97, 104, 105. not included Pronomus

See Accents, and

Prosodiai. Peotaooeides

of

see

below

the

note, key-

Pneumata.

CyziouSj74, 272.

Peynne

(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. Psakitos,a 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. Sarcophagusof his daughter in the British Museum, PSAMMETICHUS 64. PscUterion,

Psellus,

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

Ptolemy

astronomical

On

syntonon, 131.

Twits

the

His

"

even

Pythagoreans, 206.

Diatonic Inventor

"

scale almost of the modern

a

true

one,

201.

scale (his dia-

./2

Ixxviii GLOSSARIAL tonon

syntonon,

that

DidymuB, 209. (The), enemies

Hence

the

compared with On pyknotes,402. Its defects,210, 211. it because induced cheerfuhiess,xlv. to music

tightlystrung Diatonic),which

or

of

Puritans

greatercultivation

delicate organ

INDEX.

EXPLANATORY

AND

of the

eye

in

is

England

of the

than

more

ear, xlvi.

the

of a tetrathree strings when the lowest Pyknotes (closenessof intervals), 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. supposed discoveries,76. 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, Pythagorean

Doctrines, 6, 193. Diesis,or limma, 194. Tetrachord, 199. Superparticularratios,202, 206. Apotome, 202. Comma, 203. Schisma, 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. The pipe PytJtauloslike the clarionet, 265, 277Pythian name, 264. See Bikims. Pyxos, boxwood. Quarterly Journal QuAKTEB-ToNBS

of Science,188, in Note. of harmony, grace-notes,insusceptible

mere

xx.,

125, 126,

147. 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

Aristides.

scale,240. (Caricatureof),xx., 399, 400. Beading ancientlygiven,37'. Music, a subjectfor which prizeswere for a new Reasons history,i. 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

Rameau,

on

Ramesbs

III.

Pegula, the

slider of

organ,

355.

produce (Helmholtz's)

Besonators See Sound

244. in

experimented upon experiment,249. Objectionto

Much

stone's

their

own

sound, like

a

shell,xxxi.

in Index.

ToNES, xxxiv, 224, 225,

BB.SULTANT

247.

an

hold

xxxiv., 247-8.

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

name

of "Difference

Tones,"

GLOSSARIAL

AND

EXPLANATORY

Ixxix

INDEX.

Rhapsodizing

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

breathings,185, 383, Rhythm

mdos

384.

of),89.

(The rhythm, 163, 172.

the

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

Rhythm

Consonance

Musical Also

sultant Re-

Tones, 224, 225. RiccATi, 236. RiMBAULT

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

Romans.

the

No

rest, 5.

of science organ, Medals

improved unprofitableart, 379.

of

or

Ammianus

367.

system, and

Roman

MarceUinus

music, Great

struck

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

those

lovers

no

of the

hydraulic

costlyinstruments, playing, some organ

of

RoSELLiNi's

understand

not

Romans

admirers

the

upon

did

9.

380.

379, xliii.,

words, vii.,xxv.,

368. of

extant, 362.

.

Rousseau

201, and

of the

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

Royal

la note

"

about

the

minor

scale,

sensible," 239.

of

explained,198, 199, 200 measurements calculating subject to

harmonic

the

or

real

musician,

how

to

(but

useful

198.

compare,

Logarithms a

242.

only

in

How

198.

very

music

add

to The

threii of

simple way they

where

arc

scale),243.

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

One

298.

SambiuMS,

of four elder

an

strings,255,

298.

tree, 256.

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

strewed

Saturn's

upon

in the

Position

''

"

called semitone

and

Hypos

of the

ancients, 115. in

an

ancient

Octave

The

of old

majors arose only seven tuned, 118,

out

The

Greek

Our

Octave

modem scale

reputed proportionaof

on

scale the

every the

scales among Seven

notes

52, 196,208. from

lyre, 193.

two

How

different

Two-ootave

present scale (I E sharp and wants

our

It

a

minors, 25.

planets known,

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

scale upon

Our

scales were

scale,194.

had

complete major

because

roots, 191, 210.

Greeks

Hypers, 24, 103. No Octave, 24, 103.

demur the

to true

Ixxx Scale

GLOSS

AEIAL

(The minor), the Nature the

true

key-note

supposed SCAIIGEE

most

ancient

be

merely

it to

proves

of

scale,but a

scale

minor

See

212.

one,

a

INDEX.

EXPLANATORY

AND

true

major scale with a being a major Third

intervals

the

not

of the

harmonic

to

Nature, 201".

wrong lower

key-note; than

the

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 (Gottlob),editor of Vitruvius,332. Scotch used by Egyptians and Greeks, xxii. Scale (The so-called), aeries,xlii. Seriptoresde Mvsica veterwm, nova smaU 278. Scytalice, pipes, Scythian made of eagles'or vultures' leg-bones,268. Pipes, or flutes, for a flute blown at the side, 67. Seba, or Sebi,the Egyptian name Seldbn. Assistance him to Jtfeibom's given by 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

Sescuplex,sixfold

of the ; an

Nile, 39^.

error

for

sesquiplexin printed copiesof Quintilian,

390.

Sesquiexplained,388, 389. ratio Sesquialtera(Greek Jiemiolios), 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 Sesquitertius, supertertius(Greek epitritos), 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 scales,xx. A minor xxi. Seventh A good reason, in the Greek Diatonic scale,25. in Shunned all A 125. ears by susceptible disagreeablesound ages, without harmony, xxi. Seventh in modern times for the minor because (The major) substituted and false in a note a scale,xxi.,25. so disagreeable 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'

Pipes, made

of reed

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 260.

of the four

GLOSSARIAti

SiSTEUM,

Egyptian

an

frame

of

in order

bronze,to

to the

SUndapsos, a Smith

sixteenth

barbarian

(Dr. W.). Oreek

Society Solon

wnd

SoNO

metal

cross-bars

within

a

Temples, by a jerk from the hand, spiritTyphon, 286. Used by Abyssinian And 290. in Italy at childbirth spirits,

evU

century, 290". and

strings,302. Biography, SS"",326.

of four

Eomom

364. Antiquities,

Latin

Dictionary of

Dictionary,362.

(The), 215.

Egypt,

and

Oreeh

of

in the

evil

instrument

Roman

Aets

op

in

the

Ixxxi

INDEX.

rattle, made

be shaken

away drive away

to

EXPLANATORY

sacred

to drive

Christians down

AND

48.

Dance

to Vulcan

(Ptah),63. Sopatee, 300, 301, 305^ Sophocles, xxvi., 13, 272", 278, 301. Sound

not

in the

succession of the

of

air when

windings Sounds

atmosphere, but air-waves, 188.

of

concentrated

Which and

the

brain

heard

are

intermixed

in

produced by

seeming

in the hard

and

and

for

too grave

our

ears,

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

Stephani

Thesaurus, xxiv*.

Stbabo.

Quotation

Division

Sambuca,

the

gods, 267.

the i.

Terpander, 30^

from

Pythagoras,48. On

Resultant

147.

Mode,

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

296"'.

polished

77, 244.

SoKOE

Spond^an

a

stillness

shell, 233.

a

too acute

effect upon

an

of the

year

On

by

the

the

On

ChaldsSanS, 41.

sun,

48*.

On

the

lyre,

298.

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

Suetonius,

a

Fourth

361s

above, 210, 217.

Sei^.

SuiDAS, xxiv*.,93. Summvs as

Sun

imus, doubts

and

of the

learned

caused

by

the

blunder

of Boethius

to nete and

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.

(The),centre

SuPEBPAETiouLAR

205, 218.

of the

out, 207. for a Fourth, 46, 78. SyllabS,the old Greek name of notes Concord 11'. concord, Symphmia, meaning Euclid's

pitch,16.

definition,136".

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

of different

95.

61".

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

95.

Ixxxii

GLOSSARIAL

INDEX.

EXPLANATORY

AND

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, TaaAs, a mode or scale,102. of strings, into the vibrations Taylok (Dr. Brook), analyticalresearches 236. Te

Dewm,

laudamm,

Hawkins

to be ancient

Tebhen

the

printed by Meibom, are

Greek

making,

of Meibom's

notes

supposed by

158.

of),65, 66.

(Tomb Teleion,perfect,referringto the two-octave 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

hydraulic organ;

364.

The

organ

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

two

a

the

notes, 31.

in

Egypt, 48, Theban of the thigh bone of a fawn, and covered pipes or flutes,made 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. string,XXX. 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 (Diminished minor, or seventh part of a string),xxxi. Third

(Minimum

minor,

or

eighthpart of 39, 42.

a

string),xxxi.

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

Thoth,

the

GLOSSARIAL

Tibia

the

AND

EXPLANATOEY

Ixxxii!

INDEX.

Tibia

obliqua,273. 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,

which

same

Fifth

as

overlapsa Fourth,

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. of

a

stringabove

a

Translators

that

of Greek to make

Transposition

of the

119.

whole

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

musical

Latin, so (Greek) to

into

terms

Latin

Metabole. Transtillmn

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, .

lyre of Pythagoras (fabulous),299.

Tripod

Trite, third

stringfrom

the

top

in the

two

treble

tetraohords

of the

lyre,

81, 97.

Tritemorion,the Tritone,

third

discord

a

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

part of

of three

a

paraphoni;

148. on Troqlodytai, borderers 74. wood, Tromba Marina, a sillyilame deceived by it,283.

Tropoi, Greek modes See Trumpet.

and

the

Red

Sea,

given to

a mere

keys, 99,

our

102.

who

made

monochord, See

of laurel

instruments

283.

Dr.

Barney

Modes.

Tuba.

depends

All power

Trumpet.

upon

the

bell end, if with

a

bell to slide off,

be

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 tubes

produce

than

short, 282.

Some

Egyptian, only 18 key-note. Octave, and Fifth, so rather horns, But the Egyptians had others four feet,and still longer speaking 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, inches,

can

118, 119. "or

Tuscan

notes

more

have

How

had

to

but

tune

so

as

to

prove

the

discord

of ancient

Thirds

Ditones, 119. on

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. Twining

Ixxxiv Usher

GLOSSAEIAL

INDEX.

EXPLANATORY

AND

Manuscript

(Archbishop). Chronology,61^

of Greek

hymns,

156.

Utriculanus, a bagpiper, 351*.

Vakeo

De

He

Vertiada, a

rustica,56^ The

French

353. to and

count

of air until the

vibration

no

Vincent

pin, 352,

centre

ViBBATiONS.

(A. J.) on

Greek

a

return 54.

vase,

fro

as

of the His

vibrations,but string,216*.

there

two

to

answer

is

FitiSj 141".

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,

5.

disan/mina

258"=,290=.

On

the

difference

between

notes

and

organum

machina,

tions Transla-

327*.

and by Gwilt, 349. A diagram hydraulic organ by Newton of his organ, 350, and translation seems sary, necesWhy a new amplified The 349, 350. translation,351. 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

351*.

Hawkins,

distinguishedfrom

VowBLS

Scale

Latin, 53''.

of

Vocals

pronounbing Latin ridiculed in England, 391. sufferance long the

sound of

Vulcan

vowel

one

produced, by Milton, and

Wallis

to the science and

to

in

Whately

world

music,

the made

the

measure

the

in which

collection

of Claudius

Ptolemy,

discovery,which at

in

Greek

381*.

The

or

English for

feason

we

in

have

its

twisted

39lj 392.

Meibom's

is the

of Greek 201.

a

authors

First

foundation

Oxford, of how

proportionson

Poetoe Latini

Wbrnsdort', Westbrn

edition

His

way

not

63.

(Dr. John), completed

music, 157.

The

into another,

(The Egyptian), Ptah,

English,

How

of

way

in

only

vowels, 27.

to produce string,235, 236.

On

cated communiof all true

harmonics

at will

minores, 368.

(Recitationsof the),382. (Archbishop),quotation from, 143;

Ohuboh

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

Whbatstqnb

of

WiND-CHBST of the

man

an

ancient

who

the pressure the bellows, xviii.

pneumatic organ,

stood upon

equal to

the

weight

GLOSSARIAL

Wire

stringa

unused

both

at

or

EXPLANATORY

AND

ends,

them,

the

by

and

291,

for

Egyptians

by

Assyrians

by

But

309.

ancients,

used

were

IxXXV

INDEX.

be

to

struck

wire harmonic in

fixed

rods,

at

sounds

dulcimer

by

one,

ing pull-

fashion,

290,

291. Weight

(W.

xxxviii.

to,

261.

Xbnophom-,

Ybab

Thanks

Aldis).

divided

(The)

YouNU

(Dr.

Young

(Patrick),

Young

(Dr.

Zugon

Latin the

to

pipes,

true

into

Egyptians,

48.

vibrations

of

the

by

rendered

theory

Homeric

of

him

Eesultaut

to

strings,

236.

Meibom's

work,

157.

247.

Tones,

384".

poems,

269. the

TranstUlwm), upper

the

by

assistance his

Thomas),

double

(in which

great

accents

days

365 researches

Matthew),

Zbnodotus,

Zeugitce,

into

ends

of

the

yoke,

strings

or

were

upper

cross-bar

attached,

306.

of

a

lyre,

to

EXPLANATION

OF

THE

WOODCUTS

AND

OTHER

ILLUSTRATIONS.

1.

Egyptian

ladies

who

conquered

Egypt

the

"

Israelites

second has

3.

lith

lady her

escape

of

ivory

u,

playing

the

nefer,

a

The

her

the

fifth

plays

painting,

upon

now

f axe

Frontispiece.

in

of

the

the

British

by

lute

the

fourth

and

strap

a

for

are

the

"Egypt"

Wilkinson's

From

the

lute, supported front

nefers,

strings; ;

and

original

To

or

in

holes

sound.

hands

of Egypt.

dynasty

neck.

with

the

put

play

the

of

out

have

to

of

Thebes,

at

them

divisions

the

Pharaohs

ladies

mouthpieces,

"From tomb

drove

third

"

43 ...

dancer

Egyptian

playing

lute, and

the

instead

instrument,

the

to

from

time

those

supposed

and

mark

of

and

are

first

beats

tambourine.

Mtisewn.

round

and

with

pipes

taken

Egyptian

who

to

date

Kings

The

frets

sings,

of

plaster,

2.

have

the

at

Shepherd

bondage.

which

double

music

Pharaohs

same

lady

kind

a

the

into

lutes,

or

in

engaged

of

using

plectrum,

a

From

fingers.

the

"

attached

Wilkinson's 43

4.

Greek

worship

Two

priests play

fingers Two

An

at

626,

bridge, is

does

exhibit

instrument

of

Two

the

it

in

the

nefer,

a

shows

two

the

to

which

strings

lute."

or

the

were

^roro

bridge

they

vase.

"

were

of

for

Egypt

2

to

Lepsius's

attached,

as

former of

well

the

string,

the

1, if it is to

"

56 ...

for

the

strings, as

the

word One

"Denkmaler."

of the

support

of

name

the

of

hieroglyphic

the

double-

bridge

or

length

proportion

of

examples

bar

the

up

the

because

one,

The

Wilkinson's

From

earliest

the

tail-piece which

third

of the

derives

preceding

"

"good"" of

divide

Octaves.

produce 6.

to

the

example

This

instrument

the

one

other.

Oreek

a

the

55

proportions.

be

at the

i'Vom

pipes."

m,agadis.

to

lyres, using

plectrum

the

manner.

Berlin

which

true

must

order

in

from

Egyptian

the

cross-barred

and

double

on

the

on

or

strings,

at

preferable

magadis, not

the

Museum

the

player

Egyptian acting

of

priests play in

after

(Minerva) magadides,

on

end

one

other

No. 6.

Athene

of

and

pegs

the upon .62

turned ....

Ixxxviii

ILLUSTEATIONS.

OF

LIST

PAGE

NO.

7. Song and

dance

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

God

to the

Ptah

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

"

u,

.

8. The

musical

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

establishment from

copied

Tebhen,

63 .

a

an

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

Great

Second

of the the

"

65 Lepsius's An ancient bas-relief, showing a girlplaying on the ^o%pAi^i")"fl'OJi, Asiatic or many-stiinged lyre,whUe 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, "

9.

Denlcmdler"

"

"

.

10.

musical

notes, vrith

same

11.

Music

of

a

Greek

12.

Music

of

a

Greek

13.

Continuation

a

clue

notes, with

in modem

the

to

Greek

; and

notation

dififerent

two

,

the

accompamn(e^ts

.

168-170 174

hymn to Apollo hymn to Nemesis, with to Nemesis, the hymn ......

of

accompaniment found only in

an as

179 .

one

182

manuscript 14.

figures described

of the

Wood-cut

surface, when

by Eifth,

the

Octave,

the

sand

a

upon

vibrating

Fourth,

the

or

are

sounded 15.

188

science

musical 16.

scale of Nature

musical

The

reeds

double

and

one

only

sound

basis for all

217

hautboys, showing

Koman

Ancient

the

"

for the

mouth.

their conical

From

"

a

tubes

painting in

and

their

the British 263

Museum,

17. A

18.

A

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,and to support the ends to prevent capistrv/m, of the

distention 19.

pipes-with

Double

includes 20.

A

21.

The

an

Icenm, or

shell-like horn, the

inserted

emblematic

emblematic

pipes as

Roman

280

peculiarplugs

probably

and

now,

cheeks in them.

Inexplicable

fancy-picture.Plutarch

instruments,as well as lyres early form of the hucdna .

horn, curved

lUuMS,or

at the

end

like

the

280 .

.

An

23.

An

285

or rattle,to Egyptian sist/ru/m,

and

bearing the

emblem

Assyrian player

on

of the a

drive

away

the

evil

spirit,

cat

288

sort of dulcimer.

"

From

a

sculptwrein

the British Musevm 24.

with Terpsichore, di Ercolano

284

augural

stafi' 22.

269

291 an

...

emblematic

lyre. Copied from "

"Antichitd 207

LIST

OF

Ixxxix

ILLUSTRATIONS.

NO.

25.

PASE

A

Etruscan

peculiar

piece, tail-

lyre,having sound-holes, bridge, and

like the violin.

Sir

From

"

Hamilton's"

William,

Etruscan

Antiquities".......... 26.

Erato

with

her

doubtless

27.

A

harp,

298 Etruscan

an represented on not a practicableinstrument

as

emblematic

an

lute, with

true

head

receding Apollo upon an

of

vase

;

and

and

ancient

ribbed gem.

back, in

a

tation represen-

Copied from

"

300 .

"Oemme

Antiche" 28.

302 their

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

manyFrom

"

29.

with

Erato

306

"Antichita

upright ten-stringed psaltery."^rom

an

diErcolano" 30.

.308 of the

Exemplifications its

originalbow shape to that the sake pf having short

for

Wilkinson's

Harper's Tomb, 31.

transitions

Egyptian

triaijgular harp "Egypt"

pf the

of the

Egyptian harp

trigon

triangular form, the angle. From

qi

strings in the "Egypt"

with

from

"

314, 315

....

From

strings.

twenty-one

"

Wilkinson's 32.

Blind

Egyptian nefer,

pr

with

lute, which

has

"

33.

Representation key-aotipn

The

35.

Diagram

of

Hydraulic

carved

a

orgaji.

in

human

head

a

with the

at

320 From

organ

of the

one

"

organ

Viribus

et

From

From

"

Isaac

Vossius's

"De

Shythmi the

bearing

350 Soman

ancient

an

oho

341

organ

gem,

initials

in

now

of the victor

the

in

a

363

Egyptian smithy, showing Wilkinson's "Egypt" pneumatic

use.

of

of the

and

Simbault

kind

of beUows

used 370

organ

4th

Theodosius, showing the

Copied from

"

earliest

"

Obelisk

the

third

of organists

for organs. Roman

with

one

a

340

hydraulic

the

37. An

concert,

pipes, and

hydraulic

hydrauUc

Museum,

contest

39.

Greek

of the

Oaniu

British

38.

double

Lepsius's DenkmMer

of the

the

Poematum 36.

in

Manuscripts

Harleian 34.

a

From

extrenjity.

playing

second

splendid harp, a

319

musicians

Mr.

E.

J.

century, as represented on the Eg3rptian bellpws still the

"History of

Organ

"

by

Dr.

Hopkins B.C.

Assyrian harp, 7th century

373

From

"

sculpturein

a

the British

Musemn, 40.

an

392

of

Flute

ancient

marble

42.

Egyptian

caricature

plays

the

III.

From

"

of

first part,

as

the Turin

Museum,

"

known

as

projecting mouthpiece.

a

British

Museum,

Frmn

"

found

in the

Lanuvium

Quartet

a

lion.

394 in

Concert, This

to

which

intended

was

Satiric

Mahaffy's "ProlegoTnena a cymbals. From

Ancient

a

in the

statue

the ancievi

Civitd, Lavinia, 41.

with

peculiar kind,

a

Papyrus, through Ancient History"

marble

the Bondini

statue

of

a

Faun ....

the

King

for Rameses the Rev.

Satyr

.

J. P. .

.

399

in the British 404

THE

HISTORY

OF

CHAPTEE first firm

The

footing

discoveries.

recent

The

subject. "

form.

The

"

latest

harmony.

for

Standard

Pitch.'

The

the

here

been

more

No

evidence

"

of music

system

system. "

love

of

difficulties

^New of

Octave

ancient

any

both

intelligible

made

in

and

has

Dr.

an

superstructure of

The

discoveries

that

Babylon, withia passed, since Sir John

and

now

Bumey

revealed

ancient

Egypt

a

the

raised.

been

century that

in most

from

music.

which

upon

has

art

Music, have

that

Greek

"

difficult

it in its oldest

Mediaeval

Greek "

a

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

from

removed

foundation

Hawkins

and

The

basis for

the

be

to

seems

modern have

Greek

The

convenient

most

music

the

readers.

found

portionof

terms.

not

been

opened by

explicable.

and

are

"

Greek

has

one "

field

new

music

writers.

Tones

German

The

"

adopted but

misapplied

prepared

history.

Roman

Church

"

I.

Greek

Why

"

Romans

of

Examples

for

MUSIC.

in

wrote

advanced

times, which

was

their

Histories of the

state

before

of art

unknown

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

unsuspected.

ancient

There

is

no

civilization than

Greece.

The

musical B

2

THE

instruments even

to

the

HISTORY

of the

OP

Greeks

hitherto

may unobserved

MUSIC.

be traced

Magadis, or

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

on

the

the

death

modern

number

of

Adonis.

hautboy

of notes

claim

From

Egypt, Octave

the

little

and

to

for

lamentations

that

its descent.

ia the combined

in

Greek

pipe The

must

total

scales agrees the Egyptian

of preciselywith the enumeration The writers. system, as revealed to us by Greek worship of Athena, or Minerva, who' correspondsto 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 "

"

RECENT

a

neck, which

a

scale for itself

3

DISCOVERIES.

is from

the

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

two

times

Another

is the point worthy of observation between the practical agreement and generalidentity 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

Octave, by Plutarch, and

Chaldeean that of the

reputed Diatessaron,or musical interval of a Fourth, in the Babylonianplanetary system, by Dion Cassius, they should suffice to estabUsh the identityof the musical systems of Assyriaand Egypt. When examined by this new light,the musical 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

to many

as

of the inventions

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

will be

to

establish,that

"this

dark

backward

in

other

way the

no

scale on

(ason A), than

called

the

and

from

abysm

modern

long keys

in the

of

manner

Thirds, (asfrom A

to

of the

notes

of

notes

scale in

time," differed of the

minor

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

b2

4

THE

MUSIC.

OF

HISTORY

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

but

be

have may music before

the

technicalities

ancient

cleared away, successfully whole subjectof this most

can

reader

the

ancient

This will be here attempted. eye. Boeckh has remarked, in his Metres of

his

mind's

that

"the

music

neglectedby in

of

the students

oblivion."*

It is

disinterred.

be

remain

It

complexitieshave

has

with

the

onward been

First, it presented because Greek

indeed

been

is buried it should

allowed

to

ages, and its to increase than to

system, and about

the

of

progress various.

The

time.

the Romans to difficulty adopted but one portion of the

had

they

rather

seemed

for this have

reasons

but antiquity, quite time that of

now

merely

is not

ancients

unrav^lled puzzlefor many

an

decrease

the

Pindar,

a

did

not

themselves

trouble

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

system when

constructed

were

to

so

described

obscure li

and

within

'Veterum

to

musica

the

theatres

musical

modo

Jiegligiturab antiquitatisstudiosis, Bed oblivione sepulta est." (De Metria PindaH, lib. iii., c. 7, p. 204.) "

to

echo

vases

that

sound,

literature

and subject,"

non

metal

the voices of the actors.

Greek

difficult

Cicero

about

wrote

give resonance

then

"

remainder.

much over-

'

"

one

Quantum

that

as

could

and He "an not

Aristoxeniingenium

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

"

ROMAN

be

WKITEBS

5

MUSIC.

ON

resortingto Greek words, for 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

Roman

authors, but it will of the latest writers

to two

on

Their the

works

music

exercised of the

the

middle

suffice to

now

the old

under

pass

empire.

greatest influence These

ages.

upon Cassio-

were

dorus

and

sixth

century, in the reign of Theodoric, the Ostro-

Boethius, who

the

cotemporariesin

were

-

Goth. Cassiodorus

was

Christian

a

liberal arts

and generally,

treatise

mixsic.

Greek

to

music

viz.,the

He

that had

our

and

the

has

or

been

Fourth a {i.e., For

*

fixed he

example,

sounds

forgot

of

that

in

the the

the

as

when not

made

added

to

to

an

he

Fourth, the touches

good.

For

say, that Octave,)is est musioa

a

scale

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

grascse litterae

non

consonance,

litteratura

et difficilis; majdme

of

pound com-

instance,he an Eleventh,

autem

system,

Fifth,

upon

describingthe note

tones, semi-

the ratios of the

Grreek lowest

and

earlyPythagorean,or treatise is, so far, a good

it includes

But

intervals,it is says,

scale of tones

such

Octave.

a

in its

and

simple consonances,

but

the upon part of his

only the branch of adopted by the Romans,

been

His

brief summary,

wrote

included

but

own,

unimproved, state. and

devoted

ordinaryDiatonic

like

who

abscura

qnidem qnibus sunt

notse

volumus

:

every did not

si

etiam

exphcaie, necesse grsecisverbis nti, quod

their

nuUa

latinas

eorum

quam eat non-

habent

non

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

omitted

two

of the variable

notes

"

"

Greek

music, he

says

' '

:

"

Harmonica

6

THE

and be

HISTORY

that it is in the

to

it is not

consonance,

in the ratio of 24

not

Eleventh

an

for which

as

he

a

8*

and To

of 8 to 3.

8, but

to

consonance

a

(which -would

ratio of 24

1),whereas

3 to

as

MUSIC.

OF

a

was

common

treat error,

but respectableauthority,

had

is

for

not

mistakingits ratio. The the

elaborate

most

devoted five

of Boethius

work

of the

exclusivelyto

books, each

Institutione

{De

and treatises,

Roman

music.

subdivided

Musica) is

is divided

It into

one

into

twenty

some

or

thirtyheads, or chapters. The last book exists only 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

that the last twelve

to have

were

been

devoted

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

to

a

Claudius

Ptolemy. But the historical only,because

been his

calculations

system the

of musical

summary he had

alreadyformed

intervals

the antiquated

upon of the Pythagorean scale.

adopted scale

have

to

was

That

was

of the

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

upon his treatise.

Boethius, in have

paid

more

He

of music.

art

Cassiodorus,seems

contrast

to

attention

to the

was

an

able

science than

to to the

but felt arithmetician,

short of the attainments upon

the

necessary for a great writer Yet he exalted theory theory of music.

greatlyabove *

"Quarta, Diapason

tessarou, exratione ad

His practice.!"

octo

aonitibua

simul

et Dia-

symphonia est,quiB constat numerum

fit autem

:

undeoim.''

"

InstUvt. MvMcce, apud tores ^

xxivnumerus

quamhabet

acquaintancewith

ex

(Cassiodori

Eccles. de Mus.

"Quanto

scientia musicse

the

GerbertiaSmpi.

17.)

igiturprseolariorest in

rationis cognitione quaminopereefficiendi, atqueaotu!"

7

BOETHIUS.

evidentlyslight; practicalbranch of Hs subjectwas known not to have indeed, so slightthat he seems the correct for the stringsof the lyre. He names strLag, applied the title of lichanos,or fore-finger that

to two

have

Greek

that

not

in the work

of any stringswhich

name

author, and

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 acquaintancewith the Greek nomenclature."' extant

Boethius

should

be

general learning than He adopted Claudius of

combination is

a

as

as

a

remarkable

a

of

man

musician-

Ptolemy's theory, that

Octave

an

rather

ranked

with

Fourth

a

consonance,''against which

the

above

it,

the

Pythagoreans hereafter clearly

be and (aswiU 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 had

"

the

discovered

that

Octaves

of such

were

anvil.

an

upon

of

musical

consonances

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

and chapterof Book I.), that have taught Boethius

the tone

And

lichanos

again:

"

"Multo auctius

majus atque quisque faciat quam quod sciat ; etenim

enim

ipsum

est

quod

scire

efficere

artificium

cor-

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

In Inst. Mm.

i. 22, he

writes

of

of

a

sifnemmendn,

diezeugmenon,which treble

of

note, and

the were

plectrum. called

'

"

beU

and are

cannot

oi lichanos both

the

paranetes, Lichanos

i. 12.

Greeks

instead

is the

finger, fore-finger. or

Inst. Mus.

in the

lyre, above the key to be played by the

Therefore

them

lichanoses.

ing

Musicus.") "

consonances

blacksmith's

through passing a the hammers

law

"Uck-

of

a

HISTORY

THE

be

altered in

MUSIC,

OF

pitcliby changing

weiglitof

the

its

clapper. adopt the improvements either of Didymus or of Ptolemy in the musical scale,but retained the old Pythagorean system of major tones only,instead of alternatingmajor and minor tones. Hence all his intervals of Thirds (whether major Boethius

did

not

of concords. discords instead Thirds)were 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 invertingthe succession of tones, about a century, 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 minor

or

discords

concords, and,

into

Again, if Boethius had historyof Greek music, he dovni

added

man,

be

to

of

series

a

a

understood

contradictions

would

stringto in

the

literal

a

proving time, im-

same

versed

well

which

such

claims

this man,

adding

lyre- as "

For so

has

these

high been

a

various

rank

ancient

among

conceded

to him

treatise the text-book

in

in our

were

would

as

other)

involved, and

Boethius

reasons

that

if it He

sense.

new

a

handed and

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

in the

have

not

(as well chronological

the

discovered

have

been

that

stories

new

the

the so-called semitone.

proportionsof

the

at

does

writers

on

but

that be

approved not

merit

music

England,by making Universities.

an

as

his

ROMAN

No or

SYSTEM

E,oman to

even

of

have

a

time

The and

tones

when

Romans

it so,

9

GREEK.

received

semitones, from

it existed

imperfectform. retain

TO

to have made, antiquityis known attempted,any improvement in the

science of music.

Scale, of

INFEEIOE,

only

Nevertheless

and

did

in

the

its

they

foUow

not

the Diatonic

the

Greeks

at

primitiveand content

were

Greeks

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

to

in any

that

reason

from

Roman

writers. The

treatise

of

Boethius

having

been

the

most

been written in the Latin complete that had language, and being supposed to teach the best unfortunatelyadopted as the text-book system, was in the middle It had a very retrogradeeffect 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

century. after ages Boethius, 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. that

he

of that

may not

have

been

mistaken name,

uncommon

some

for

way,

for another no

one

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

written than

could a

have

Christian

could earlydate, a man avoid giving an indication of his but with difficulty religiouscreed, and a Christian especiallywould almost surelymake some sign of his belief,unless he had a direct interest in avoiding it. There was no like that of a generalpersecutionto induce motive In

a

treatise

concealment

at

on

the

music

person

time

of

Boethius

wrote,

so

that, if

10

THE

should

one

any that

HISTORY

MUSIC.

OF

be curious

now

as

the

to

of religion

able

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

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

second

A Greek

music.

The

element

of confusion

music

of

contrast

from

the

to

student

of

employment of Greek words in ecclesiastical music, where they were sometimes applied in senses opposite,and at other times differing As materiallyfrom classical Greek." of psalms one instance,the alternate singingof verses introduced by a choir divided into two parts, was Antioch in the fourth centiiry. One half of from arose

the

the choir sang one part of a verse, or other half responded,either with the with for

a

burden, such

ever," in Psalm

practicein

"

as,

No.

136

For

It

next

the

verse,

or

endiu-eth mercy like the present

much

;

cathedrals.

His

and

verse,

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

was

a

"

"Quippe

*

exooluerunt,

medio

et

quum

extincta

sevo

qui

ipsa

plurima pridem conticuisset, nominibua inventis tione ex

ars

novia

nulla

ra-

habitu prions significationis

quo

factum

est

ut

non

solum

{De

etiam

vis vocabuli prorsus

Musicis

cujusque,

inverteretur."

"

Greeds

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

ex

abuai,ut

accoihniodarent

sed

instrumenta

essent, et

arte relictis ita sunt

immutaretur

artem

;

refers to the

double

chorus, and

the

CHANGED

MEANINGS

OF

GREEK

11

WORDS.

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

in that and, therefore,

with," and

"

not

ofpro, or

like responsive,

the chants

Greek

in

would

be

therefore like

and

Instead

cum,

of

being cathedrals our (which ameibomenai^),Greek

contra.^

in

called

simultaneous

antiphonswere

of the Latin

sounds

Octave

an

apart;

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

sounds, harmonious the two

and

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

notes

antiphon and jfrom young boys and of the

of

his

hymns

treatise

by

earth

among the

on

i.

Noah,

in the works

music, in

tillingof the

point, seems

313, cap.

18.

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 gloriously; the horse and his rider "But

the

both

the

he thrown

hath

led the men, for

into the

and

"Life The

Miriam the

"

they were choruses," as "

is sung

same

he

"

Moses

sea.

compounded

word

counter,

in counterpart,

and,

oxa

our

sung in Octaves." In never

Ample

own.

Plato,'of Aristotle and

countertenor

better than

a"W

counts-

to

the express Latin coniro, or

the

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

taneous * '

Section

19.

''

See

"

Prob.

'

Prob.

It may

xvii. of Section

xviii. of Section be desirable

in

here

19.

19. to note,

in

812.

in his

of Moses."

English

Greek

are

and

as

of the

agaiu

phons.) anti-

as

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

the women,

leaders

tells

of

Jews,

the

Octaves

yet they are

as antiphona,^ ears agreedwith

found

are

double

that, although Fourths

also consonances,

are

definitions

in

include

says

to make sequences this respectGreek

burden

singingtogether."(Some

men

latest writers Aristotle

Fifths

The

concordant.

"

"

12

THE

HISTORY

MUSIC.

OF

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

As

classical authors

subject.

The

so

affected

are

should

cases

more

of

translations

be cited

oldest of

our

many by this

in

passages

anti,

a

few

before

passingfrom

the

extant

lexicons

not

are

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

here to be much

"

"

The

authors.

classical

to

probably interpolatedto adopted in the Western

definition

with

agree

was

the

"Church, for

meaning strings an

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

could

second

apart

be

not

"

Plutarch.

Plutarch

When

supposed to be accompaniment on

was an

part,and To

first person who the the lyre imder

that the ancients

Prob.

also

See the

'H

"

Nos.

of

xxxix.

7,

13, 16, and

TO

Amicit,

19. of

17

aiv

/cai i//o\/toiff

mpi

avrujituvtov

avfi^uvov."^Plutarch "

J)e

multit. 96 F.

dvriipojvov." avfi^tiivoiKUT Paris,1644. Theon, 77,edit.Bullialdus, '

"

"

voice

/ikativripi

"koI

trpog

Ttmrov

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

"i} ti Std -raa"v.

"

^dpfuyyag op/iow'a Si ix^i

Section

played

always before played

*

section.

same

*

had

uiv

"

Arist.

Archilochus

the

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

that

states

vaaSiv

Meibom. '

kut

Km.

i\Sig Sia

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

"

on

Gaudentius, p.

36.

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

in unison"

"

with

13

WORDS.

GREEK

it,he expresses the

"

unison

strings" antipsalmus

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.*" Again, antispastamele, and 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 possiblybecause not in his time used in were stringed instruments "

"

Church.

the

antistrophesof Greek plays are of the present enquiry,but the

The

scope of the evidence

to

seems

in the

run

beyond musical

the

part

direction.

same

neither HypoWhy are in Dorian Phrygian choruses nor Hypo sung Is it because they have no Antistrophe1"^ 1 tragedies for not sufficient musical One reason having any would the two lowest base scales, be, that they were to sing Octaves below and it was impossiblefor men Aristotle

When

asks,

"

-

*

"oiovrai

Si Kat

virb Tr)v i^St^v tovtov

roilf Sk apxaioVQ

KpovHV." He

See did

iravroQ

^Plutarch

"

28.

r^v Kpovaiv rfiv irpStTOvsvpiiv,

Plato's

also not

De

see

teaching boys

=".

trpoaxopSa Mm.,

Laws,

the varied

cap.

7,

812.

necessity

of

aocompam-

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

ment

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

wished

that

'

roig

Again jiBiy/iaai.")

in Aristotle's

ix., Section

Prob.

19,

TcpoaxopSa

q^ttv. ''

"Triviidyadiv ovofiaaavra^aXfibv

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

dvlp"v ri lib.

Kai TvaiSojv. " Sec.

"

lifia avvifSlav, (Athenaeus, yevuv

36, and

again in a Pindar, Sect,

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

*

"

Aristotle's

Prob.

Aristotle's

Prob.

xvii. of Sect. 19. ,

xxx.

and

Prob.

Sect. 19, Prob.

xlviii.

14

HISTORY

THE

theaa.

Whether

that

was

OF

MUSIC.

or

was

the

not

reason,

ordinarilysung 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 and

whether

the two

to

antistropheswere

Octaves

simplestform

the

are

scales.

base

lowest

and

of,consonance,

other the power of appreciating Abundant evidence be found may

the first step towards sounds.

double

hi which

estimation

of the

perfectof all harmony very early date, and them.

was

also

is said

Anacreon, who

have

to

most

from before

flourished

his voice upon accompany each of the ten-stringedinstrument, in which

about a

540

B.C.,

divided

stringswas make

used

simplestand held by the Greeks by the Egyptians this

twenty, but

others.

That

to

into two ten

tuned

were

instrument

parts, so

was

as

to virtually

in Octaves

derived

from

to

the

Egypt

;

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

but

a

its

musical

instrument, and

bridgewhich

divided

each

dis twice.

The

double

stringinto two parts was third of the sounding distance at about a up the end double the length one string,so as to make 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

language to

"

express whatever.

instrument that a

could

name,

tuned

"

no

called

were

Octave

an

The

have

words

playing in Thus,

Octaves"

upon any double pipes,

even

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

below

that

15

MELODIA.

AND

HABMONIA

OF

the other.

relate

music, in modem

to

guages, lan-

mostly derived from the Greek, and yet of them there is scarcelyone (even one among commonest use) that retains its originalmeaning. 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 are

words

then

were

httle what

matter

in their

received ancient

new

sense,

Greeks

it would have

might

said

to them.

exemplifythe deviations that thus arose, 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 have supposed includingDr. Franz, of Berlin,*and 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

"

"

"

each but

are

scale

*

Dr.

Ormds monia

was

Franz,

parts. For much

so

in

Commentatio, veteribus

est

his

in

De says

certa

a

favour

Musids "

short time

"Har-

qusedam

(owing

consecutio et

the Enharmonic

acutum;

melodiam

popu-

secundum

sonorum

itaque vooare

the

to

id

quod

solemus."

grave nos

fere

16

THE

HISTORY

OF

MUSIC.

larityof the omission of Foiirth and Seventh that scarcely enharmonic scale), any other than used, and assumed

the

general name,

Aristoxenus

of that

awhile, the teachers

so, for

comments

upon

in

a

was

system

applicablealike to this usurpation.

all. But

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," their

system

soon

"

"

at

the

had

the word

time

was

Greek

first used.

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

not

that

recitation,without

it, would does

still be mean

for

a

synonyme does not

Harmonia.

"

harmonics," but The

last

expresses of different

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

extended

a

words, such the

as

to

render necessary

Harmonia,

musical strictly

more

trainingof a Mousihe, and sciences

as

sense

or

parts of it

so

precise to

The

express mental

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

of sounds

music

had

more

Harmonihe,

and

numbers,

as

in practice. application of difficulty for A fourth element Greek

is

Again, Sumphonia

"symphony."

mean

in

Thirdly, Harmonihe

harmonic," or

"

not

Melodia.

intervals

musical

any

,

was

well

as

the

to

their

student

of

in the ecclesiastical scales.

They are supposed ; and,

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

not

of the

CHURCH

be

may

demD^d the

SCALES

NOT

th^t Cburcli

observed

Kere

all music

which

,ecclesi^stical system

their For

own

to

this

they

be

the

had

John

XXII., who

from

the

the

as

writers

con-

constructed

not

was

17

GEJEEK.

false.

upon asserted

They

only true ancient music. authorityof Popes, such as

declared

systems that differed

aU

ecclesiasticalto be fidvolous novelties.

safer ia

It

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

those

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

account

who

men

tried

It would

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 was.

music

the

in

translations

words Such

varied

translations

evidence As

that

if there

intricacies the

element some

to

their

Latin

Greek

the

terminations.

easy enough to make, because the translator should that

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

historians shows

as

as

authors.

because

use,

only were

classical

his

glance at new

no

demand

not

understand

of

of

are

are

they did

of

works

of

some

of the

late

German

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

may first settle which

that

of

the

faithfullyrepresent the pitch. That in itself is

modem

notes

will

most

supposed ancient Greek for there but a speculation,

18

THE

are

HISTORY

historians follow Greek

scales

pitch, they historical

to

If

from

all

their

into the work

look

we

author

German

scales

those

dissever

associations.

modern

MUSIC.

but when grounds to go upon; of the it up by alteringthe names ideas of correspond with modem

certain

no

OF

of

for the

Hypo-Dorian or Common" Greek fied scale,it is no longerto be identiwith the Natural" scale,the scala dura, (as on 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,or on some other note. Thus the important a "

"

historical link between and

the

modem

"

Secondly,the music,

rests

Dorian

the ancient "

Natural

scale has

basis of Plain the

upon

Common"

"

Song,

combination

been

scale,

set

aside.

"Gregorian"

or

of

the

Greek

and

Hypo-Dorian scales,(D minor and A and minor,)but that is also rendered 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

the Christian

It is

has been

of tension

mainly owing to

the

wiU

as

undoubtedly trae

instruments increase

era,

that

raised

in the

be shown the

hereafter.

pitch of

since about

musical

1750.

present century has

improvedmanufacture

of

The been

strings,

ANCIENT

both,

in

catgut

introduction enables

and

iron the

of

A

of

wire

Sheffield,which

days. to-day may

hundred

or

So

it

think

it necessary of the notes. No

keys,or changing the

very

minor, B

to

C

flat

minor,

do not

musician

that

on

of the

names

think

would

Symphony B

to

therefore

will

to alter the

or

is

But years ago. below half a note

more

of Beethoven's

name

the

probable nearly represent

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

than

greater tension

bear

the

to especially

of

former

a

19

PITCH.

wire, but

steel

flat *of

tbe A

MODERN

in

of the

stringsto

Berlin that

AND

of

in C

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 oin-

might

more

.

found

lyre by

the

voice,*it will be time

to

should the

pitch,when

Dr. ancient

it

can

are,

lowest

be shown

sounded

found like

had

in

the

first

man

note

of

questionof

that the Greeks

speculationabout chral says that a sepulpyramid of Egypt

bell,adding, if it be "

a

every

audible

discuss the

Burney, indeed, ofiers a standard pitch,when he urn

that

standard.

universal

a

Greeks

his

tune

ancient had

authors

Greek

among

that

true

their firstmusical

the

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

See

Gaudentius, p.

22.

^

History i. 278, note c2

x.

20

to

be

instrument, and

musical

a

next,

to

assume

weiglit years, the original of remain to assure metal us

that, after

five thousand

and

density of the that originalpitch." "

be

MUSIC.

OF

HISTOEY

THE

content

to

in

beUeve

the

In

meantime,

we

may

of great probability

the

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 certaintyis, that ancient alike, when instruments have been tuned must they to be played together. were The principal difficulties in the path of all students variations

of Greek has

in

music

always

Greek

have

remained

now

one

system, viz.,to go

direct to

the

course

to

fountain

leam

the

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

to

endeavour

enumerated, but there

been

Greek

music

to work

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 that the study was solelyfor the sake

REQUIREMENTS

of

obtainingbetter

music

have

hitherto

IN

21

HISTORY.

information afforded.

tban

After

histories

of the

having read

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

next

Greek

up

problems,for Only after the

music,

as

of old

book

a

of chess

the

employment of my leisure time. Greek problem had been unexpectedly solved, and the solution had been tested agaiastthe 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 ^

Moreover, there

music. branches

of

Egypt

to

such history,

tones

which

the

Chanting marks

written

were

and

to

and

spaces

of the

in

England of

on

period,

five lines

to whom

rather

was

or

in

services

revival

four

Guide,

astical ecclesi-

of notation

Church

of the

account

new

of the Greeks

originof

for ancient

attributed,but who

behind

much than

"

who

only

history

"

a

There

mistake

commenced.

was

then

be

problems Hebrew

the

knew

them.

proved to

This

maining

the debt

of the kind

before the time

understand

were

as

field in other

his age then to explainthe only true principles for all music, and to prove them, so that any

before

"

a

"

music

show

has been

one,

scales,and

or

wide

a

different version

a

"

was

in

when There

plenty

instruments

re-

to

notes, were

foUow

might

also many

and

scraps

of

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

page

in

print.

22

THE

information

that

history, would

be

The

Things

"

field

had former

the

made

the

over

for

of

who

time

it

StiU, the

take

find

even

to

of

inadequately developed,

so

historian

one

another,

by

promised give

To

"

have cher!

quoted

from

Athanasius

This

writer's

place

he

the

in a

was

gave

deserves

He

mistaken. rank

suo,

of

although

flourished.

interpretations, under cus.

the His

misnamed

music,)

title

of

whenKir-

He

published

in

three

even

He

for

all branches class

as

written re-

It

hieroglypliics.

is

the

is

sake

making

Greek

at

least

in

is

mis-statements

(a

number work

of

imagination,

credit

to

his

in

one

541

in

of

too as

to

table;

memory.

there

errors

are

while

worth

that

p.

well

as

story,

introduction

hundred at

but

perverted good

a

his

There

Muswrgia.

novels,

truth,

authors, two

table,

it

of

commonly

of

said,

the

historical

smattering

a

Meibomius to

in

as

of his

firom

as

branch

one

that

make

^gyptia-

Universalis

such

been

well

as

any

Kircher's

those

has

because,

were

volumes,

(Edipus

same

for

the

century,

upon the

there

discovered

Musargia book

is

high

to

been

equaUyimaginatiTe,butmoredanger-

very

clue

link.

hitherto

upon

ons,

man.

tell

can

use.

been

been

of

that

has

hieroglyphics, no

had

intheseventeenth

Kir-

have

writers,"

some

prospect,

missing

there

work

many

fiction,

imaginative

interpretation

cher

a

of

history

most

explanations

more

liow

instance,

one

of

be

to

in

one

and

imtrustworthy

from

copying

warnings

experiment

history

under

time,

was

of

task

other

work the

upon

irksome

sight, and tried

sion provi-

notes

second

a

Hard

points

main

of

the

was

worn

have

may

sufficient

no

shape

ground

same

of time.

advance

only they

the

the

there

and

disadvantages

of the

in

Timbs,

Mr.

(writing history

but

ample,

contemplated,)

been

of

any

known."

generally

not

been

readings,

going

words

the

in

in

included

been

not

indeed

was

having

not

had

which,

and

MUSIC.

OF

HISTORY

it

his

many to

errors

the

count

but,

as

does

great

a

23

CHAPTEK

is

indebted

similarityof systems.

The

Greek

maiden's

minor

scale parent of the

of

modern

minor

music.

-Deductions

major. "

of

Homer. "

Early

Greek

subjects of and

Egypt of

the

such

ancient have

a

be

Babylon.

Greek

Hermes.

stringsin

scale

"

Music

"

was

considered

"

like

song

in the

Terpander's

"

Homeric

recitations.

Its association

history with but

the

to

and

notes.

seven

cannot

art

ancient

but three

of

What

music

science

of

scale "

Greek

Lyre

Use

planets.

seven

The

"

about

"

strings.

seven

"

tow

"

modern

time

Greeks.

music

Preamble Great

IL

with

the

fit for.

as

one

of those

which

little concern,

modern

for not

only

progenitorof the musical system of it is largelyadopted,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 meaning shall have been established,and thus reheve 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 widely intelligible.Dr. Bumey and difficult subject" and dark "a music one as it been

has

that or

had

three

the

"foUed

the

last centuries

"

difficultiesreallyexisted than

in certain

The

music

learned

most

men

[Historyi. 7.); either for him

of the

two

but

no

other

or

for

them,

words, and in the ancient technicalities.

itself is

simplein

the extreme.

The

same

24

THE

OF

HISTORY

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

both

branch

of the

science

and

of the

art, in

governed by Greek laws, is in divisions of notes the mathematical, and practical, in the scale. now as They are preciselythe same 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 which

music

is still

"

"

the

to

formation

of the

scale,has been

for the

best,

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

is

one

and

of the

flat that

we

now

have.

Gi'eek Every principal technical language',we "

Sub-doiainant," i.e.,the

scale had call its Fifth

what,

in modern

"Dottiinant" and

Fourth

and above

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

GREEK

(which is

the

answered

began like

LIKE

MINOR

Fifth

our

Fourth

25

MUSIC.

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

same

a

above

"

"

to

a

MODERN

Sub-dominant."

"

our

Here, then, is

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 of the harp kind, nearly lyre,ot other instrument 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

two, and

that

"

The

Greeks

and

their

Seventh, as

well

this the

or

as

minor

a

be

but

would

whole

between

hardly be brought

played Seventh

difference

one

and

in minor sang of the key was the below

the

into

play. keys only, old

minor

the

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

Seventh

was

is

"flat"

Seventh, and

only half a tone below the Octave, was called a "sharp" Seventh ; but, as they do not necessarilyfaU upon flats or sharps, those have been names discarded.) The minor Seventh was an integralpart of the old minor scale, the major Seventh is now of the major. An as important piece of historyis attached to the old minor, that out of it grew the comparativelymodem major scale,by beginningupon 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

called

26

THE

HISTORY

F, G, is the' ancient

thing as because

the

below

the

scale under

always

was

be

such

no

Greek be

to

laws, tone

a

key-note. interesting deductions

Many about

Seventh

could

There

scale.

complete major

a

MUSIC.

01"

and

music,

ancient

made be may these will tend to

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

the

instance, the and

Egypt

of evidence

character

of

the

music

of

be ascertained by may that will leave very httle doubt

Babylon

the but For

ancient train

a

the

on

subject; and, by looking at the drawing of an 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

the

prepare has some

music

the

means,

reader

believe

to

certainties

about

that

it, and

of the seventh

lyreof

had

the Greeks

but

study history.

"

The

word

explanation ; from not

seems

for M.

Sir J. Gardner

looking

into

a

to

require

F^tis, quoting Wilkinson, and dictionary,won-

to

been

no

that

that

of

about

the century before Christ,) four

strings. They were called now technically of strings limited was

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

made

is, by

doubtful

uninterestingor

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

ancient

ders should

that have

the

rather

as

the

the recitation ancient

Egyptians

used

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

HOMERIC

of

epicpoetry,than

like

could

tune

would

have

be

been

musical

a

as

was

in the

it, but Greek

still there of the

sense

of

combination

a

Nothing

instrument.

played upon

music

"word, since there

27

MTJSIC.

recitation,

metre, and

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 evidentlyto raise or lower the pitch of his voice

in

the poem.

We

something "

recitation,to suit

like "

monotone.

may what

a

imagine his is

now

Monotone

sentiment

new

chant

called

to have

in been "

intoning or practicallymeans only "

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

a

centuries

for many writers

give

two

after the time different

of Homer.

accounts

of the

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 representedby a human ibis,holding a tablet and a pen, or a pahn branch in *

"

Kai aoiSrjg, 'Qj 07"'avflp0dpptyyoeiTnaraiievoe krdwuffE vsqt "iri koXXotti \opS^v, *Pi]iSi(og "A^a" dii^oripuiBEV ivarpeipis ivrcpov oioj." Odyssey lib. xxi. "

'

This

trated

fact has

by

Willis

been

largelyillus-

(in the

Cambridge

Society'sTransactions PhilosophioaJ V.

the

3, p. 231,) and Greek

cry

by Hehnholtz, but

for woe,

"ouai,"

wiU

suffice for one

to

ynR one

the

find uniform

pronouncing

a

li.406-408.

experiment. Every in adhering difficulty pitch of voice while

it.

28

THE

hid hands.

At

the crescent a

disc.

HISTORY

other

of the

man's

a

faee,with

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

has

the difference between

to

he has

times

moon

Attention

MUSIC.

OF

these

two

The

accounts.

primitiveGreek 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

first refers to the

Babylon.

The

is made

by joiningone

up

first relates to the kind

tetrachord,* to

a

making double

Octave

system, as

The

real of and

of scale that

of the one

the

to

in the

other,

former

into

ending on is told

god

as

refers

account

tetrachords

if beginningand

and

same,

serve

second

the

of

story of the

The

series

E, F, G, A.

embodiment

the

to

another

highest note of the capacity of lowest note "

and

series of four notes, called

the

B, C, D, E

the

the A;

our

with

more

detail in the

buted Hymn to Hermes, (at one time attrito Homer,) than by Apollodorus,"or other 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 '

"four,"

clwrde

and

string and

a

four

may

be

This

second

is of most

""

composition,meana

in

Tetra,

note,

so

a

strings sense

both

means

or

a

Lib.

iii. cap.

850

four' notes.

the

hundred

chords

in applicffition

10.

has

to

and

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

Homer

tetraohord

of the word

common

Bnnsen

inferred the date

have

B.C.,

been from

gates

between the

mention

of

Thebes

of 900 of

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

The

in Hiad

last

ix. 379-385.

edition

Scott's

admirable

Homer's

date

as

of

Liddell Lexicon

"

900?"

and

gives

LYEE

OF

29

HERMES.

GREEK

THE

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

lyre. He cut two stalks of reed of equal length,and, boring the shell,he employed them as 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

the

to

and

arms,

attached

seven

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

of

idea

borrowed

have

to

seems

been

Phoenicians, who, according to

the

from

horns

these

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 Herodotus

used

had

wood, and

carved

the

on

The

ornamental

lyre only under

of the

Phorminx,

or

of animals

of their instruments.

arms

of the IHad

author

heads

of the

and

its two

Kitharis, but

Odyssey speaks ancient

most

of

never

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

its

have

seven

names,

having differed

portable

more

size. The

of the

writer

hymn givesfour

instrument, viz., Phorminx,

to

names

the

Kitharis, Lyra, and

Chelys,'' (fromchelus,the shell.) *

scribed in Unes *"

the

M.

P^tis

Chelys

50.

line

TTTixae,

was

The

lyre

de-

asserts a

that, although

lyie, the

was

not.

himself

47 to 51.

Kithara

the la

Be

from

might that

guarded hy reading

have

error

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

30

THE

One

OF

HISTORY

MUSIC.

writers,Manuel

of the late Greek

Bryennius, of the the seven bridges over strings difficulty mentioned in the hymn, by assertingthat, 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

their

stringson

the author

the

of

Greeks

lyresfrom of the

one

to

has

two

preserved for us Terpander,which is as But

"

loving no

we,

sing aloud

Will

Hnes

hymns

to

from

a

on

Euclid,"

by

poem

'

:

"

the tetrachordal to

because

treatises

extant

Music, ascribed

foUows

more

new

four to seven,

earhest

music, the Introduction

the number

increased

chant,

seven-toned

a

''

phorminx."

Terpander here plainlystates that the four-stringed lyre (stiUcalled Phorminx) had continued in use up his

to

time.

own

the

the

author

can

have

written

the

Intro-

judgment Pythagoreans

duetio

Harmonica

and

the

Sectio

calculations.

It

*

hardly

can

Canoms,

although

to Euclid is

by

both

treatise

same

ascribed

are

Meibomius.

excellent

an

that

be

first

The

Aris-

upon

33.

hia

toxeuian

monica

nius

(which Bryenprinciples, follows largely,often adopting

Dr.

the

identical the

naming is

an

The

author, ) and

admirable two

words,

but the

Pythagorean

without

the

treatise.

both

(See Ariatoxenus, Euclid's

of

and

ear,

The

by upam,

second

p. is

Porphyry, the

Har-

Olaudms

Ptolemy. (See Opera MathemMica, 3.

With

this

reservation

we authorship,

henceforth

aa

the

mathematical

)

Commentary

WaUis's

267.)

second

as

the

upon

edit. Meibom.

quoted in

of

Euclid's,to abbreviate

as

to

quote refe-

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

Aristoxenians ^

"

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

This

is

line (w. A.

-w.). "

"Soi

d'lj/ttels rcrpayjjpw

airoorpli/zavKC aoil^v,''

ed.) first

ANCIENT

31

SCALE.

SEVEN-STEINGED

ascribiBgthe invention of the seventh stringto Terpander,supposes the planetarytheory to ha,ve suggested it to him,* but it is far more probablethat the increase was first made, and Boethius,

then

the

while

that

with

coincidence

nimierieal

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 forgotten,and afber the had Greeks learnt something of astronomy from then Babylon and Egypt.'' It was they began to the revolutions of the heavenlybodies with connect soimds, and

musical

of

arrangement

introduction

of which

was Terpander,)

to

of their

one

of music.

branches The

astronomy became

distances

and

E, F, G, A,

or

in the modern

strings, (the

seven

into Greece

to tune

of tone

the

them

semitone

be attributed may at the same relative

as

E, F, G, A, and

as

Seven

scale.

B, C, D, E, and

are

A, B

flat,C, D,

because stringssufficed,

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 the

is between

(It may

it. *

"Sed

Lesbio tern nem." '

the

lowest

be necessary

SeptimusnervusaTeipandro est,secundnm

adjunctus planetarum

scilicet

(Boethius i)e Diodorus

Sicnlus

sepsimilitudi-

ilftMJca i. 20. ) attributes

the

note to

and

the next

explainto

system Hermes.

of tie "

readers

some

first observations stars

on

above

the to the

order

and

Egyptian

(Hist. lib. i. 16.)

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

32

THE

tjiat a musical

half,and Greek

a

Late

MHSIO.

Fourtli consists of two

Fifth, of three

had JDictpente

Diatessaron

OF

HISTORY

of

of

the compass

Jiglf)

a

a

The

Fifth, as the

oiir

Fourth.

our

Greek

and

tones

and

tones

writers

second

attiributed a

and

proved im-

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

to

discoveryof the Octave system. It has been attributed,with greater"probability, to 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:omothesr nations, either by colonization,by trade, or by the visits of mnpician^.. Even then, such chang-esare of the .slowest growth. In no science have art or changes been hitherto so slow as in systems of music. As to the possibUityof 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 the

subsequent to

"

thrown

open

to

the

Greeks, and

at

a

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 accuratelydescribe the nature of his victory.Philodemus, 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 ="

"

VolvmirmmqwB

Her"yul(memmm

supersmt,

Tom,,

i-

PhUodemi

de

Muska.

"

Naples,

^laphia, fol.

ex

regia tjpp-

1793, col. 6.

TBRPANDBE

33

ARCHILOCHtrS.

AND .

of powers than upon

their

and upon recitation, what

years

more

music.

If

676, it must

have

been

later before he would

have

been

Terpander gained a prizeB.C. at least twelve

call their

should

we

poetry, far

learn

anything. Egypt was I. first throvm by Psammetichus open to the Greeks Calculated by the Apis Tablets of the Serapeiiunas 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

commenced

Egypt

to

than

more

a

year

or

two

earlier.'

The

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

probable dates that of has

of

Psammetichus, if either of them

been

attributed

to

them.

One

did of

all that the

later

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

about

"

"

The

date

Apis Tablets

back

from

asked

the

aasiatance

of

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

the

B.C.

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

Samuel

"

"

a.

D

34

succession

at

HISTORY

the

PytHan

that

Kithara,''and well

as

he

for games his own sang

singing to the epic verses further

Plutarch

Homer.''

of

those

as

MUSIC.

OP

THE

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

that

both

number. and of

He

commends

them

that

on

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

Their

sense.

of

perhaps something

of recitation

manner

the

Homeric

kind.

is

The

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

Greeks manner

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

De

Mm.

"

Plutarch

De

Mus.

"

Plutarch

'

Herr

De

ner's edition

4.

cap.

3.

Mus. who

VoUanann,

cap.

18.

Teub-

of Plutarch, has altered

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

authority

for

the

change.

of

guess

cap.

edited

likelysuggested

most

It

was

Burette's

;

him

to but

by

a

Burette

admitted

having but an imperfect knowledge of Greek music, and his guesses

should

disturb

to

not have

the

text

De

Mm.

been of

a

allowed classical

author. ""

Plutarch

cap.

18.

35

LYRE.

-STRINaED

SEVEN

FIRST

THE

them, if Arcliiloclius played his accompaniments

between

lyreunder the voice-partinstead of in 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. the

on

TUNING

GREEK

FIRST

LYRE;

SEVEN-STRINGED

THE

OF

string.) (shortest the shortest.) Pakanete c. (beside I" bl?.Paeamese (nextto middle,)or Teite Nete

d.

(middle.) string.) (forefinger

Mese

U.

(third.)

Gr.

LicHANOs

P.

Paehypate

E.

Hypate

(besidethe longest.) (longeststring.) of any kind

distinguish notes.'' They were musical expressedonly by the titles given to the stringsof the lyre,so that the to be representedby any stringwould note depend and tuning of the key-noteof the lyreupon the pitch For

it is

us

by the employ

stringsand

scales,capitalletters used

to

G

Octave

and

space

then

small

letters

and

"a"

tenor

all within

itaJios lastly,

its g letters A

to

staff.

lowest

fourth

to

The

6

space, of

its

Octave;

for the treble

mean

small

within

letter,

that

for the

Thus", the

above.

be

Octave,

base

in the ;

wUl

and

are

the or first,

in the

A

from to

denote

up

capital the base

or

was

bass

clef,and

a

the fifth Hue

of the

ends

second

space

up to gr in the treble clef.

notation "

was

and

on

clef.

begins treble

on

the The the

clef and

space

above

the

to

paper

the

committed

When

"g"

treble

of the

runs

p. 20)

with

treble,a

italic, or

tone

a

remove

line of the

second

to

the Greek

that

"a," begins upon

*" a

This

"

of notes, wiU

not

following

intervals

above, than

as

But

semitone."

a

in all the

In this and

"

That

notes,

to

the

mark

to

of repetition

constant

of

names

convenient of modern

the "

names

no

more

names

distant," are

had

Greeks

The

arjimaia (Gaudeutius, "

the notes

ajj/iEia.

tenor

D

2

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 senses appliedto music. Although Hypate is the lowest stringin pointof pitchand sound, 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

teUs

ascribed

was

that

us

to

the

Saturn

lowest, sound

gravest, or his slow

from

and

movement,

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

ascribed

was

to

the

the

of

Again, the

planets and longeststringon

and the shortest first, connected

the

the

to

earth.""

called

lyrewas As

is the

modern

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 highestnote. The middle string,or Mese, was the key-note,and therefore the principal.Nicomachus it to compares the sun, as being the centre of the musical system, just as the other is of the planetary.**The two were are

with

nearest

last."

was

"which

Moon,

the

PapvraTOQ iv rg Sid ttwh"v vTrarov IxMiQi), "p96yyogvwan) y"p rb '

""0

vkarov

avwrarov,

.

rb KaTif)TaTov."

.

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

adtributa

tarditatem

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

est

motus,

et

"

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

b

TJXioetv roXg

irXeivriaivlicaTepwQevlort "v." fitaairaTOQ

"

tTrrd

rsraproe,

(Nicoinaohus p. 7.)

GREEK

considered

from

as

down

"a"

of

consonance

either side

on

planets,the

two

over

the

to make

their extremes

37

RHAPSODIZING.

;

E,

with

for while the

one

passed

passed

two

notes,

other to

Fourtli

a

or

over

"d."

to

up

Nico-

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

was

a

one

;

but

must

we

be

standard, it will indeed

strictlymusical

take

it for what

it

was

"

a

a

poor series of

before melody,of the arrangedfor rhapsodizing,'

notes

modern

kind,

was

born

The

in Greece.

scale formed

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

by

tetrachords

two

effect of such

The

poetry.

be, musicallyspeaking,one chant

the

because

recitation

sound

would

to

us

would

us

upon of continued

sing-song, unfinished,

as

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

third

and

of sounds

major scale Greeks

the "

Greek of

of

F, which

includes have

to

seem

rhapsodizingwas and

genemight be

carwm,

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

of

inscribed

rally with

or

Boeckh's

an

Chios, which others, the cal

contests.

atone

found

commemorates, victors The

in

at

among

the

subjects

musiwere

four, q^myv^avoQ,pcaj/ifiSlac, ^aXuoS, or reading musical first, KiOapujjiov,

series

flat,C, D, with

E, F, G, A, B

as

reason

B

the

been

flat.

our

Near

the

findingout

to

as,

notes; second, rhapsodizing; tliird,

accompanying

the voice

stringed harp kind, with hands hoth and, ; on

of the

instrument

fingers of fourth, accompanying the

Kithara,

a

with

hand

and

it

on

the

plectrum.

left

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

the

plectrum

The were

lower

held

in the

right hand.

38

THE

major yet a

scale

when

their

law

whole

their

in

ever

have

been

same

with

much.

Greek

such

a

scale

following

Thoth,

the

the

a

best

will

pages.

Egyptian

be

and

that

it

the

and

by the

Hermes,

the

major

a

A

for

a

Mese,

reciter,

or

Fifth

from

Greek

to

lyre.

the with

hymns we

his

do

to

accomplished

the

key,

dissonant

were

meantime, and

melodies

singer,

be

major

impossible

fall

could

judged

with

D,

the

nor

in

was

be

must

within

as

but

notes,

prevented

moderns

;

E

Fifth

In

scale

pleasing

notes

laws,

extremes,

The

key-note.

the

key-note

rise

the

of

Octave,

Many

together,

neither

the

by

musical two

of

form.

taking

succession

acknowledgitig,

least

the

sounded

could

below

by F

The

when

least)

constructed

making

and

Seventh

perfect

a

MUSIC.

this

the

at

or

compass,

and

the

(at

having,

key

chose

they that

tone

OF

HISTORY

turn

iu to

89

CHAPTER The

Egyptian

ChaldaBan

Hermes

taught

the

technical the

mathematical

the

than

Greek

The

Egyptian. "

"

Egypt. More

of

nefer

certaintyas

Egyptian

"

Fable

the

of

Terpander

Greek

"

Egyptian

"

as

same

song

as

bodies.

heavenly

an

hieroglyphicfor

lute is the

or

to

in number

same

accompaniments. One

"

Egyptian

The

good."

"

flute.

tetrachord

with

Greek

"

Egypt opened

"

scales the

and

and

ours.

"

"

Octave.

the

of

advantages gained.

equally associated Egyptian priests,and their Octave Magadis

long-necked instruments

How

"

better

taking his lyre to Egypt. Egyptian,

"

proportions

sometimes

and

Greeks,

"

same

of the lute kind.

terms

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

his

and

Octave-system

of Hermes

III.

practiceof harmony in ancient amusements. A private band.

to the

ladies'

"

"

Egypt.

followingis the popularmytli*of the invention 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

flesh of which

being

dried

the

rest,

and

wasted

the left within nothing was these being and cartilages, Dr.

Bumey,

critic

with

the

testudo

not

of the

banks

land

Nile.

much

like

versionofthatof have

found

it than

tortoise

Egyptian

of the

looks

as

no

(iii. 10),and

Hermes

Bumey's an

on

Servius,the

lib.

embelUshed

Nilus

in

I

suos

esset,

Virgil'sGeorgics, regrediens

on

"Cum

"

varia

meatus

nervi

intra

and

century, -vrho,in

est, quae, et

sun,

contracted

animaUa, relinq^nisset cum

ejus corinm,

in terra

relicta

etiam

putrefacta remanissent percussa

a

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

authority for giammarian and

5th

commentary iv., says:

extenti

account

DiodorusSiculus. earlier

the

his

the

nerves

and

the

of

by

but

braced

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

"vrell as

shell

tortoise,the

a

sonitum

40

01"

HISTORY

THE

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, was so pleased with the sound it produced,that it suggested to him the first idea of a lyre,which he constructed

afterwards

the

strung it with

of

in the form

dried

a

tortoise,and animals."

of dead

sinews

"

(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 the

summer,

and

the

and

grave,

the

mean,

the

acute

sound

the

stormy,

answered

to

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

grave

mean

or

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

autumn

each

as

each

months, and

of two of four

and

summer

months,"

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

winter

as

drew

after floods

moisture

up

ijv armrjaai Aipav re "vpav, kot rpixopSov, lunrtaajihiovTcig "

"

"pa". rptlg y"p airbv ""i vTrodTriaaadcu (pOoyyovs, Hi" /liaov i"iv fikv airi fiapvv Kai h/iavrbv

'

Bkpove, jSapiv jSiawo X^i-ltMVOC, fiiaov Tov

{Hist.,

i.

Claudius

in

quotation

from

the

Vatican

as

^ven

by

Dr.

ivb

rov

lapog."

tov

There

16.)

difference

in

Si

"

is

a

little

Ptolemy's

Diodorus

Siculus, manuscript, p. 176, Franz

of

Berlin.

from

It is there is added

the only

earth. that

"and

This autumn"

after

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

o sa,ya: "^alv bra o Aiyiimos

6 ^iKeKuiTtis Ai6diDpoe 'Bp/iiJQ irpSiroQKvpav sTrairiatrpLxopSov,lu/irjad/jiaioe fcis Kor

biucoTbv

Tp"e

Kpaaag

ttjv tI

tS"v

apSiv,

Kcd ^j/vxporarryv Bcp/WTOiTri kcu oiSj' t^w ^Kparov, rptig vmariiaaTO fOoyyoruQ6%iv icaX papip kcU lUaov, "c."

(p. 10, Franz.)

EGYPTIAN

THE

association of sounds natural

a

Plutarch

with

and

one,

tells us,

41

HERMES.

seasons*

confined

not

was

was,

therefore, to Egypt.

his

in

Plato's on commentary Frocreatione, that the Chal-

TimcBus, or, De Animce deeans, or native philosophersof

the

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

wrote

five and

between

after

Diodorus, says that

Octave

is at the interval

six centuries

lyre of Mercury had four strings,the two extremes Octave being an the interior two ones sounding the apart, and Fourth and Fifth to the exterior,such as E, A, B, 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 And

now

which '

The

Jnly, end

and of

the

Greeks

rise of

November.

included

Nile

middle is

begins in

Green

crops

Harvest

was

of

October.

the

at

end

last

in March. in

also

till The

tribe of Chal-

the

the other. instrument of

name

who

inhabited

a

district

of

Babylonia,

at

distance

from

daeans,

"

XoX^alot

the JJ

Persian

lyre.

far-away a

short

Gulf,

ro Xeyoi/iri, eap

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 "

"

v

from

musical

under

o

of

April. a

Fourth

a

Egyptian

its

at its lowest There

the

height about the It declines September.

February. '

the

is at

visibly in the time Sowing

NUe

to

as

of

the

ev

42

THE

Our

learned and

MUSIC.

OF

HISTORY

countryman, Sir J. Gardner

accurate

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

instrument

credit of the

the

received

having only

invention; for the

three

strings,and

yet

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

intervention

this and

on

similar

mode allegorical communicated intellectual giffcs

fact,only

an

occasions

is,

expressingthe from the Divinity of

to man." "

The

neck

of two

guitar consisted handle, and

or

wholly of wood,

or

hollow

a

covered

with

long flat oval body, either parchment, having parts :

a

perforatedwith holes to allow the the whole this body, and Over escape. three strings stretched length of the handle, were of catgut,secured at the upper extremity,either by 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 the

upper sound to

surface

.

and

the whole It

the

neck, Hke

the

modem

correspondedin voice, though this

also it the

part

of

a

band,

as

Egyptianguitarmay *

This

instrument

great compass,

is of

having

two

the

.

about

measured

instrument sometimes

was

...

.

four feet.

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

The

instruments,

other

.

be called itself of Octaves

npen

a

lute." every

.

.

(i. 123, et. seq.)

string,

EGYPTIAN

The

second

lute, is

name,

of the

account

OR

NEFER,

form

of the

instrument

;

J. Gardner

Wilkinson's

because

the

appropriate,on

more

back

lute

43

LUTE.

sides

and

of the

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

Supported by

The kind

a

necks

had

: "

Daaiuing while

strap.

Greeks with

work

was

musical

no

until many

had

playing the

instruments

the

Yet

herein

sub-division

and

without the

measurement

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

Greeks

were

even

a

of

any

ages after the Egyptians when possessingthem,

employed them, and, even to prefertheir own, they continued althoughthey adopted the system of for

lute.

necks,

Egyptians of strings. Egyptians, the one,

Octave before

nation.

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

44

THE

but

HISTORY

OF

MUSIC.

string string; but if the same be pressedagainsta finger-board fixed upon tbe neck 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 stringwill sound sound

one

that

from

call the

we

one

above

Octave

is duced procondition is

which

that

by the whole length. The only that the stringshall be of equalthickness throughout. Next, that by stopping a quarter of the String,the remainder that

will sound

Fifth, above

a

These

three

ancient

The

day. modern two

and

tones

Fourth.

the

were

the

not, in which

a

moment,

the

determine

half,the

to

same

ancient

proportionsof the filling up of

this and the the

third,

very long finger-boards, the necks, the eye could accuratelythe point at

or

the

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

of the

lesser divisions hereafter.

Egyptian lutes had accordingwith the length of As

and

the interval

the

in

been

the

between

semitone, for

Of these

;

foundation

remain

difference

has

science

the whole

obtain

part, we

scales,and

only

above

the whole.

sounds

Octave

Fourth

third

by stopping a

called

a

in the

tombs

fourth off those

round Some had

part of

distances,

the

neck

of the those

a

to

ments instru-

divisions

in the distinctlymarked remaining. They are of this volume paintingfrom which the frontispiece has been copied. Technically, they are called "frets," the strings, from their fretting, or rubbing,lagainst when presseddown 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

ladies'

EGYPTIAN

wall

of

45

MUSIC.

botb

Thebes, and

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 tomb

a

at

"

of these the

charmers

Thebes,

of resistance

power

feet

of

in

we

the

may

admire

more

Joseph. StiU, the

ladies'

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,one is sounding a pairof pipes,which have ivorymouthpieces,and the other

holds

round

nor

the

but

not

are

make

a

of

tambourine, which

rectangular.

sides

the form

several

sort

ends

and

have

corners

are

indented

an

parallel, curve,

to

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

more

examples

The

is neither

pleasingto

to be tapping lady seems the tambourine with her fingersto mark time, but the plasterhas unfortunatelybeen broken at away that point,and the pictureis not quiteperfect.* taken for The measurements that were necessarily the fixing the frets upon Egyptian lutes, were obvious due to the discoveryof the relation between

Wilkinson's

'

now

be

work.

The

This

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

seen

in the

Egyptian

Koominthe

British

Museum,

right hand

from

on

the

the

wall

entrance,

on

the

46

MUSICi

OF

HISTORY

THE

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

and mathematical

bore

one

musical

upon Greek

The

three

such

of

Pythagoras was

intervals better express musical call a Fourth we a they named

sounds, unless

Fourth, but F

science

from

the

we

include

C

it. is

;

Thus, from

only

for D

two

and

C

are

So with

semitone.

usual

the

to

F

is called

and

a

Aristotle

semitone, tells

as

the

E

unless

the three

but

C to G.

from

that

us

from

^the Greek

"

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

tones

a

semitone

a

is

name

starting

tones, and Fifth

has

calculation,

and

tones

E

Fourth

in it the

of, according to the F

and

for concord

proportions.

names

by countingfrom

to

laws

forni

("rightthrough four"). A

note, instead

distant

to

the

AU

What

ours.

Diatessaron but

another,

scales.

founded

than

to

Octave

was

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,

earHest

the

name

of

the

Fifth

was

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

"

"

Prob.

"

xjcxii. of Sect.

Philolaos,p.

19.

66, edit.

Boeokh,

and

Meibom.

Nioomachua,

p.

17,

edit.

probably from

"

the four upon intended be to and fingers,

TO

OPENED

EGYPT

not

47

GREEKS.

THE

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

later. Tbe

of

fruits

the

tbus

elementary knowledge

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. No foreignerbad been permitted to settle, 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

bis

cbildren

own

education;

gave cultivated

tbe

nation, and

engaged

Ionian

;

friendshipof and

Carian

Greek

a

tbe

Greek

mercenaries

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

language, and

Greek

the

between

so

It

nations.

two

become

to

is to

thrown tbus first fully civilization, that

increased

also in other

branches

of Psammeticbus

I.

only

kind

every

Porphyry

Platouist, gave this

players proof that on

flocked says

the

was

the the

that

another one

lyre. four

to

and

jEIian, the

to the

strings, from

in

Greeks,

rapidlytwo

or

music, but The

policy

his successors,

after

to become

Mese

ancient

the

art.

by

thirsters

Egypt,

derivation, assigned by

It adds

and

followed

was

and

within

of science

by Amasis, especially

but

sudden

tbey made,

advances

tbe to the

open

followingcenturies, not

tbree

"

tbe

attribute

must

we

interpreters

dowmwarda,

learningof

the

teachers

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

left

hand, "

271.)

were

and

not

48

HISTOKY

THE

of their Solon It

countrymen

on

the

were

among there Thales

was

OF

MUSIC.

their

remarkable

learnt

Thales

return.

early

divide

to

the

and

visitors. into

year

the height of pyramids days,*and to measure by the lengthof their shadow,'""perhaps with the for measuring heights, help of an opticalinstrument 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. 365 "

"

twelve

Into

days, adding and year,

sixth

a

The

of

priests

Thebes, by year

iu

says the

moon,

as

from

the

of

for

the

Julius

year,

of the

the

every

and

Greeks

Egyptian

did.

Si

year.

crKiag

by It

priests

and the the

the

division

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

irapanipiiaavTa

dat." iaofieyWBiQ

8r6

(Diog.Laert.

t'l/iiv i.

Paris, 1850, 8vo.) "Nicomachus, ''

Diodorus

"

Strabo

was

that

learnt

year.

"'O

extra

divided not

^

Csesar

tprjaivairbv

Heliopolis

Strabo, sun,

thirty fourth

every

in

day

a

of to each

days

day

leap year,

our

quarter

months

five

p.

Siculus

10, ed. i. 96.

lib. xvii. 29.

Meibom.

6,

FABLE

OF

Accordingto him,

TERPAJSTDERS

Hermes

49

LYRE.

his

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 to have

We

been

the inventor."

in

are

Herodotus,

gave

need

no

not

to

here

trust

of the

caution

Greeks

to

who

given by

claimed

to

have

taught the Egyptians,because, said he, Egypt had is a copied nothing from Greece. *" There fatal objectionto the Terpander lyresufl"ciently story,in the fact that the Egyptians had the same musical with seventeen instrument, and strings instead

of seven,

hundred

nine

pander'ssupposed visit ;" and musical

scale

of,at least,two

Teryears before that they had also a

Octaves

at

a

stillmore

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

remote

instrument, would

is

from

"

two

to

three times

that inconvenient

Nicomachus,

lib.

ii.,p. 29,

ed.

Meibom. "

Herodotus

the

ii. 49, 123. of 14, and

lyres of 17

length of

extension at the

remote

Amosis, dynasty"

the

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

half the

because

;

the

body," and "

sufficed

thickness must duce proany stringof uniform Octave above the whole length. But the

length of neck

have

Mosea.

"

"

for the

period of king

first

i.e.,before

^Witkinson's

the

arm

reign of

of the the

the

18th

birth

Egyptians

273.

E

of ii.

50

THE

OF

HISTORY

MUSIC.

only have been made for the sake of having two Octaves, or more, upon a string. If the half length of a stringwill produce one Octave, the halving of the remainder must produce a second Octave above of for a neck the first. So the especialreason 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 equal Octave, for the fingersto move of the entire lengthof the freedom. If three-quarters period, sounding part of the string,at that remote 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 perfectsystems combined, and includingall their scales Diatonito, Chromatic, Neither and Enharmonic. in Egypt nor in Greece actual limit to twenty-eightsounds, there an was all scales because were transposable,but only twenty-eightnotes could be defined,startingfrom given pitch. Euclid, Nicomachus, Aristides any can

"

.

(ncTiDKotetKoao^BoyyoQ Xeyo/dvti Nicomachus, lib. ii. p. also p. .36,ed. Meibom.) .card T"iv AiywTrriwvirpoatiyopiav." "

'

'

,

"

38.

(See

GREEK

SCALES

SAME

AS

and others,enumerate Quintilianus," and

their notes, and

51

EGYPTIAN.

scales

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

of- music.

suffice to

number

is too

hereafter

in the

in each Then

Leaser

or

notes was

in this

at

again four

System,

Diatonic

that

for Chromatic

and

there

scale,(one

added

old

have,

we

for Enharmonic.

scale,because

tetrachord,and

as

for the

which

to say,

now

scale,and

fifth tetrachord

a

arrived

for the Chromatic

Mese, belonging to the

variable note

been

music.

of

Diatonic

notes

Perfect

to the

Greek

It may suffice scales there were,

for the

was

have

compass

and tetrachord,)

there

originof

scales.

four variable

were

alone, it would

onlytwo Octaves. twenty-eightnotes will be given

a

that in the two-octave fifteen notes

the

pecuhar to

of the

names

are

If it stood

prove

by accident,within The

all authors

the Greek

the

Conjunct only three

lowest

series.

Add

note one

for Enharmonic

one

have

twenty-eightin aU. 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

Plutarch,

antiquitythan that Olympus of"

we

well

was

the

Enharmonic the

was

known

Enharmonic;"

inventor

be

to ;

but of

of

greater

Plutarch ancient

an

An

says kind

analysisof Plutarch's tion descripthat the invention" of Olympus proves consisted in the omission of one stringout of the four in every tetrachord of the alreadyexistingDiatonic scale. No use made was by him of the quarter-tone "

'

Euclid, Int. Harm.,

Nicomachus,

pp.

pp.

39, 40;

5, 6;

Quint.,pp. 9,

10.

Arist. E

2

52

OF

HISTORY

THE

MUSIC.

Enharmonic. distinguishedthe true called by Euclid, and of Olympus was by

The

"wrhich scale

writers those

notes

scale,and

in all the genera. Olympus Seventh of the Greek minor

included

were

the

omitted

Genus, because

Plutarch, the Common

before

Fourth

other

and

did

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 month, they connected the twenty-eightnotes of the scales with the twenty-eight and days of the moon; the

fifteen

of

notes

the

fifteen days of the moon's subdivided

the

increase.*

the

were

The

Egyptians into weeks through each of the seven days

month

lunar

scale

Diatonic

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

notes

followed

been the

in

there

Octave

If the would

instead

One ancient the

Greece

has been

Aiistides

"

Quintiliamia,lib. iii.,

p. 136. *

and or

is

Scott

explained by

as

period fixed

"any limited by natural laws

revolutions, whether

mouth, "hour" Greek Claudius

or

is

LiddeU

of

the

time and

the music

the

year,

day." The meaning of of comparatively late

date.

In

Ptolemy,

the

note

quoting

from from

of

musical

technicalities

Sioulus,{ante p. 40,)

applied to

year. where

tlie

the

twelve

the

use

sun-dial, and day into twelve

hours

says

qipai of the

seasons

See also the note

Herodotus

learnt

the

worthy note-

a

Egypt and of unobserved,through

Diodorus

"

is

present system.

our

are

"Qpa

had

eight sounds

That

hitherto

misunderstandingof

of nature

been

seven.

in

link between

more

have

of

pecuUarity,even

scale

that

here are

the

of the

gnomon,

the

division

parte,

below, /iipEa. Greeks of the of

the

from (jUEpea),

Babylonians. (Euterpe, 109.)

EGYPTIAN

in

TO

THE

earlyGreek passage from an the word anti,which, when

a

of

MUSIC

contra

loco,made

or

the

53

GODS.

author, and

ally especi-

in the

taken

the

in parallel

sense

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, [playingin Octaves]the resounding of these notes 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.'"" "

"

Demetrio

tur."

Ducange

iv. 1219, sub

didi

vfivovai

Tuiv

Kal

iTrrd,

ot (putvqivTOJV

Upue, i^tl^e "/ixovvTES

"

caiTO.

6

utt' tvtlnovias

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

ojcouerat

dvri

more,

thesenseof

ing."

Again,

translated

of

is ^lavqkvTtjiv vowels."

several

been in the

"loco

whole follows

tibise aut

purport is the

on

dvri avXov rendered

citharse."

of the the

translators

been

KiOdpae,"has

Kai dvTL

by

puzzles to First,"xal

above.

passage

of

were

with

number

discrimina

an

"the

scale,)which

passage

seven

that

vpwels

in the

referred

be

as

"

case,

the

suggested.

sense

four the

septem

(seven notes the

to

authority

In that

must

vocum,

true

understood

be stated

may

been

accompaniment Thirdly, iirrd

seven

inflections."

that

the

has The

translated

not

fjrrd fuvrievTa

of

"aocompany-

Egyptian language, I Dr. whose Birch, upon the

wrong, taken in

GvyKpovaiv

Having

The

expediency

accompaniment

there

be be

or

"the

aM"o Koi

proved

"concursmn." is

one.

have

must

mstrument."

an

this

without

to

"cum,"

diffre 6

8vo.

voice, and

be

translation

a

T"v ypa^fidriov meaning KiBdpaQf

aitXov,Kai dvH TOVTojv

KoX dvri

the

it to

ought, therefore,to

Once

roig Oeoig

with

make

such

"Nota."

voce

KiyvvTif di

"'Ev

Latin.

Med.

Gloas.

would It

ascribi-

Phalereo

Tulgo

"

instrument

qui PEpi "Ep/jiji/fiac,

lib.

nassus,

Halicar-

Dionysius

"Testatur

"

of

of the

Nevertheless,

54

This

carollingor singing without the gods, was copied by the

practiceof

words, like birds, to who

Greeks,

caroUed

have

to

seem

MUSIC.

OF

HISTORY

THE

vowels,

four

on

Egyptians having but four.* .The vowels had recognisedmeaning probably,in both cases, some the

attached of

them,

to

praise "

to

the Western

the

in the of

sense

of those words Church

also had been

Jehovah,

which

I H

H,

V

of the Greek

One No.

this

suppHes suqji an

626,

side is

the, one

the other

name

letters,

praise.

Museum

exact

Greek

Berlin,

at

of this

copy fullyillustrates the submitted

sacrifice to

a

anoais,

that the

in the

Egyptian custom, and so that it is here quotation, On

of

manner

vases

in

Eastern

consists of four

in Hebrew

originatedin

The

some,

E,

vowels

the

nonanobane,

supposed,by

tt A

T7 o

b

being

the consonants.

its noeane,

It has

"c. of

without

was

service,is taken

Seculorum, Amen,"

"

custom

The

Church. Catholic

Roman

the

when

case

was

transferred retained

the

as

words

for certain

substitutes

as

ing preced-

to the

Athena,

or

reader.

Minerva,

four

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

and

on

the letters

are

intended

are

to

of the execution late A. J.

account

for

of the

lessness care-

but, in the opinionof the

Yincent, of the Institut

intended

are

;

be, on

A, E, I, 0.

The

de

France, they

first of the four

is

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

ifthere had been

the

notes the

upon "

The

were

open

have

would

most

no

probably sung

sounds

of probability

with their to, te,ta, te, sol-faed for another selection. reason special

the

of use

Towels. of but

four .vowels

soription on here

wiU the

appear

irom

Greek

iUustrates the Greek

vase

the

in-

which

custom.

GREEK

Greek

It should each

OE

COPY

AN

Woeship

be noted

or

EGYPTIAN

Athena,

that the

55

CUSTOM.

oh

Minebva.

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 seven

"

left

hand, and

the under

and

shorter

parts with

the

each holds in his right plectrum (plektron)which 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 one pipe look largerthan appearance '

the

other, but

mouth, and

the

the

distance

size of the

of the bore

holes

of thei

from

the

tube, would

56

THE

determine

OF

the

pitch. usuallyto

player was had

HISTORY

The

MUSIC.

pipe the

sound

apertures further distant from

on

the

under

left of

a

part,^and

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

hi^

copy, hitherto

the

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

not

was

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.

F^tis, the

Jos.

Egyptian flute.No. "

"Et

ut

conjuncta, quod minia

quod

est

sit

This

2688.

aJia quam

quodammodo

ejus carincentiva, altera

Succinit tibia inferior

a

sinistra

dexterse

fora-

bus."

mmi

is

part part of

(Varro

De

Re

of a

an

long

rustka, 1,

2, 15.) 1)

est altera

modorum

siiccentiva.

tibia

dextera

sinistra ita ut tamen

lower

VasetibUder des KSnigUchen Musemns

Berlim, by Edouard Berlin, 1843, fol. m

Gerhard,

EGYPTIAN

AND

MAGADIS,

57

TETRACHORDS.

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

and

the

ancient

about

from the

details of

the

"

piece head-

a

All Egyptian monuments. this experiment may be passed

noticeable

one

liighestand Fourth

add

to

designsupon

minor

over"

facsimile,and

in

part

the

and

;

lowest

that,

part is that between

there

as

the

note,

interval

a

was

holes, the

five

were

the

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

have

must

appears to have formed.. was Either

"

the

holes

the

dimensions

had

been

not

the

been

with

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

know

of

nothing

tones, limmas, and discordant

quarterthirds,

called

informed Ditones, unless before hand, and would the suppose dimensions given to him to be inThe

exact. on

flute

new

the modem

turned

Chromatic

P^tis,notbeingweU-versedin music, although he about

much use

the

improbability had

vi. p. curious lack

it

made

G^nirale

of

had

ancient

written

so

it,did

not perceive (to phrase) the utter

mildest

announced

out

scale ; and

of

as

in de

la

22.3, 224.

such a

scale, but discovery that he

his

a

new

Histoire

Musique, 1869, 8vo, Another

in deficiency the knowing

F^tis

equally was

first laws

which

upon

musical

between taken

one

sounds,

flute, as

the

"ph^nomtoe

a

harmonic

tellingof

and

genre;'' that

son

Greek

this

unique

after

the

of Octaves, that

en

first be

might

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

expected the foUow, without

Octaves

double

to

interposition gradual increase of necesrapidity in breathing must and above sarUy produce Fifths after of Fifths.

the

The

first Octave

Fifth

the

being

the

every second

subject will explained further

be

This

part made

is

to

his

restoration his

theories

flute

in

tell

"

The

upon

worst

F^tis, having

experiments ancient

the

upon

flute the

of the

fuUy

more

on.

M.

the

"

harmonic,

basis

of

Egyptian Egyp-

music, has throughout treated tian

music

as

if it had

his

the modem

Chromatic

of

History

i. 324, et seq.

been

scale.

upon See

his

58

HISTORY

THE

It does

Greek,

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

made

were

scales,whicli

were

says

MUSIC.

all

follow that

not

Athenseus

OP

that

the

Pronomus,

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

Theban,

first who

the

suppose

may

same

the

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

the

have

to

for

the

with

flutes to

holes, which

four two

upon him We

case

pipes or

but

were

each.

the

kinds at

the

of

scale,

interval

Fourth.

a

In

addition

intermediate

to

many foreigncountries,such as of

or

one

before

for

been

sometimes

music

that

find their

sounds

extreme

of

was

men

the

from

visits

between

ancient

In

Egypt

and

with

of.Asiatics,and

Isles,to Greece,,there

direct connexions times.

the

links

were

Greece

several in

more

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,"says Sir J. Gardner his TimcBus.^ 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,

B.C.,

"

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

left to

"

Timcms, 21, e.

^

Wilkinson's

AncieM

Egyptians,i. 47.

SONG

EGYPTIAN

The

Greek

case

of Athena.*

Again,Danaus, who III.,^is Amunoph

of

and

to

have

in the

alreadyexemplifiedthis

has

vase

59

GREECE.

IN

have

to

seems

have

also said to

founded

been

brother

left

of which

Argos,

a

he

Egypt became

probablethat the colonies were formed chiefly by the militaryclass of 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.,

Dorians," Colchians, and which

mythology, to

It is

1425.

others, and will

not

and

the

much

in

the

to permit me refer ; but one of the strongest proofsto a musical and of an Egyptian reader is the identityof a Greek visited Egypt, he was Herodotus When struck song. than he had by hearing what by nothing more thought to be a famous song of Greek origin,but 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

space

"

was

a

lament

Egyptian

song

for

"

Herodotus

the

names

from

came

For,

And, indeed, all the

Gods

Egypt exception of Neptune Dioscuri, Juno, Vesta, the Graces, and the Ner.

the

Themis,

eids,

the

names

always

of existed

of

name

for Maneros.*

the

Identity

.

aU

the among

Egyptians, (cap.50.) Grecians

into Greece.

received

deities from

the

.

vrith the

and

have

"

almost

lament

;

There identityof system of music. identitybetween a boat-songof the

says: of

a

was

of song argues could be no such

Linus

others the

*

Wilkinson's

the

Also

that

the

above-named

Pelasgians." Ancient Sgyptians,

i. 57. Herodotus

"

See

''

Herodotus,

Erato, 53 ii. 79.

to 60.

60

THE

Nile

and

HISTORY

down

music.

the

that

Egyptian music Babylonian, but been of

found

not

in which

of

be

Linus

was

in

that the

there

yet

adds

that

different

identityof

song Cyprus, and

words,

musical

the

system

we

may extended

also.

Diodorus

Siculus

says visited

poets of Greece

improvement,

and

that

the

that

of their visits in their books.

names

so

recorded

Musaeus, and

Homer

Egyptiansclaimed the

Greeks in

names

were

at

a

Diodorus's

those

very

The

of

followed.

to have

and

musicians

Egypt for the purpose of the Egyptian priestshad

records

to

has

to

difference upon Babylon, and Greece,

Phoenicia, in

elsewhere, though with assume

few

a

comment

Herodotus

sung

them

among

Egypt, As

traced.

one

ancient

to

writers, and

any

systems between

is to

allusions

Greek

in

tonal

European can sing or boat-song correctlyin our

numerous

are

The

now.

no

Arab's

There

MUSIC.

air

European

any

systems differ,so write

OF

So,

first two

Orpheus at

and

least, the

taught music and poetry early period. The later

list,such

as

those

of

Solon,

Plato, and others,are

admittedlyauthentic. And lastly,as to the antiquityof the Egyptian 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 second king, sometimes Sensuphis,"who erected the second great pyramid.'' Egyptologists remote differ in I dates, so estimating these "

Bunsen

of the is his p. 64.

has

explainedthe

error

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

to

*

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

sius's Blatt

2.

GREAT

leave

the

ANTIQUITY

reader

from

the

time

of the

select the

to

authorityhe prefers

It is sufficient to

note.*

buildingof

instrument, which

is

that, at the

say

musical

Pyramids, this

the -of

one

61

LUTE.

THE

OF

a

advanced

very

kind,

employed as the hieroglyphicfor "good," and 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 and leavingthe vowels to be supplied. Some 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, Nehel, and the Greek Nahla. perhaps,the Hebrew was

"

"

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

"

dates

of

J. to

G.

Wilkinson

about

Era,)

"according Pyramids were

builder

began

2123

himself that

of the B.C.,

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

the one.

the no

and

second of

the

Accord-

B.C.

Wilkinson

reign

pyramid

the

pseudo-Manetho,and When

adopts

the

first

of

third

ing to Bunsen,

The

B.C."

2120,

chronology which he (that of Josephus) is of the

Sir

B.C.

says, the

Manetho,

erected

4th

Julian

(of the

3095

the

the

has not

quoted the true

Egyptologists arrive

at

dynasty of Egypt there are longer such grand discrepancies 18th

between

of

king (supposed

knew

The

them.

first

the be

to

the

Joseph,")

not

reign of the dynasty, "king who

18th

is

dated

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

by era, B.C.

Archbishop Usher,,

to went

Egypt

to

according

the

to

1920, B.C., Key.

Dr.

Hales's

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

period

Great

of 3555

quoted from him his chronology.

"

as

comprised

years.

That

by SynceUus, See

Bunsen

is in

i. 98.

62

THE

The

OF

HISTORY

MUSIC.

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

two

or

that

6 "

four

it is strings. As a hieroglyphic, more frequentlyfound with one cross-bar. The second example here given shows the attached, and taU-pieceto which the stringswere the bridge over which they jp^^ssed.The bridge is representedflat,but must have stood upon its two points. These are copiedfrom Lepsius'sgreat 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., or

"

"

will be

found, with

instrument,

the

over

will

and

"

few

The

find

will escape

first

Lepsius'sDenhmakr,

a

house,

of the and

the

Abode,"

to the

of the British antiquities examples around him,

having their from

Dyn. 4,

2, Blatt 40, and the second

of

neck

Good

numerous

is liieroglyphic

the

across

doorway

"The interpretation, House." Any visitor Museum

bar

one

Blatt

Abt. 29.

""

or

attention

Description de

vi.,424.

"The

Good

arrested

I'Egypte, 8vo,

EGYPTIAN

LADIES

PLAYING

TO

DANCERS.

63

64

THE

by

HISTOBY

OF

MUSIC.

the

magnificentsarcophagus of the daughter of Psammetichus the II.,and of Queen Nitocris,among which the inscriptions hieroglyphicmil be upon frequently seen. The preceding paintingof four ladies seated, and two female dancers, is also from Thebes, and of the lutes will be eighteenthdynasty. 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 kind, pipes,of the flageolet upon and those pipeshave ivoiymouth-pieces. The painting is upon plasterthat has been safely removed from the wall But

of a

a

tomb, and is now

stUl

private band gentleman in

curious

more

and

in the British scene

Museum.

is that

the

of

the

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 kind the following, as engraving,of the same 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 sideblown flute,togetherwith two pipes,or flutes, blown 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. "

Blatt

Lepsius's Ifenhrmhr, 36.

From

the

Abt.

Pyramida

2, of

Gizeh, Grab

9.3.

THE

r

I TO

I i

Bf

J^

EAJILIEST

EXAMPLE

OF

HARMONY.

65

66

THE

We

have

HISTORY

privatemusical establishment, vocal, of an Egyptian gentleman,

Tebhen, who hand, which

The

is the in but

admits

lower

domestic

his

state

the

the

is seated,with

the

In the

flagelltim dominion. the wealth

size of this page which comprise rows,

octavo

two

musicians

and

singers.

his distinctions

of interpretation

the

and signof lordship the pictureexhibit

upper two rows of the deceased ;

only

of the tomb.

master

was

largeplateof Lepsiushe in his

MXTSIC.

here the

instrumental' and named

OF

and

his

The

name.

glyphics hieroFor

I am indebted inscription Dr. to Birch, for no letterpresshas yet been The publishedwith Lepsius'sDenkmaler. 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 Lastly,a child,who taps upon some bronze which

instrument

the

that

has

an

animal's

head, and

only be useful for beatingtime. 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 could

recitation,with

Homeric

not

hcense

to

ramble, but

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

The band

to the Western

greayt point to is the

harmony.

be

Church.

established

by

Tebhen's

exceedingly earlypracticeof instrumental The flute and pipescannot be playingin

EGYPTIAN

unison, on

67

CONCERTS.

lengths.Moreover

of their varied

account

the

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

J.

different

Gardner

Wilkinson

combinations

of

thirteen

enumerates

that

instruments

he

has

the paintingsof among he adds that there are many noted

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

five

or

different

playingtogether.

of instruments

The

of four

are

Egyptian flute,which

blown

was

at

the

side,

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

Greeks, and

the

Tibia

obliquaof

the Romans.

The

The Egyptian pipe blown at the end is the Mam. of the last would preciseGreek and Latin names depend upon whether that pipe was blown through If it had no reed mouth-piece,or without 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

twenty-one

;

and

twenty-five pegs

"

British

Museiun, is

in the

Paris collection

Wilkinson

mentions

^therefore for

one

twenty-five F

2

68

OF

HISTORY

THE

MUSIC.

strings.We read of otiier harps wMcli had thirtyfive, and forty strings; the first,called by 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 We

that

in

ancient

the three

the

upon

He

B.C.

upon till -been made

have

Ptolemy, appeared and improved the

scene,

Eratosthenes, the

to

advance

of

mathematicians, Eratosthenes,

Claudius

and

kind

seems

Alexandrian

Didymus,

276

No

Egypt.

country

Greek

prototype of every

the

trace

may instrument

first of

them,

bom

was

of

Director

was

sively succes-

scale. about

Alexandrian

the

Library. The

firma

of

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

and

the

roU,

papyrus hieroglyphics. "The

kings royal

of

the

Eratosthenes.

Pyramids

book, is among

Pyramids Empire," says

Old

discovered

names

or

The

accords

in

with

of

of

the

the

of The

"

all those

are

even

that

tombs

Bunsen."

them

number

the

are

the

of

great

kings

in

Eratosthenes." "

According to

Diodoms

fs Place

in

and

Plutarch,the shrine

History, introduction

to vol. ii.

THE

69

DYNASTIES.

EGYPTIAN

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

musical

with

wonderful

of

Labyrinth are to be of the Old Empire, as

works

By

the

obtain

advanced

an

architecture.

the

and

"

instrmnents

Hst

of

The

of Mceris

Lake

numbered weU

kind, and

as

Eratosthenes," says

the

among the

Pyramids.

Bunsen,

"

we

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 Empire [Memphis] was not re-conqueredand restored 18th of its later kings tin the dynasty. One entirelyfreed the frontiers from the occupationof the Hyksos."" (i.80.) itself into three Egyptian historysubdivides comprehensive periods ^the Old Empire of Menes, Empire, during which (12 dynasties)^the Middle Egypt was tributaryto the Hyksos, who reigned in 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, accordingto Manetho, were Manetho." a

connected

"

"

"

"

united "Bunsen, i.

45,"

and

North ii. 52,

Arabian

and

quoting "Diodor.,

adding,

"Confer

Plut.

South de Is. et x.

4."

Palestinian Os., cap. 8,

and

races.

Athenaus,

70

HISTORY

THE

The

"

and

improvement,

was

changing

refers

down

the

to

forms

the

into what

fine

they

innovate, which

invent

painting,

statuary,

fxova-iK^ ^vfiTrdar)],)to

make

examination,

you

made

statues

particular

The

or

as

to

ii.

Hb.

we

must

greatest

assistance

the

thousand

to

ten

take

them

chronologize

years

the

artists,

either

lawful,

in

(ev

music,"

Upon

pictures in

are

what

to

those

from

the

it

was

nor,

no

and one

they

now

64.) of

hieroglyphics

to

modern

grano

salis, unless

Egyptian

has

inquirers

spoken

years,

cum

be,

should ;

ago

than

worse

unchangeableness

the

wish

better-

settled

Having

of

find

wUl

enter

to

alteration.

any

thousand

ten

(Laws,

make."

of

therefore,

it

long

beautiful

but

branches

any

"

known

different was

nor

or

was

imitative

forms

any

been

temples

other

or

estabhshed,

were

their

laying

have

music

that

the

in

antiquity

people.

in

Plato

permitted

be

what

them

on."

nothing

young

and

we

youth

should

painters,

or

plan

^that

them

for

to

"

of

forms,

exhibited

allowable

adherence

of

music

assemblies

those

roUed

education

Egyptians

and

centuries

"

change

around

everything

The

"

:

the

for

ago

zealous

words

following

the

forbade

religion

while

as

their

to

and

laws

Egyptian

MUSIC.

OP

gods.

of

by we

been ;

but,

Plato-, should

71

CHAPTER The

improved

The

Pythagoras. "

of

Greek

lyre

purposes.

The

How

Greek

has

as

now,

in the

the

to

the

has been

It is certain, that

had

system

from

existed

of certain

of its

has

name

writers

Octave

them

the

by

divisions

attain of

it has

for usual and

a

occasioned.

attached

led to

the

How

to

it.'^

sion.' misapprehen-

explained.

system, whicli moderns, even of the

scale.

high a level for many Pythagoras. The Greek so

modems

in the

devised

was

era,

and

effected since that

no

further

date.

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

for ages Greeks, who

Herodotus, led

reans. Pythago-

one-octave

importance

the

century of the Christian

improvement Octave

and

ancient

did not

Greek

a

misunderstandings

key note,

adopted by

second

the

between

after the death

centuries scale

difference

music

the "

present mathematical

Greek

of

coveries dis-

supposed

eight-stringedlyres.

implicitlyfollowed

been

ideas

the

writings

Difficulties in classical Greek

"

Egyptian

"

literal translation

the

And

the

about

played. Eight strings sufficient

scale,and

two-octave "

and

The

"

Earliest

and

seven

of

Three

"

"

held

was

knowledge.

Stories

"

and the Pandura."

Pythagoras.

The

Greeks.

of the

system

Monochord

musical

of "

Octave

or

IV.

were

to

of

a

attribute

different

stamp

to

.the discoveryto

To their countryman. Pythagoras,because he was 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

HISTORY

THE

The

first

is,that

MUSIC.

OF

lie

blacksmith's

passing a

was

of the

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

the

weigh

to

found

the

on

the

anvils,he

induced

to

He

is then

said

were

twel-^e nitie, and sounded the Octave

various and

enter to

have

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

of the

weights,which

in their

consonances

to

twelve

twelve,gave

with

was

hammers.

cause

the

;

that

of

the interval of

a

compared eight,

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 thought too good ages- such a discoverywas declared to be for a heathen, and so Pythagoraswas

those

a

nine

and

misUomer

har^e been who

twelve, sounded

for his to

seems

the

Jubal, and

brother. Tubal have

dared

to

real

Cain.

blacksmith

The

to

first person

express dissent from

a

generallyadopted 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 higheror lower. (Lib.i. cap. 3.) Pythagoras should have looked to the anvils^for pitch,instead of to the story

so

hammetB to

its The

; as

we

should

look

to

the

beU

instead

of

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 proportionsas the

FABULOUS

hammers

EXPEEIMENTS

OF

73

PYTHAGORAS.

previousexperiment,viz., of six, eight,nine,and twelve pounds ; and it is said that he obtained the same r,esultsby those weights as with the hammers. Claudius Ptolemy, actingwith doubts his usual care not to give offence,only threw 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, the

under

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

So this fable went "the

time

of

that

great enquirer after truth,

Galileo.

astronomer

uncontradicted, perhaps tiU

on

He

to

seems

have

been

the the

point out that, to produce such results as obtained said to have by tension Pythagoras was equal-sizedstrings,the weights should have upon first to

he of those squares employed ; i.e.,instead of six the

been

used

have times The

eight,and

If the

so

six

;

and

said

to

have

pounds, he should instead of eight,eight

on.

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

above

(pp. 10, and by a left

six times

is

stories

are

detailed

host of later writers.

third,and

alone,it would

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

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

or

74

HISTORY

THE

parts,

the

called the

many

perhaps

MUSIC.

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

because

such an instrument upon Pythagoreansentitled it a Kanon.*

have

to

in

as

OF

that

been

taken

^but

"

he

If

Pythagoras experimented upon consonances, should have had more than one stringto work It

be

may

noted,

that

Greeks

the

had

instrument stringed

called the

Pandoura,

which

enumeraites

after the

Julius Pollux

and

"

so

says, it.'""The

called

by

the

have

a

Pandura,

or

Monochord,

Assyrians,who

been

derived

upon. three-

invented

from

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

may

"

Nefer, which Nabla

The

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

Athenaeus, after quoting Protagoridesof Cyzicus "On

Festivals

the

of

Daphne," that

sounding Pandoura,"'* states wrote

book

a

the

on

out sea

of the

shore.

Red

the

instrument

tare

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

iv. 176

"

Ta

Ti

"Panduram

iv. cap. 9.

.(Egyptios attemp-

the

the

is

grows

brought

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

"

"

that

upon

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

bright Pythagoras,who

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

Thus

"

"the

to

Sea, says

bordered

Troglodytai,(who Pandoura

the

about

as

"

"

"

'Tvi (pavov

Philo-

vavSovpov." (Lib. "

B.)

Lib. iv. Sect. 82, pp.

183, 184.

THE

within

ADVICE

75

PYTHAGORAS.

OF

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

tlie

southern added

that, in and

before

the

of

time

to

the

be may Claudius

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

then

used

an

instrument

sections,called the Helikon.^ the effect of

stringsupon Aristides '

make

to

many bridges had

Movable

fixingthe sounds,

the

as

hand

pressing

frets.

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

be

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 history,because 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

to

"

"

"

"

Ptolemy,

lib. ii. cap.

2, and

Arist.

Quint., lib. iii. p. 117.

76

THE

became

OF

again,as

young

of the

HISTORY

of ancient

events

MUSIC.

first,knowing nothing times, either in our country at

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

or

Pythagoras is supposed,accordingto of 570

of

authorities,to have B.C., and

to

have

which

Amasis,

been

are

mind

one

was

not

beyond

what

the

about

weight

the

year

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

one

the The

discoveries

various

have

to

land.

own

visited

commencing from about birth of Pythagoras. to Pythagoras are too any

bom

Egyptians

and

attributed

too

vast

for

originated,but

might

have

they learnt by

been

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

are

the doctrines

the musical bodies.

of the

harmony

The

first is

Immortalityof

the

Soul, and

in the revolutions of the referred clearly

heavenly Egyptians

to the

of the Greeks by Herodotus, who adds, that "some have adopted this opinion,(some earlier,others 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 was reckonings,and 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"

Abraham,"

vi. cap.

in cap. 33 ; and "On

On

tkemigrationof 32, p. 464j again,

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

^

Avm

"Ibv xai

'6\ov

oiipavhvapfuni'mvpaaiv

Aristot. Sipi9fit)v."

Ccelo,iii.1.

"

i"e

THE

SUPPOSED

HABMONY

THE

OP

*J1

SPHERES.

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

sounds

those

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 centuries,which prove, by resultant sounds, that some 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

nothing "

sounds

many

of the

account

on

some,

account

and, again,others, on

account

;

great for

too

to

extant

the

know of the

great distance

of their

excess

;

being

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

our

Archytas,"are if it be attempted to As

we

feebleness

of their

others,on

concussion

of which

in nature

rapidly, nothingwiU

come.""

system of music, the

earhest

poxu-

Octave

of it among fragments of the

the

notice

Greeks

is included

in

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

"

257,

Porphyrii

Gommentarius ,

p.

edit. Wallis.

will the "

ii

these

The

experiments by

facts

have

been

which

established

be

hereafter

Science

Porphyrii

mmaca

WaUia,

referred

to under

of Music.

Claud. iii. 257.

Comment,

in

Ptolamm,,

Har-

apud

78

HISTORY

THE

printed,witli Some

their

OF

MUSIC.

musical

as proportions

intervals.

afterwards

rejected and A few have alreadybeen explained others retained. fully (pp. 35, 36, 46). Proportions will be more explainedhereafter. The followingis the passage : of

the

terms

were

"

'Aofiovlas Se fieyeOosevri Si

o^eiav Se Si o^eiav ra? fiel^ov (TuXXa/Say eiroySoui koi tri/XXa/Sa

TO

The

of the

extent

is

Fourth

a

but the Fifth is Fourth

by

ej

VTrara?

airo

fiecj-av

for,from [E

^e

fiecrai

but from

vearav

iron

Si" o^eiav, Se

airo

a

i/eara?

e?

to

rpirav

from

tem sysFifth ;

;

the

tion [propor-

8.]

stringto

string is

a

the

Fourth;

A] middle

Fifth; [A the

to to

higheststring

E]

highestto

[from

crvWa^a,

Tone

the lowest

middle

o-yXXa^Sa, ctTTO

a

greaterthan

a

of 9 to

yap

and

"

r

ecTTi

Octave

the

third

string

top]a Fourth;

[E

toB] OTTO

06

6?

TOITUS

VTraTUV

01

"

S'

iv

Se

Kai

fiecrai

fieaw

between

^6 Si

The

Fourth

Sia

fifuoKiov o^eiav

OVTWS

apfiovia

Koi Svo

Si

Se SiirXoov

Traaav

eiroySoa

rpi' eiroySoa

passage

string and [A

to

B]

.

is in the proportion

proportion of

in that of 2 to 1.

the Octave

the Fifth

and

system is of five

two

Semitones

is of three

Semitone

the Fourth

Tones

;

and

;

of two

Tones

and

a

Semitone.

Philolaos, edit. Boeckh, is also

Thus

a

Siecrti,

Siecri^-''

This

a

2;

Tones

avWaj3a Se Sii'evoySoaKai

"

lowest

4to3;

the Octave

"

Sieaiei,

oZeiav Se Koi

irevre

middle

the Fifth is in the

"

3 to TO

the

to

Tone.

a

"

of TO

the

third is

eiroySoov crvWa^a imTpirov

To/ra? a

third

the

Fifth; [BtoE]

o^eidv TO

from

quoted

p.

in

66.

more

modem

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

"

SYSTEM

These

intervals

followingscale The

transferred

made

be

to

didse

the

to th" smaller

afterwards

was

of either

interval

above

semitone, like

a

diesis

but

;

the

upon

for

diesis here used

French

in

verified

found

b"

seven-stringed lyre.

for the

have

we

the; modem

a

third

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

part, or and

a

hemitone-,was

or

will

fiiBstobservation

is,that

79

PHILOLAOS.

OF

then

called

limma

a

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

here

observed of

system

hemitone

only

distinction the

Harmonia,

is to Octave

Diapason, the Octave itself. that Pythagoras limited the

music,* and

Plutarch

tells

doctrines,

of

us

Harmonia

in the

included

between

remnant

or

the

to

Diapason,

or

sounds

that

Octave.''

That

are was

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

the;

Fifth

and

Octave, the

same

The

Fourth, whether defined

as

in the

or

up

down

in

the

preceding quotationfirom

author. Octave

Stci

system,

new

to the

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 two (rlAtiov)to Octaves, yivcrca Ian yip ap/iovia jroKv/uyBiup "

"T6

((ruffn/jaa)

vaa"v

..

"

"

"

*

"

"

because not

compound

be calculated

intervals

within

one

could

Octave.

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

evunrtg "

80

"

THE

Harmonia,"

derived

HISTORY

and

tliis

OP

name

MUSIC.

seems

to tave

not

Harmonia, the wife of the

from

Egyptian,Cadmus, the reputed fouMer for there is and teacher of the alphabet,

Phcenician, of

or

connection

between

her

and

music

Thebes,

apparent

no

it

:

been

was

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 fittingaccording to the laws of music of musical." Pythagorean musicians took the name Canonici, Harmonici,'^ (althoughothers called them their measurements from by a rule,)and Aristoxcontinued of them with haAring to enus chargessome teach the following seven-stringed system exclusively, that Harmonia, long after lyreshad been 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, "

"

"

"

"

"

the above

have

it also in the

has

preservedthe

genera, The

system from

Diatonic

have

scales

The

will be best

manner

in which

"Oi

(p.40,

TTtpiahrSiv

soon

two

Ptolemy the

three

increased to

that addition

was

systems

" iKoKovv kirraxopSiov, iiroiovvro." Imaics^iv

Meibom.)

edit. Meibom.)

"'AX\"i

and

; we

made, side

by

"

says KoKovjievoiapjiovueoi," contempt. Aristoxenus, with some

""

;

Archytas in

by placingthe following:

seen

side,as in the

"

of

in his lib. i. cap. 13. seven stringsof the lyrewere

eight.

"

of Plato

TimoBus

Philolaos

fiMiov tSiv

Tijv ApjuovtaQ, "

(jr.36, edit.

PYTHAGOREAN,

THE

IMPROVED

OK

OR

DISJUNCT,

SEVEN-STRINGED

Nete.

d.

Paeanete.

b.

Fabamebe,

'a. Mese.

SYSTEM.

OCTAVE

EIGHT-STRINGED

LYRE.

e.

81

SCALES.

LYRE,

Tbite.

or

(Key Note.)

G-. Liohanos. !etJ?

sr

F.

Pabhypate.

^^E. Hypate. The

intermediate

in both -from The

from

minor, with

it

as

a

minor to

it

to the

which

"Natural"

scale,or

Aristotle

describes

is within

the

"

the most

the

doubt

no

was

the

was

Kithara, being

It

strings

natiural

general of

compass

voice.

Boeckh

found

string from system, "b," from Plulolaos

Philblaos

the its

to

of

it from

top in

being called

seems

speaks

numbering

the

about difficulty

a

third

while

ascribed

Seventh. the

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

"bb."

Hypo-Dorian,

stable."*

scale, because man's

the

scale,and is our

suited

most

statelyand a

the

of to

here

are

Greek

"Common" A

which

notes

taken

are

instead t|,"

"b

to

of

tone

or

immediately above

cases,

"a"

tone,

it

the

as

the

seven-stringed Paramese by some, But

call it Trite. the

"Third"

at the

while

(Trite)in

highest stringof

chord, he also explainsthat it is

of the

name

the tetra-

interval

of

a

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 Trite of the eight-stringed lyrewas the omitted string." in the above scale,) It is very clear why this string("c,"

Fourth

"

Prob.

from

the

xlviii. of Sect.

19.

i"

and

See

his

Problems

xlvii. of Sect.

19.

viL, xxxii.,

82

THE

omitted

was

a

in

discords.

were

Fifths

in

the

By

The

because preference,

above

Fifth, ("a" to

"

"e;") and

the choice of

was

a."

Again, b improvement

The

"

one

was

between

the

compass Seventh.

an

"

a

in

Fourth

made

Octave, instead

or diazeuhtihos,) it separated the

like

system

or

tone

the

"tone

what

in

ours,

The

discordant

a

of

The

is called

"b"

tetrachord

began

systems, viz.,on

it would

note

one

"b"

natural

"

e."

the minor

(tonos

because disjunction,"

retained, instead

of

Fifth

a

preceding interposed

tone

of the scale of A

of

"e,"

tetrachords, made of

a

the

over

turning out fifth ascendingnote, as

instead

from

b," or of

tetrachords.

two

"d;") afld

to

called "diazeutic,"

was

key

to the lower

Fifth

great.

Fourths

two

a

the

from

down

"

to

and

consonances.

was,

coming

in this

very

This

became

there

Fourth, ("a"

a

Fourths

they were

arrangement

to

wanted

ancients

note, "a," upwards, there

MUSIC.

preferenceto -any other. It made a 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,

minor and

01"

HISTOKY

if

"

scale then "

one"

minor

at

b" flat had

natural.

higher

So in

the the

key, th$

been upper

Octave

instead of "a."

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

.

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

"'

"

De,

Legibus, vii. 794,

OCTAVE

THE

the

83

LYKE.

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

gave the

The

of Lichanos to the

name

left

had

arm

to contribute

the

to

support of

the

lyre,but

the

was

sometimes

tion, flourished about, to assist in declama-

or

held out

principal duty because When

it

right was

as

if

addressingthe

fell upon

the thumb

then

audience.

of the

left

The

hand,

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

key-noteupwards completed the and

disengaged,and

more

its older name,

notes

of the

Dioxia, gave way

the

Fifth,

to that of

made in Diapente, through five," No changewas the word Dia/pason(the Octave),because through all" was as appUcableto eightstringsas to seven. The strings of the lyrewere usuallycounted from the lowest and longest, No. 1, and the highestand as shortest was the last. This is,at least, the way in and Aristides Quintilianuscoimt which. Nicomachus 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 pitch,so that he could singa Fifth up, and a Foiuth "

"

down, in his natural *

"'Air6

roii rbv

txiq

apmrfpcLQ rbv napd

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

avTi^

del

voice, without

eoXou-

kiriTiOeadat."

"

exertion.

The

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

2

84

THE

OP

HISTORY

MUSIC.

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

tUianus

also

contended much

poetry, lost

its Octave on

the

Fifth for

each

on

above, their the and

bear

mind

in

vocal

times.

By

hearers

scale,and

Octave

an

as

difference

the

the

scale, we

the

above

it.

That

the

was

all below.

same

They

the

added

the bottom

to

what surprising

of habit

when

a

arrangement few notes

have

either aU

Greeks

extended

Octaves, their arrangement

two

ours.

as

Fifth

But

better had

singing,because the Greek side of his key-note,, and we

or

It is

the effect upon musical instrument.*

beginson

scale to

a

well

as

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

one

began

orations,

that

one-octave

of modern

mean

a

to

this Greek

Octave

on

by

is essential

between

a

of their

if unaccompanied It

for such

ample

compass

has

a

Fourth.

to

of their one-octave a

the

was

top,

scale.

this slightvariation difficulty

occasioned

to

the

modems.

AU

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

the

"

riddle both

Sir John

to

before

and

Hawkins,

after

as

well

as

to

others^

his time.

this

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, And

now,

as

to

"

"

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

"

THE

in the

KEY-NOTE

middle,

there eight,

to

but

complete but

the

85

GREEKS.

THE

number

increased

was

longerbe any middle string; to it, eight has says, in referring of every the centre Still,it was no

"

middle."'

no

when

could

Aristotle

for,as

OF

If the

scale.

two-octave

would

Greeks

have

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 identityof the Greek with our old minor scale should 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

"

Aristides

same."

systems without

mutation

key-note (Mese), and "**

several. be

Euclid

several

evident

that Mese

system

is

such

change change as

a

that would

not

change from would

Problems

"

Sect. *

call

has

xxv.

second

of scale. from

aaid

one

xliv.

mode

of

Bacchius

Senior, pp. 13, 14^ edit.

to

could

not

be lyre,it must meaning. Change of

Chromatic, but

"

or,

can as

as

only mean the

Greeks

another, as Dorian

"

Euclid, Int. Jffar.,p. 2.

"

Arist.

"

have

a

to

another

to

one

would, indeed, include

Diatonic

19.

Meibom.

It

there

says

with

systems

Mese, these writers

key

it,from

As

same."

a

those

are

mutable

strings"to

alter

one

that

the

"middle

QuintUianus

Quint., p. 17.

Euclid, Int. Har., p. 18.

to

80

HISTORY

THE

Hypo-Dorian, or

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 stringfrom which, in the Octave lyre,the Fourth is tuned down, and the Fifth up, and from which the to

"

"

scale

two-octave

Mese

"

is the

is

tuned

leader

says Aristotle.'* in tune except

and

"Why,

both sole

down ruler

though

aU

and of the

up."" scale,"

the

stringsbe Mese," Says Aristotle again, "does the whole scale appear Oiit of tune ; and yet, if any other stritig be out of tune, that singlestringonly is affected 1" He that, "in aU good poetical answers recitation or song, Mese" be [the key-note] "must constantlyused, and that aU good composers do so. When they quit it,they return to it quickly,but to other in a similar way." He to no compares Mese the conjunctionsin 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, .

"

Problems

Sect. t" ^

xxv.

and

xliv.

19.

xxxiii.,and

p. 19.

Senior, p. 16.

"rf

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

Euclid, Int. Har., Bacchiua

of

xxxvi.

its soimd

exists

the

day

in them."* of

key-note

inherited

from

Western

remains

Mese

and

Greeks,

were

the

from

not

latter had

scales of the

The

tMs

at

scales,which

minor

our

the

Church.

87

ANTIPHONES.

GREEK

not

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

true

Section

19, the

being vice

antiphon

versd, and

Melos"

"

first harmonic; and

has

the

only and

a

highest, rather than sound absorbing the

low The

lower

of the

the upper

is

vibrates

the upper, from away succession of sounds that

hear

in

speech

if

voice

open

XX.

The

Bojesen. same

Section

though

in

ripiwoBai liscrqv."

....

one

of 36th is to other

the

vibrations

part and

to

as

a

;

a

but

give them,*"

to

in away of the men's voices continue *"

My

learned

friend, G. A.

I have music upon information of the

"rd

Trpbgrrjv

able, noticed

tells

me

gained here

that

this effect.

Mac-

conversations

whose

effect,

iriaQ

of

heard

die

to

in the

"

be

seem

the

:

upper.

in distance,especially

Problem

words

it is

singing

voices

farren, from

ixuv

an

women

voices will

19., edit. like

pitch,up

music, and

in

women's

and

men's, and

Sect.

in

vary

means

rapid vibrations give it superiorpower

air,the women's

for the slower Prob.

to

more

subjectat

same

to brilliancy

a

to

seem

of men's

singingthe the

the

room,

a

chorus

a

two

as

Melos

but

or

any under voices of men

the

together in woman's

is its

more

down, whether

we

of the

which

upper,

to quiteas applicable

If

sound

"

Melos tune

as

Octave

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

lower, it

been

word

the

of the

somid

the

to

high one. generator

is the

of the

lowest

to

as

of the

Octave

the

to

as

he

so

made has

much availoften

88

HISTORY

THE

after those

of the

OF

MUSIC.

ceased.

have

women

The

eifect of

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

"

shorter

will be its duration.

The

above

Problems

ia

Further referred

in difficulty

Aristotle's

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

Plutarch

8, and

the

to

answer

to

Melos

Aristotle's

in

Problems,

and

in

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

in which

the word

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 perfectwhen it combines speech,music, and rhythm, but that the more precisemeaning 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

"

"

"

that

accents .

'"""Qainp

av

tov XritfQSiai, jisKoQ,""c. ^

' '

MkXoe

accompany

it

"

''

IK

"

"

apjioviKg,

to

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

rpuiv iart

Ik (TVyKiijjttvov,

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

for it is natural

;

"MeXof

roiwv

ian

raise

Ariat.

riXeiov jiivto

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

"

fiaKp6rriTosKatl3paxvTtiToe''ldiaiTipo Sc

iv

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

"

uq

GREEK

and

to lower

Ezekiel

MELODIA

the

ii. 10,

AJSTD

pitchof

89

MELOS.

the voice in conversation."*

which, in the

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 sound of the battle cry(1.756),the risingand falling is,Melos hoes. The Melos of rhythm; to which Plato refers,is,accordingto Aristides Quintilianus, the "

"

rise and

fall of the voice

beats, the arsis and a

of their

those

voice.

To

appliedto the

expresses

sounds, wlule

of the

When

verse.

instruments, Melos

musical faU

foot,in

or

pous,

the up and down which thesis,"^ stituted togethercon-

the

between

Melodia

appliesonly Melos

connect

rise and

or

to

Melodia

modern

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

the

within

comes

Melos, but

they

Greek

of the

there

of the word.

sense

In

making it,under

treatises "

ri

ix tCiv

ovyKuiiivov

iv Tols ovofiaatv sinnivtiv

'

"

avuvat

n

music, in

requiremore

our

precise

shall

we

there

24, edit. Marquard;

also

find

it

quoted by

irpoaifiiiuvBryennius.

tjruaiKbvyap rrjv

iv

T({i

tpwv^v

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

been

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

XoyHSkg

avikvai

xal

(or Sici\iyta9ai," iv

Sri xai

and

synonymes, it indispensable was

words

have

fact,if we

music, and

on

"KkyiTcu yap

rb fieXos, rStv

we

of Melodia

being its

Greek

should

definitions of Melos, for

far from

are

because, in neither that

definitions

p.

^

"

apaimv

'Bv

Se

vpoi

Toig \6yotQ /itXet, rdf

Bsaug."

Quint., p. 32, edit. Meibom.

"

tuv

Arist.

90

HISTORY

THE

explained by

gradual and

up

of

iteration

that

brought

Aristotle

that,

of

"

inflection

of

the

left

been

"

"Asyiii pkfpiitv

T"v

is

"

remarkable

somewhat

is

Si

Xi^iv

avvQtaiV

by

air^v

rfiv

ntKoTTodav

Si,

jikv

the

by

in necessities the

jikyusTov

language,

Sk

^

It have

music.

\onrZv "Trsvre,

Twv

due

or

should

of

Toiv

for

charm,"

this

historians

"

tragedy."

Melopaia,"

aU

^

pauses,

Melopceia

was

greatest

that

unexplained

varied

being five,

intervals

any

six

are

remainitig voice,

by

It

important

the

or

either

voice,

elocution

of

there

most

the

Sound

force

the

of

be

to

same

that

says

descentj were

the

out

^the

tragedy and

and These

fall

and

rise

ascent

down.

by

or

the

as

MUSIC.

OF

fieKovoita

ri

ijSvaft"Tiav."

Idem., "

8

rfiv

iiva/uv

^avepav

"Aristotle's

Tyrwhitt's

De edit.

tx"

Poetica,

(1794),

iraaav."

cap. p.

19.

15,

cap.

14,

p.

25.

edit.

Tyrwhitt's '

(1794),

91

V.

CHAPTER Greek

figureof speech "adding a stringto

of

tetrachord

a

The

Complete. "

treated

as

musical

the

voice.

Plutarch a

one.

Sixth.

the earth

sun. a

earlier

system. misconceptions about

Former

"

No

to the

"

two

Fifteen Plato.

on

"

in them modes.

^HariUony

"

The

fixed

musical

plain in

centuries after the true

Whenever

the

it.

The

"

been

have

characters.

of the The

like

ours.

four Octaves

planets revolving doctrine

of the

of

universe

"

for

"

universe

centre

System

pitch. Principal modes

of the

"

plete. Com-

System

Greater

modulations

theory. the

Lesser

Greek

Pythagorean system

"

The

their attributed

but

"

"

quite distinct, but and

Modes

diiference "

"

systems

Greek

lyre." Ion's addition

the

"

and round

making

the

invented

six

Egyptian teaching of Pythagoras.

Greeks

wished

compliment an eminent poet-musicianupon his having introduced tion, some noveltyin the style of his poetry and recitathey chose to express it by the figureof speech, that "he had added a new stringto the lyre." The 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, double and tripleclaimants for every stringto even the lyre,such as that copied by Boethius, into his to

"

tjreatise upon As Octave

to the

music. addition

system,

even

of

one

if

or

the

more

scale

stringsto had

not

the

been

92

THE

borrowed

its

Octave, another

a

discovered

sound

the

have

must

had

note

one

first

The

same.

the clue

was

genius

no reqtiired

discoveryas, that, if

make

such

MUSIC.

have

entire,it would

to

Octave

OF

HISTORY

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 of stringshad of Terpander the number increased from four to seven, by the addition of an is

series,as

entire

tetrachord

and

in the time

tetrachord,from

another

by

;

Ion, of Chios,

of

There

to ten.

seven

was

gradual progress as seven, eight,nine, and 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 such

no

-

Octave

the

from

scale,to make

of the

thus

When

of the

name

and

an

completed, the Conjunct,or the retained claim

at the

key

scale

base

note.*

the

obtained

Lesser

plete,'' System Comit imtil Claudius Ptolemy of the Lesser System to be

the

considered

complete,because of Octave

on

to the

Octave

disallowed

consonances

added

system, and

with

it did

Fifth, nor

not

include

of the

the

double

Octave.

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

"

"

"

"

"" ,

Aristides "

TLai Ian

Quintilianus,p. 10. rb filviKaTTOv (avarrjua

i-sXtiov)Kara p. 17.

avvap^v."

"

Euclid,

ion's of a

than

more

interval,"(p.15). In either

one

Fourth, (beingcompounded

semitone,)and

93

lyre.

ten-stringed

of two

three Fifth, (of-

a

and

tones

and

tones

case,

a

a

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 hence

systems, and

were

the

"

smaller

any the

the

whole

of

consonances.

According Sophoclesand in

include

cannot

compass

the

before

82nd the

The

Suidas, Ion, the

to

of

cotemporary

Pericles,produced his first tragedy

Olympiad, (453 B.c.,)and

year

of

421,

dead

was

B.c.

following lines, from

hymn

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). "

Combining Till

now

Having

threefold

with

a

the ten-note

consonance

scale,

:

seven-stringlyresthe

Greeks

hymned

thee,

Upraisingstinted song.""

hymn, and from that is also part of a hymn, it would of Terpander,which of conjoinedtetrachords 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 had that of the Octave so very superiora system as From

the

above

fragment

of

a

discovered.

been "

Tie

"

triv

rd^iv Ixovaa StKapd/tova

TpwSovt, avfi^iiivovaai ap/toviag

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

Meibom.

)

94

THE

The

three

only be

have

Fifths,and

two

from scale

new

Athens,,

opened to them, third conjunct scale,which the,

in

called Episymxphe,

was

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

the

tetrachord

their

to

maintained,

polished city

most

Siculus

an

of Ion's

stiU

was

of

PhUolaos.

hundred

two

could

ten

from

even

can

there would strings, seven strings,viz., two Octave, as alreadyshown

from

Conjunction upon

or

refers

system, because, instead

Octave

five

in the extract The

Ion

to which

consonances

been

Fourths,

MUSIC.

three tetrachords conjoined. He the

only three

OF

consonances

the

intend

not

HISTORY

at least

defective for

hymns,

Diodorus

Greece,

spiritof the Athenians, who, "being an Egyptian colony,had '' derived their institutions from the parent country," alludes

Plutarch

and

to

this

of

old

conservative'

refers to the

same

characteristic of

as

second

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 the

"

should

who

stringsof aimed could modern

at not

venture

the

increase

to

the

lyre beyond seven."" checking,extravagances in have

intended

been

to

number

That

law

recitation

limit music

of was. "

^it

in the

sense.

the ancient spiritas existingamong Egyptians, in regard to their hymns to the gods, such was the reputedantiquity and Plato says, that of the hymns, that they were ascribed sanctityof some Of the

like

"

Isis,jand

to "

"

were

imavvaffi." "

held

Baoohius

to

be ten ""

Senior, '

p. 21, edit. Meibom.

"

thousand

years

Diodorus

Siculus,i. 28.

Plutarch

De

old.'*

Mug., cap. 37.

THE

Tte

-with

Octave

in the

great

a

suppliedthe lower scale,(our D minor,

it

.improvement, because

the

to

made

of Ion

tetractord

95

GREEKS.

THE

OF

SYSTEM

additional

musical D

LESSER

Dorian

"

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

a

a," because

"

tenor

"

the

B

lower

the

in

scale

was

natural, as requiredfor the key of A minor, although the

b"

"

upper

required for

flat,as

was

minor.

D

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

"

CONJUNCT,

THE

OR

LESSER

(7V(7T"ifJi,a TeXeiov

Conjunct,

The

SYSTEM

ervvacprjv.^

Kara

Synemmenon,

d,

Nete.

0.

Paeanete.

Synbmmbnon

oe

Tetbaohobd. b

Middle,

COMPLETE.

Meson

or

Tetrachord.

"

b, Tbite,

"

a.

Mese.

G.

LicHANos.

F.

Parhypate.

E.

Hypate.

D.

LiOHANos.

C.

Parhypate.

Meson. "

"

Lowest,

The

Hypaton

oe

Teteachoed, added

the

Nioomachua fourth

having system

added

before

had

caused

tone

above

or

the the

to the

the

Octave

Octave.

added

as

This

system had

a

,,

Proslambanomenos.

of

Conjunct

and

Hypate. (tt).

A.

interposition of key note,

B

to 420.

(p. 21) writes highest tetrachord

and

been

"

450

b.o.

Tone,

Added

The

""

by Ion,

Hypaton.

Octave

an

would

contradict

Pythagoreans

too.

comparatively machus, where

and the

tone

the

base.

Ion, and

the

Considering date

late

that

at

he

could

interposed

of not

tone

the

Nicotell was

96

THE

This

that

scales

his account

tetrachord of Ion, is

Meibom

misunderstood,' and

another

includes

MUSIC.

OP

added

the

scale,witli

of two

one

HISTOJRY

which

error,

hastilyadopted from him.'' The strings had originalsev^i

Dr.

Bumey

'too

but

names,

additional

no

names

different

seven

given

were

the

to

fore It thereby Ion. the to became distinguishbetween 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

tetrachord

the

stringsof

added

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

i.e.,of the lowest

A, the Octave

When

tetrachord, the

Ion's

under

TrUe

be treated

anauthority. authority for a good

as

fables

the

tells

He

See Meibom's

"

where p. 63,

he

chord

in

that

lowest "

Bound

instead ;

note

of

the

of

is

which of upon

the

the

the

a

two

Trite

upon

names

he

tenor

evidentlyunder not having

xix.

Aristotle's

It

clear

is

had

of

that

the

have

must

but

in

the

Bumey,

the

ori^ual by

misled

them

to

have

from

Hypate Hypaton So, accordingto them,

was

not

but

an

the

"

middle"

extreme have

vation

of

been

wrong

Mese.

the

Problems,

this

error

Aristides

from

of

Aristotle

in

his

(See yet

he

Meibom's

at Quintilianus,

deri-

Bumey's had

Bumey

and

to Mese

anything,

string;and

History, i. ^8.) '

read

strings

Mese

been

supposes

the

Problems,

seven

with

names,

;

must

lowest

above.

scale

to

Sect.

Mese.

next, he included and

to

disadvantage

been

trmst

movable

a

A

chosen

was

Meibom,

tetrachord, Hypate

(B); and

Paramese

scale

became

of

seven

founded

He

the

of

Parhypate, C,

"Whichever

between

have

middle,

tetra-

scale

strings.

version

a

Greek

semitone

two

Hypaton,

Euclid, impossible

upon

rdade

scale

base

Meibom

that

Diatonic

a

the

have

notes has

Every

tetrachords;

both

''

to

case,

copiedby Boethius.

were

'

this

added

was

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

Neither

is Nicomachus

history.

in

is not,

imo,) he

his

might

Trite, or, as some say, between and Paranete," (p. 21, 1. yii.,

and

ah

Meae

"between

placed,"whether

above

system, viz.,from

the Octave

upon

key note,

Octave, with the other

to this lower

identical,as

the

below

read

adopted

note

upon

p. 209.

THE

"

a."

TWO-OCTAVE

SCALE.

The

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 "

from

This

a" to treble

"

tenor

win

be

"a."

by comparing

seen

it with

the

: following "

THE

DISJUNCT,

OR

GREATER

reKeiov (a-varrrifjia

SYSTEM

koto.

Extbbme,

or

Hyperbol^on.

g. Paeanete

(or Diatonos).

Tetraohobd

Hypebbol"on

8i.aXev^iv.\ Nete.

a.

The

COMPLETE.

"

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

Disjunct,

DiEZEUGMENON

ok

e.

Nete.

d.

Paeanete

TeTRACHOBD

b Tone

Disjunction

of

{or

Diatonos).

"

Trite.

c.

The

,,

Diezeugmenon.

,,

(U),Pabamese

"

,,

(toVojSiaCevKTiKOS.) a.

The

Middle,

or

{or

G. LiCHANOS

Tetrachokd

Meson

(Key Note.)

Mese.

Diatonos).

(u,eaov.\

Meson.

F. Parhypate. "

E. Hypate. The

Hypaton

Lowest,

or

,,

{or Diatonos).

D. LiCHANOS

Teteachord

Hypaton.

C. Parhypate.

"

B. Hypate. The

Octave

Added

(notbelonging

to

Tone

"

A* Proslambanomenos.

any

Tetbachord.) In been

the

above

added

to

scale the

a

second

Paranete

(Diatonos)has

name

and

to

the

Lichanos

98

THE

whicli strings,

in the positions corresponding occupy in tetrachords The first named are

tetrachords.

The

additional

lyre

the

When

in this way.

Enharmonic,

the

for

tuned

was

below it.

in those

second

arose

name

MUSIC.

OF

the

key-note,and

the

above

HISTORY

the

for

or

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

Chromatic

and

the Octave

in the

stringof for both

a

Chromatic

Diatonos for the it

added

was

the ;

called

and

called Lichanos

first

Lichanos, w^hen

afterwards,for brevity,

Diatonos"

"

At

scales. of

name

In other

only.

Enarmonios,

Chromatike, accordingto which

might

immovable

were

Enharmonic

to

scale

sometimes it was

cases

Mese,

or,

and

Diatonic

was

below

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

minantes, {aldnetoi, was

inner

two

of the

Lichanos

or

the

two

scale

be. reader

The will not

have

of Dr.

Bumey's

discovered

from

distinct systems of Greek

of Greek

account

it that there

music

in

use

music

were

two

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 as

here

"

"

"

tetrachord,viz.,from It

is

"

something "

D of

Olamd.

to B

the

and then i:|:,

to

reascend.

dodging kind,"

Ptol.,lib.

i. cap.

12.

said

he,

OR

MODES, "

SCALES,

ttat is to be found

THE

FOR

99

VOICE.

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 his notes

ready-madediagram in and, with

it, the

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

number. And modes

to

a

the

to

as

now,

another, for

one

reference and

word

Greek

the

singular

musical

keys,

or

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

were

for

EucHd, (p.51),

upon

to

with

its

character

of

first used

were

poetry

to

be

in

recited,

to

as

of

names

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

not

tenor

the

the

song.

The

ancients

not

were

the characteristics of any Greek The

manly. to

be

style. Phrygian

from

the

mode

;

except the the

only

firm, and

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

but Plato, on

fitfor prayer.

were

was

Aristotle,for instance,described bacchic

modes

what

Plato

enthusiastic

character

of the

to

as

says, that it was That was severe,

Dorian, of which true

agreed

the

it as

enthusiastic smooth

contrary,as

Again,the Lydian

mode

and and

esteemed

was

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

reason

be found

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

for these

in the

to appropriated

"

Plato's

Laws, ii. 670.

h2

100

poets could

first have

appropriationof metre, there the

hymn may be played difference and the be

in

in the

to

in the

key^

same

martial

A

written

be the

agree in the each particular

induced

mode.

of the

now

been

styleof song to be no general agreement

one

could

character

MUSIC.

OF

HISTORY

THE

"

character

wide

a

of the

of the words

a

and

metre

will be

there

and

song

same

to

as

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 in the

musical

mode.

Boeckh

has

characters

collected

of the

modes

various

because

all the Greek Difference

way. music

the

among

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

estimates ancients

difference confer

of character

in

the

*

but,

;

of

one

was

character,

no

tuned

were

of

in the

modem

same

keys of tuning

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 exclusivelyto the metre spiritof the words, which the style of music would arises

follow,for any attributed marked Dorian and

between

one

gravity would

difference which

Greek be

time, while the

common

mode

fitted more

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

has

and

been

another.

by spondaicmette strains would lively would

be. better

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 "

cap.

Metres 8.

of

Pmdar,

lib.

iii.

*

was

Aristoxenus,

Meibom's

edit.

lib.

ii.

p.

37 ;

CHANGES

Again, show

ORIGINAL

IN

OP

POSITION

101

SCALES.

Atlienseus*

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

that

afterwards

"

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

combination

a

from

quoted

Pindar

which

b

"

mode, joined This

usual

been

refers to

the

scale.

has

the

by

and

Scholiast

musical

a

Dorian

crux

"

the

modulation

hymnal

"

vfxvujv,"

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

to the

from

Pyth., ii.

on

Greek

flat gave the to

on

modes,

:

A.io\evs e^aive AwpiovKeXev"ov

"

So

Pindar

which

127, and

of -^oHan

the

Fourth date

above

the

was

of

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

In have

time

one

Plato, however, the

of

established

acquired an

and

therewith

the

voice, adds

order

of

to

seem

succession,

secondary meaning of relative pitch,which 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 insightinto Greek music, the middle than the mere fact that it was originally stringof the lyre. Aristides Quintilianus, after saying that Dorian, the principalmodes for Phrygian, and Lydian were musical

that

instruments.''

question: "

obtained

modes

Athenaeus,

"If

three

lib. xiv.

cap.

that

the

others

Bacchius modes

19, p. 624.

Senior

only *

rather

were

Arist.

are

puts

sung,

Quint., p. 25.

for the

which

102

HISTaHY

THE

MUSIC.

OF

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

are

"

"

last thtee.*

the vocal

numbers

He

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 style,but sometimes 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

Aristotle,there for each

one

and

of the

for

one

the

Alypius (said to

twelve

itself"

the the

above.**

Fourth

about

scales,viz.,

of the

semitones

Octave be

Diatonic

the

In

Octave, time

of

B.C.),the number increased been to fifteen, by giving to each of five principalscales its JSypo and its Hyper, one beginning the Fourth below and the other

had

a

thirteen

were

Thus

beyond the compass of necessarily duplicatesof notes

an

Octave

115

there an

three

were

scales

Octave, and

they

were

that

the

same

others

were

lower.

of the modes, followingis the enumeration accordingto Alypius,with their relative pitch. It 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. of the

note

"

i"

The

letters

refer prefixed

scales,or the Octave

Bacchius, p. 12, edit. Meibom. "Td,i'

Aiipia, Ariatot.

TO.

oKKa Si

mivtSffiara-rd 9pvym

KoKovaiv."

Politic; iv. 3, 7.

"

fxiv "

"

n

below

Euclid, p. ""Oirutsy

to

the lowest

their Mese.

19. av

hmrTOg

txti, Kal fuaoniTa,

Arist. Quint., p. 23.

icai

Papirntd oivTr/Ta." "

FIFTEEN

THE

DOMINANTS.

PRINCIPALS.

(C #).Hypo-Lydian.

(C). (B).

STJB-DOMINANTS.

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

Hypo-^olian. Hypo-Phrygian.

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

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

Hypo-Iastian. (B 1?).

103

SCALES.

OR

MODES,

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

Ionian). (A).

Hypo-Doblan.

(Called^OUAN

(D).

ia Pindar's

The

Doeian.

(G).

time.)

Hypee-Dobian

(oj.Mko-LyDIAn) the

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

begins with

order

scales,viz.,A

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

and

"

These

and

notes

of the

compass from

the

as

them.

above

except ia relation

were

unnecessary Principals. The entire three

.

their

to

scales

was

fixed

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 Octaves

tone

a

the

the

connection

was

the modulation

esteemed

had

kinds

They

mutation,"

"

described

between

four or "

as

transition

from

a

scales,the

two

by them, of

by

as

Diatonic

us.*

called

modulation,

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

better

the

to

kind such

was

as

Chi-omatic

a or

change of system, from the Conjtmct to the Disjunctscale,or vice 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

Enharmonic

"

""

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

Si

;

a

second

edit. Meibom.

was

Kara .

XiyeraiTtTpaxioSt

a

yevog,

Kal Kari

Kari

marrifia,

Kara

tovov,

Euclid, p. iii\(nroiiav." "

20.

104

HISTORY

THE

as chanting,

or

song to When

from

martial

a

system,

the

ordinaryone, impression,for it ordinaryscale,tuned as

Diatonic

Plutarch's has

immutable," conveys

"

to

one

led

them

top of the scale,and

by adding Proslambanomenos key-note,at the base of scale, had

two-octave

which

Hypate,

writers

the

originally

was

Boeckh that

passage in not

was

on

that

suppose

at its base.

not

Plato,

of

the

in the

use

of nature, for "'S.aX

Trkiiove

to.

txovra

17,

p. "aTrXS

and

have-thus

to

the

same

fikariv

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

or

Fifth

placed a im

virarriQ

ri

Si

twv

icarii (fivaw oiiK yap Sii

Sia

irkvTi

tovov

TIXutuv

below

Sle

a

ovii^uniiMV

irporepov

to

Sict iraaSiv

irq^aav

M TeaaapiJir,

tov

order

/3api Ta^avres,

ovarrijia '

the

ra^iv

rriv '

to

yivsTOt tov

^api)ry virarg Trpoa\jitp9evTOQ6 Si to

"

SijKos

isTtv

eiri

to

6^i

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

Tbv veiiiTcpoi

^avofievov, T"ixf

the

below

tone

differ from

"

Is tonus

Si

below

System"

a

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

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

Ot

"Greater

to

"

"

Octave

an

introduced

consonances

they

Si

ixovra fiiar]V

effect,

the

tA. fiiav jjAvafiera^oXa,

ra

'

Quint.,

as

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

of the

sequence

"

scale,in

was

said

which,

'

Octave

complaintis" that innovators,(neoteroi,)

Plutarch's

*

wrong than an

of Plato.''

time

rd,

to

Proslamhanomsnos,

erroneously inferred from below the key note Octave

""

a

nothing more and usuallya key-note,*

means

has

It

music.

at the

translation

a

Commentary on the Timceus for many created a difficulty

tone, called

this

called

was

a

the

Greek

scale,

or

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

is

at

which

love

a.

scale.

There tone

from

or

gay,

mutation, such

ametqhole," or, without

"

to

grave

one.

Greek

a

MUSIC.

OF

irpoaKap,-

"

merit.

rOUE.

Fourth, lowest

whereas

added

does

of all

fixed

Plato

The

the

TimcBtts,but

within

circles,and have

must

been

school, who

quite a

of

reduced

The

the

It does Octave

excluded Plato

"

he

so

the

far

particular top of the

the

the

to

scale

it expresses speaks of circles

Plutarch

there

which proportions, by some discipleof his to

scale.

a

It

is

the

;

of those

calculations Theon

cotemporary,

well

Adrastus,)as Plutarch's

out

of as

words

by as

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

a

this

surmise as

He

the

Octaves,

included

Plutarch's one,

the

extended

scale to four

bear

not

below

from

the

additions

substance

by Plutarch's Smyrna, (who quotes from

to

that

"

understood.

them

stated

Proclus.

the

scale,for it refers only to the music

of the heavens. is

been

musical

calculated

then

celestial

Plato

at

have

Plato's about passage to be found exactlyas

is not in

readers

former

some

have

to

clear,"he adds,

string,called Proslambanomenos, scale,as

105

SIXTH.

part of the scale."

acute

that

say

A

ought

It is

"

to the

on

there

not

Fourth

the

inteival

Plato

AJSTD

OCTAVES

lowest

a

Tone."*

fore There-

The

note.

rest

possibly,a

but, very

heavenly bodies

is

correct

concerned.

were

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

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

*

Kai "'OSeJlXaTitiVKalykvogSidrovov

Tracwv,

8id

ox^v"

EivaiTO avffTTifiarog fiiy"9oQ

rirpaKLQ

(cat

"

Sid tt'evtekoI

Theon,

p.

tovov

97, edit.

irpoayi)Bulliald.

106

THE

Sun, and

the

HISTORY

Snn,

OP

the centre

MUSIC.

of the

planetary system, was Mese, the key-noteto the whole, Saturn being Hypate, representedby 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 prefiguredby Pythagoras, that his knowledgeof the revolutions of planetsin their orbits,as well as his generalsystem, were derived the

from

as

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

is the unmoved

earth

theory which

to

was

Whether

the

has

the

note

td

leave

to be

by

oiu*

As must

from

order

great

so

of the

scale, is

the

the decree of Paul

recentlyas

so

of

been

Copernicusia

as

in 1821. the

among

represented

as

addition

of

a

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

to

mundane

mere

defend

even

their

untU

consequence

musical

of

universe, Pontifs

of Roman

of the book

confusion

heavenly bodies by Plutarch, in

we

hold

BxpurgMorius of Rome, revoked by Pius VII.,

Index

and

such

the retention

cause

V.

took

of the

centre

part of

the

a

music, it is

the

not

so, and

supposed innovators" charge made by Plutarch ; for, "

.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, signifiedan musical Octave below

another

Octave

must

note,

have

so

that

any compass therebycreated a two-octave

of

one

scale.

107

CHAPTER Greek

singing.-^Its highpitchlowered

scales

lyre." Eeason

the

on

Octaves.

Scales

"

differed

Greek-written

"

'

music

imperfect Thirds. Seventh.

nor

Common

to the

age

the

the "

treble the

a

of the

"a," and a

high Our

the

Fifth

chest note ancient

wished addresses Aristotle

Nomes,

Fourth

to

have

bass.

it

above

it,to treble

Greek

key

we

have

must

filled his his

chest

"a."

"

severe,

Apollo

from

says that called "Nomoi

few

so

the

high

persons

orthioi,"on

tenor

That

is

back

his

if he fullest,

firm, and a

small

voice.

thrown

to

on

It would

note, viz.,to

ordinarytenor

an

D

was

in compass.

the

declaim to

below

below

for

If

voice.

Suppose only the

Octave

an

the

to

space the Octave

if

often

singing must

principalmiddle scales, Dorian, the key-note was immediately below the

severe

line of the

a

head, and

scales."

tunings of

five "

lyre or Kithara, a

Greek strain

severe

clef, and

extend

or

"

ancient

and

d," ia

third

Olympus,

of this writer.

lowest

"

of

"

manly

tenor

Fourth

neither

scale

varied

or

of

lyre." Test

the

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

caused

take

The

for notes.

names

scale had

"

Greek

to

six

is clear that

have

tuning

Chromatic scale.

No

"

of

given

names

pitch.

plan

Chroai,

The

"

The

names."

Aristides

by

and

Greek

"

the

in

only

Ptolemy." The

Cl",udius

by

for

Enharmonic

"

Genus.

Their

It

VI.

"

manly key-note as D. coiild sing the account

of their

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

108

HISTORY

THE

says of

Yet,

Nomes, the

on

that

other

debarred

were

OF

MUSIC.

they were hand,

to be

not to

we

are

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

with

ancients

could invited

addressed

have in

all

a

paean. fashion in

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

but

many may his old French ;

that

assume

chanting to Apollo who

from

not

towns

transposed.*

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 singingof an ancient Greek to the gods kind ; and, conto have been something of the same sidering "

that the most

notes, it would such Greek

difl"cult

crier, with

troubled

to

his

have

with

that

Akouete

been

upon three decide whether

were

to

now

singingdiffered widely from

people." Apollo seems been

be

Nomes

correct

of the ancient

"Hear,

Led!

addressed

as

ye

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 sleepeth,and must cry aloud : peradventure he deafness,or

was

"

"

be awakened." It were

be may fixed so

much

that

the

higher than

human

voice

with

Greek the

the

key-notes

conversational

object of being to a more distinctlyaudible 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,

tone

of the

assumed

*

De

Musica,

cap.

6.

HIGH

PITCH

the

assunie

be

not

those The

VOICE

that their voices may lost in the conversations of

up and around or

are

"enthusiastic"

voice, with

beneath

or

them. well

have

"bacchic," if sung

from

mode

Phrygian

109

CHANTING.

FOE

order

high pitchin

mixed

who

THE

or

may

sounded the

chest

"

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 altogether, owing to the necessityof employing the 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 resortingto the head voice, Few men 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 mode

and

to

express affections.* the

e

as

of its acuteness

account

on

was

On

"

tenor

excite

other

and

plaintive and

hand, it is

not

to

supposed that have "distinctly

"

have

cannot a

tone

been the

was

diminished

has to

between

variation

limit

of the

and

Fifth,which

a

is also was

this

included

answered

far

which

compass, Aristoxenus

and

extensive

most

is much

voice

the

same

against the theory : ia

Dorian, and, for

better I"

De

to

the

Mmica,

all

the is

15.

pitch probability

himian a

voice

theory

not

fixed

the

Euclid at

two

Octaves

as

now.

There

that

Hypo-Dorian generalvoices,it

character cap.

that

so

;

modem

In

unless

in

base

and

material.

very

extreme,

upheld.

be

ancient

mournful

be

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

fitness

of

firmness

110

THE

and

raaiJiaess ascribed

OF

SISTORY

MTJSIC.

principal. The Hypo-Porian "a"

only

of men's

the reach

within

half

lower

tone

a

and

ancient

between

and

was,

Octave

be

allowed

Suppose

for variation

pitch,there

modern

lyre

still is, quite

ordinaryvoices.

to

its

the intermediate

"

key-note, which

for

the

compass upon from E to e," with

have been

would

tHan

mode,

the

to

would

be

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

an

"

"

"

says it being the most

Aristotle

suited

most

was

to

the

Kithara,

and statelyand stable of modes ;*" Athenreus says that Hypo-Porian songs were sung by nearlyeverybody." For ordinarypurposes, therefore,tjieGreek compassi 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 as

"

the air subserve

and

the

metre

the

words, and

the

words

not

be

to

either metre

allow the

to

subservient

music."

or

to

to

the

due

sentiment

of

expressionof

the. time- beats of

*

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

Introd.

"

"'H

*

Harmoniea,

araai/wv

Iffri tUv Sect.

19.

"

/ifyoXoTTpEWj Si ivoSiiipurri "

Kcu

p. 16.

Sib

^

Athenseus,lib. xiv. "Tbv

cap.

19.

itoSa

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

KiSapt^SmniTami avayKa^uv

Kai

^Prob. ap/ioviMV." "

xlviii.

"

OF

TKANSPOSITION

the

seven

scales

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

extent

of each

Octave

of all into the middle

a

Ill

SCALES.

of the voice

instead

of

its

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 followingdiagram, 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 botmdary lines,are for the fifteenwas stringed,or two-octavej lyre. The instrument tuned

in the

usual

waty, first to

the

Dorian

scale,

which

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

It will be found

that

modulate

to

fi-om

a

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 so lyre,or Kithara, would enable the singerto employ those three keys at command, 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

and

of that

key.

are

a

Fifth, or The

B flat for the

All the other

notes

only one, are

and

Subdominant additional

and the

F same

notes

sharp

Dominant

required

for the

in the three

other.

keys.

112

THE

HISTORY

OP

MUSIC.

It is thus

in all

keys.

The

addition of two

is all that

could

have

been

requiredfor

changes or modulations. the Stars are placed over

strings the

two

usual

semitone

where

mark

scales,to

of the

notes

the

has

ascent

been

but

a

: "

OCTAVE

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

AT

THE

LYRE, ORIGINAL

PITCH.

."^-^-gfe-Ci-

^

m

ISZ

^

"

Lydian (F J Minor).

Mese.

."2.

31^

S^

r#z2=

W=^t^^ -t)

Phrygian (E Minor).

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

"

11

^

i

jj^i

22Z

y-Hfl^

Dorian

(D Minor).

ii:

i2z:

Hypo-Lydian (C# Minor). "S-^-Cit *=t

3Z

"^"-"=^

Mese.

il5zs#=:"Si:^

l^tzs

Hypo-Phrygian (B Minor).

r,5rsJ^

IZ2:

.l=^^^d?i

"

m

following

Mese.

4=2:

*

i

122:

^5:^*=

Hypo-Dorian (A Minor).

Mese. .."2.

H:

^

-IS-

In from

Z2r

all the tenor

the

ICZ

^=s above' "a"

pitch is

to

scales the treble

lowered

Octave

lyre is

"a," and from

bass

in the E

to tenor

tuned

ing follow"

e."

LOWEKED

THE

of the

Each

its Octave. is in turn of

note

The

diffei'ent part of

scale,and, in the lowest, it is key-note.

a

Occupies the

Dorian

all the

other

before.

as

The

SCALES, BY LOWEE,

AS

SEVEN

Mixo-Lydian,

place in key-notesfoUow

both

same

in the

semitones, too, occupy

before.

placesas

same

THE

a

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

order

the

113

SCALES.

scales'starts from

seven

diagrams,and same

01*

pitch

TKANSPOSED

CLAUDIUS

FOUKTH

PTOLEMY.

OCTAVE

or

A

LYRE.

Hyper-Dorian (D Minor).

Mese.

Iiirar^

r22i

m

22=

^

Mese.

Lydian (CJ;Minor)

.4-^=lfel#^ 1^

IZZ

i=2M :^hrygiau (B Minor).

m.yE

*

Mese.

I

?*==

Dorian

I m^^^ f"=

MeBe.

(A.Minor). *

32:

"

Mz

:c2=

m^^"^ Hypo-Lydian (G| Minor).

*

Mese.

-"2.

S?i"=fc

;:"2=i?

:c2:

^gfflPtSg^

fe

ijsr:

Hypo-Phrygian (FjfMinor).

Mese.

* ^^

^

qS^ ,

Hypo-Dorian nypu-i-'uria (E Minor),

Mese. I,

.rj--0

11 f^

^

^^

-

"

'

.C2_

a^.

j^zi^

^

^z:

114

OF

HISTORY

THE

MUSIC.

Octaves, descriptionof the various Greek other, by Euclid, Lydian, Phrygian, or

The called

ancient

other

Gaudentius, Bacchius,* and

writers,

tallywith the intervals of their particularmodes, as they begin upon the Octave position lyre,in both the preceding sets of scales. Transmakes 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 will

the

be

found

Dorian.

to

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

above

Octave

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 of the greatestpuzzlesto writers on Greek music. one inferred that each particular kind of Octave belonged Some to,and was identical with,its mode; exclusively A

whereas, every mode "

or

kind

key, and

Euclid, p.

15 ;

of Octave

the

Gaudentius,

is

common

transposedscales pp.

19, 20

;

Bacchius

to

every

prove

Senior, pp. 18,

that 19.

EXPLANATION

OF

the intervals of all

115"

OCTAVES.

GBEEK

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 Phrygianassignedto them. To be reaUyLydian 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 sharpsand flats as other music. One continuous proof runs throughoutall ancient treatises tuned

was

its

Greek

on

alike if

keys are

music, that

the same precisely Mese, or key-note. For

own

in

there

were

no

must

have

been

modern

Greek other,identical

way, that

mode

same

genus

intervals, just as

to

as

scale

or

viz.,always to alone,if reason

scales of the

are

scales.

already remarked complete major scale among I

every

that

have

Greek

insisted

writer

upon

the the

there

was

ancients.

interval

least, immediately below

of

no

Every whole

a

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

at

;

and

if

Diatonic

one

scale had

differed from

another, the mathematical others,could The

not

diagrams of

others, down one

but

pitch.

from

one

to

Greek

that

of Euclid, and proportions have been givenas applicable to all. Alypius,of Claudius Ptolemy, and that

of

Boethius, all alike prove

scale differed from "

The

another

tones," says in

no

other

another

in

nothing Bryennius, differ "

respect than i2

in their

116

THE

as positions

been

HISTORY

and

acuteness

to

this has

termed

been

by Boeckh,

in his Metres

there

be

could

mode, but and

in the

semitone

Church

the

the

he derived

to

Greek

a

of the intervals

order

changed

are

It

tones.

of

be

must

cannot

on

music."

treatises

upon The form

have

derived

it from

observed, in the preceding diagrams,that taken

was

began

his

He

key-note shifted

scale

attached

or

fancied

He

scale,as they

modes,

them.

upon Greek

It will be as

Pindar}

knowledge of what was Greek music, through over-zealous writers formed his judgmusic, and had entirely ment

said to be

the

of

by changing the

supposed that on

already

laughable"assertion

"

a

character

no

ecclesiastical

in

has

gravity,as

shown."*

Yet

tone

MUSIC.

OF

in

different

a

of

to

the the

on

right,another left,and

part of every that

Octave

of

note

the Octave

so

scale.

began

the

on

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

kind

one

ydp oiihvi knpif ol tovoi si jir) r"f diKKiiKiov Sitvtivdxaatv,

ts

ferior character

Kal jSapviipif) ii^uTspij) roirifi Ttjg

re

been

""

"

mediseval

of Octave

Kai

Kai TQV opydvov i)e Iv role ipiitvrje USeiKrai." (Bryennius,p. i/iTrfioaBiv 481, fol.,WaUis'a'edit.) '

"

ridicula

''"EteTiim

vulgo quum sententiainvaluisset,Teterummodes aeuminis et gravinisi ratione non tatis differre." {De Metris Pindari, vii. 217.) cap. p. "

"

Boeckh

sometimes

touched

upon

music, and

showed

of .the books

and the

inhad

he

Jam Gruido reading vero Aretinus, qui reoepta temporibus nostris sonorum nomina, siglasque ' '

"

musioas

invenit."

{Idem,

I shall hereafter show as

the

widely from

discoveries he here

Gtuido,as

about

of Greek

music.

Boeckh

had

his

not read

214.)

to differ

cause

Boeokh's

p.

version

of

attributes

to

interpretations

It

is clear Guide's

that

works.

NAMES

another

OF

was

CHANGED

to where

.as

If the

occur.

NOTES

Octave

the

the

on

would

semitones

twa

began

117

KEY.

WITH

note, the

key

scale

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 ascendingfrom the first to the second, and from the fourth to the fifth strings. That these are the true distinctions

between

Greek

Octaves

may

verified

be

of by comparing the above with Euclid's description them of the stringsof the (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 teachingsingingto 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

Greeks, for every name

from

Greek

did to

its

other

other

every

the

in

note

positionin respect

Mese, and

change of key,

every

identical with

was

had

no

Ut became

followed

suit.

fixed a

The

that

scale to

of the

took

Ut,

sound.

as

its the

With

different note, and chorister

thus

acquireda little knowledge of harmony at the time he was learningto read music ; and it was supposed to teach harmony to choristers in those necessary days,although it is sometimes dispensedwith at the present date.

Although unfixed

Greek

for notes

names

were

thus

variable,accordingto the positions they

in any occupy distinctive marks

might and

and

the

key, they had signs for all notes

mode, or

or

fixed when

118

THE

written

down

HISTORY

upon

OF

about

These

paper.

letters

{semeioimousikol), were turned

MUSIC,

in various

"

of

music the

directions,and

signs" alphabet,

sometimes

The used. Greeks only parts of letters were practisedwritingdown music as early,at least,as in 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

Aristides

three

Quintilianus attributes

notation

musical

genera.

Music

for the

fifteen

Pythagoras(p.28), "Whenever improvements by Pythagoras,we The

to

have

System

first taking a

been of

derived Tuning

pitchfor

the

system

modes, and

Diatonic, Chromatic, and

to

them

the

we

of

in the

Enharmonic,

read of musical

fairly suppose fi?om Egypt. the seven scales was by key-noteof the highest. may

WRITTEN

AND

MUSIC,

TUNING

THE

119

LYRE.

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. transposedscales,tune a Fourth below it,for Dorian ("a"),then another Fourth down to Hypo-Dorian (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 Fourth a down, the Hypo-Lydian (Ctt),and lastly, (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

thence

distance

of

a

Fifth

a

tone

because

up,

the two

between

The

it measured upper notes. tone, it being

Pythagoreantone was our major the difference by which Fifth overlapsa Fourth. 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

the

of

introduction

of

minor

tones.

Supposing neither violin,guitar,nor harp to be at be asked, on his next hand, let the pianoforte-tuner four notes visit,to tune viz.,from C, a perfectly, Fourth

down

for the

first

A, and

up

to

from

C to E

The

interval

to

G, and

major

tone, and

E, for the win

be

will be

thence, then

a

Fifth from

to

up

D

down

D, to

second

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 and

"

"

120

HICTOEY

THE

the

Thirds

ear,

are

MUSIC.

OF

longerttm^ d perfectly upott

m

beoaiise tHe notes pianofortes, keys,and keyed instruments

ar" are

wanted

fpr many jpiperfeet.If the

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 know practicallyall that oan be written abput of the systems of PythagQirap, pf the Rpmana, wpiild then make

tuner

Bpethius, and

?^

of all the

scales

semitone

F

fpr

mpst

voice

or

Fourths, Fifths,aji3.d Qetaves as

same

Ptolemy

instrument.

The

9,t aU. tinaes the

were

Fifth,there

are

against having

argues

scales, pr

seven

eighth,to complet9 a

and

now.

Claudius

than

anojjent tone

Octave.

an

three tones

admits

but

modes,

He

and

a

says

more

of

that, in

Kmnutt

which

"

they,"(meaning the Aristoxenians,) denominate "

seniitpne;" that, in a"id "If

a

Zmmo-^thus

ypu

add

a

Fourth, there

seven

tP

notes

them," says

two

are

a

tones

for scales in

he, "you

an

aU.

but

can

multiply divisions that you have aljfeadywithin the seven SQales." (Lib.ii-cap 9.) If the moderns woxild

but

be

contented "with

scales upon them better

seven

they might have imperfectinstruments, in tune,

Before tpuching upon the improvement scale by Ptolemy, it is expedient to take thread of the Qhromatic of the ancients,

They

are

and

Fnharmpnie

up

the

the

systems

of considerable interest

in the historypf the science,as

Crreekg

of

well

as

.

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

seem

THE

upon

new

GREEK.

ones,

first two,

which

were

although without

121

SCALE.

CHROMATIC

modifications of the durable

any

success.

For

but instance, Bacchius Senior names each kind, so the varieties had all died away

of

one

when

he wrote. and scale, the original principalChromatic the most called,for distinction,the enduring,was 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

Ogtave

IE

"

scale it will

begin thus

without

either

scale without

Fourth

or

its Fourth

major scale of pentatonicscale.

words,

a

: "

^^

?^ii

is, that peculiarity

The

--$wr-

=#*i

it includes

minor

a

Seventh, and and

Seventh

also "or,

five tones, without

a

scale

major

in other

semitones

truly the ear guided of the Fourth to the omission ascending fi'om the Seventh, is a subjectto key-note,and of the minor be explained hereafter. Dividing the above scale thus :" into major and minor, it st"iiids "

a

KEY

i Mz

OF

How

KEY

A. MAJOR.

^^

OP

A

MINOK.

122

THE

HISTORY

This Chromatic

scale

the

lyre. It was and string, forefinger on

tetrachords,half so

to

as

make

the

interval

between next

The

other

It differs widely from includes

Greeks

as

one

higher pitch, highest

three

in

the

of

the

in the

the

it,a minor

to

strings Diatonic

skipping Chromatic,

the modem

semitone

every

the

the

remained every tetrachord scale. This be termed may

the

their Diatonic

below

of

which

lower

only necessary to ia its representative

stringof a tetrachord and Third,instead of a tone.

scales.

simple formation

of very

was

tone

a

MUSIC.

OF

Octave.

The

could

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 to the reputed,but mistaken, test of ancient' Irish and

Scottish

and

the Scotch

times

"

had

neighbours,and

this

of many among As the to

them

Musica, cap. "

"A

Hood."

famous "

A

tune

mistaken," because

perfectscales as but was peculiarity

as

for the shorter

Enharmonic

of its

account

"

""

a

Irish

of their

any

preference

scale.

Scale,

the

following

is given by Plutarch,in origin,

11:

his De

"

man

was

in the

matio-Lydian mode,

the

if

Greek

Robin Ohro-

played

an

^^^^si^iq

Octave All notes

higher are

pianoforte.

on

than

here

the

black

written.

keys

of

a

THE

"To

Olympus,

invention

of the

ascribed "

OR

ENHARMONIC,

They conjecturesuch made

informs

tlie

us,

is

unanimously scientific .world,"(the "Mousikoi,"Y

for,before his time, aU

been

123

GENUS.

Aristoxenus

as

Enharmonic

the

by

COMMON

Diatonic

was

Chromatic.

or

discoveryas following manner

a

the

in

genus

this :

have

to

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 system strictlyanalogous to it, in the

Dorian

that

mode

for

"

there

was

in

sound

no

it

peculiarto the Diatonic scale,neither any 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 was

"

"

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

Bignation,does

ancient

Paramese

system, string was no

added could

ears

beauty

of

such

of the

system,

from

have

been

the

have

struck

natural

been

the fall of

a

Paramese,

with

the

tarch's

the

has

been

the

old text, in

or

down

Fourth.

as

Octave to

F.

and

so

The

"

to

In

has

diffi-

a

of

edition

Teubner's De

been

readers,

immusioal

culty

t"to F,

B

word,

eighth lyre,)for

interval

an

Disjunct

B

Conjunct

the

the

to

be

Tritone

It must

of

1?, (before

B

Musica, substituted

"aXX'

Plu-

word, TJSii,

the for

the

ovSi

ovSt of tuv

Trjg

to tell note without apfioviag," any of the arbitrarychange. It has been made unnecessarily,and injuriously,

124

HISTORY

THE

were

MUSIC.

three genera.* It lacked

the

to

common

OF

feature distingxxishing

of the

quarter-tone between

the

lowest

Diatonic

minor

the

but

was

Fourth

and

sounds

in

old minor

above

the

usuallyoccupied by

was

the

but, in moved

Enharmonic

down

within

to

Lichanos

lowest, and

strings. It scale,wanting its three

The

took

the

were

viz.,the

two

permanent Diatonic,

tetrachord, whether

Enharmonic,

or

the semitone

and

Seventh.

every

Chromatic,

Enharmonic,

the

two

lowest.

extremes,

That

semitone

the

Parhypate string; Parhypate was genus, of

quarter-tone

a

the

Parhypate'splace. The Olympus has been such

why this scale of of one a puzzle,is simply because this movement stringiuto the place of another was not thought of. indirect As to the story about Olympus, it is an him the first discoverythat the of fixingupon 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 discoverywas by the ear, without what Olympus may have effected. any knowledge of discoverers These by ear were strictlycorrect, as Those notes belongonly to will be proved hereafter. the tetrachord,and not rightly to the Octave system. reason

who

of

musical

the sense

not

sound

only mean peculiar to and

genera,

that

Eijiarmonio

three

there

amy

of

was

of the

he

what

composed

simply sounds

"

Plutarch

it.

see

that

can

know-

system. The clear, although

Greek is

did

Burette

imperfect

his

admitted,

ledge

"

suggestionby Burette,

old

an

upon

three

calls the

Olympus, of

no

the

was

three

of the Diatonic scale, which were

retained

in

aU the three

In the

systems.

stringtook

one

Enharmonic the

up

scale, relinquished

place of another,

so

three notes

in all tetrachords.

That

is

observe. that

and

what

in the

Volkmann

text

in the case

of

next

still

were

did should

Plutarch

be

edition,both

before

Aristoxenus, edit.,and BucUd, "

there

Burette

Herr

the

stored

alike

p.

not sea re-

here

pointed out. 44^, Meibom's

p. 9, lin. ult.

THE

125

ENHARMONIC.

TRUE

Olympus, who, accordingto Plutarch, was a fluteplayerof Phrygianextraction, must have flourished after Terpander,"says Miiller" in other a short time to the words, after Egypt had been thrown open "

"

Greeks.

notes, his

a

minor

found

It is to the

as

be

Enharmonic, and

admittedly older

than

been

had

the

remarked

Seventh,

have

the defects of those

out

have

must

man

ear.

well

as

have

To

shunned

system in the Chromatic,

Octave

that omits

that

two

the

Fourth

the

and

Chromatic

Olympus. Those by susceptibleears

two

was

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

melody into the stage vaiied harmony. Now,

the

to

as

Enharmonic

of

accompanying the

reason

for the

quarter-tone.

scale made

voice with

introduction

While

the

of

an

Chromatic

of a minor Third, (as skip downwards from key-note A to F #,)the Enharmonic the made greater skip of a major Third, (as from A to F t]). But there was a stringalreadyupon that note, and the questionwould naturallyarise as to what should be done with the unemployed string. It was not requiredwhere it stood, and there remained but the

interval

a

of

semitone

one

into

which

it could

be

useless packed. So the otherwise string was eventuallyplaced at a quarter-tone between the two strings,to give an occasional grace-note. That is the simple originof quarter-tones in Greek music. It could not have been employed practically in any other "As

than

way to

as

the

a

grace-note.

quarter-tones," says "

Literature

of Greece,p. 202.

Aristoxenus,

126

voice

"

no

of them

sing three

could

MUSIC.

OF

HISTORY

THE

succession,"

ia

(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 Enhar-

having been so much genus of Aristoxenus, as almost to

time

genera, without thereto

by

tone

"As

the the

the

hearing a adds

an

and

of

an

the

"

the

difference

between

immediatelyperceivedby piece played in the ancient "the

into It

division in

use

Lydian only, for

such

two

any

one,

manner

;

of the

semitone

came

the

Lydian and Phrygian been suspected in the

have

might

the

of the semitone."

division is made

no

that

modes."

other

quarter-tones of

intermediate

case,

afterwards

for

or

as

be

may

as, in that

the

these do not says Plutarch, invention constituted any part of the

have

methods

He

Fourth

exclude

ordinaryscale Seventh, adding only attempt at a quarter-

of it

of possibility singer.

Olympus,

on

think

the

before

use

Enharmonic," to

of

either

to

modern seem

should

we

in

a

refinement

best

was

fitted

tearful,or very amatory ditties.

When had

Aristoxenus

taught only

scale,and

the

be understood

the

and has cap.

Enharmonic

In

predecessors

division

proof,Archytas

cotemporary of Plato, defined division

suggesteda new been preservedby 13.) Plato did not

neither did

his

of

the

of but one Octave, it is to compass in a general sense, and of immediate

only. predecessors the

complainsthat

Aristotle.

the

of the

Claudius

can

Tarentum,

three

genera, intervals,which

Ptolemy. (Lib.i.

limit himself Nor

of

to

one

genus ; it be understood of

still earlier

quotationshave When

such

men,

the

been

here

given. system

Enharmonic

wliom

PMlolaos, from

as

the

Greece, it took

in vogue if the as

127

ENHARMONIA.

AND

HABMONIA

greatly in

was

Harmonia,

of

name

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

Enharmonia the

In

last-named

and

Enharmonia

own

treatise

the

more

the

earher

have

used

between Aristotle where

Harmonia,

of

name

two

Euclid

draws

the

the

time

that

Enharmonic

This

and

There

were

Diatonic

and of the

Chromatic

Trpws-ov,

in

the

first sentence,

Kd\ovfievrjv. apiutvuefiv

Greece

Diatonic

fell under

from

scales,through

StoixUihv 'Apiaro^ivov 'A()iwviKi!iv and

scales

the

but

variations

intervals.

tell him.

''

little

was

be said to may Diatonic scales.

than

certain

its

words.

two

who

Romans,

other

by

in Problem

as

Chromatic

tiU

no

at

oppositedirection,viz.,

continued

employed

rrjv

the

nothing

of the

^

the

that

dominion

but,

system

Aristoxenus, there

of

complaint in

neglected,and

;

always possibleto been intended by

have may line between

else than

tuning

his

understood

be

Enharmonia,

It is not

19.

of the

used.

it is to

distinguishesthat

which

the

entitles

branch, viz.,Enharmonia

one

times, he

After

once,

eventually "Music proper,"and the two meanings of to seems occasionally

for

name

word.

of Sect.

XV.

Harmonia

uses

thrice. Aristoxenus

confusion

limited

more

he

26.

Harmonike,'^ and that became

only the

other

19, 21, 24, 25, and

pages page,

general

prevented

of

at

These

^

As

the a

called

were

"

were was

the have

usual

different

Chroai,

oi ivapfiovioi" jjiiv ap/wviif

sv

(p. V-). and ivap/iiviovSk, ro Ivapiiovtip" (p.9). "

"

rg

128

shades

or

of

Aristoxenus at

HISTORY

THE

work,

from

colour.

at

The

early date,

an

them

of

notice

mathematicians

that

proves

MUSIC.

OF

obtain

to

had

by been

sounds

new

scale; but, owing to the vague Aristoxenian of describingthe notes thirds,or quarters as

the

mode

of tones,

cannot

we

tellwhat

mathematical

proportions comparatively

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 parts ; therefore,thirds and quarters of tones never 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 stringwas relaxed about a quarter of a tone, so as to of a tone leave,roughly speaking, only three-quarters instead of a between it and the next lower string, were

"

tone.

Plato aUudes

therefore

even

to these

the second

two

of them

kinds must

of Diatonic had

have

; an

earlyorigiti. The

Chromatic

had

three

Chrdai,

shades.

or

First, the

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 quarter-tone)were ; Soft Chromatic, and mahMn, or thirdly.Chroma in which

intervals of about

employed. similarly

a

third of

a

tone

were

THE

There To

was

know

Greek

a

of the

CHROAI,

OR

but

Enharmomc.

only thfe proportionsof

scale,is

iu

was

a

Fourth, in

one

to the

sufficient index

a

composition

because, at the base "diazeuctic," or major tone, and

entire two-octave

of each Octave after

one

129

SCALES.

MODIFIED

scale

;

it,two

conjuncttetrachords completedthe Octave form,i.fi., countingit upwards from the key-note.

our

To

show

without

the divisions of

tetrachords,

of these

one

fractions,the

plan of Claudius Ptolemy (hb i. gap. 13,) is here adopted in preferenceto that of Aristoxenus, or of Euchd. (Introductio Harmonica, pp. 11, 12.) "

Aristoxenus and

twelve

made

up

Euchd

and for

of two

tone

a

;

that

so

and

tones

six for

count

a

a

semitone,

Fourth, being semitone, counted as a

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 alreadybeen explamed. 30.

(Didtononmntonon)...12, 24, 24=60. Soft Diatonic" ...{Diatonon malakon)...12, 18, 30=60. CHROMATIC 12, 12, 36=60. ...{Ghrma tonaion) Soft Csrouaiic... {Chroma malakon) 8, 8, 44=60.

DIATONIC

...

...

SuSQUIALTERAIi

(Chroma

Cheomatio

hemidlion) ...

ENHAEMONIC '

The

usually tonos,

through not

"Diatonic"

word been

derived

from

the

to

dia

9,42=60.

6,

6,48=60.

then, from

has

Rather,

and

verb, teino,to stretch

passing

; but that would soft Diatonic. the

five tones

apply

from scale

9,

stringsbeing

of

in other genera airo kut ij ^invii "

dia ;

and

the

the movable

higher tension

than

"iiruBv (KpoSponpov SiaTeiviTcu." K

130

Aristides

OF

HISTORY

THE

MUSIC.

other

six

QuintUianus describes

scales

according td all earlier rarxed modes, having Enharmonic autliorities, are quarter-tones. He reportsthem as "very ancient."* whickj

Entarmonic,

as

The Meibom

ascribed

Meibom the

have of

importance

make

musical

to

remote

too

to

seems

that

of this treatise shows

evidence

internal

desirous

been

the

date

a

he

addition

to

the writer.

of

magnifying about

was

first to

the

history,by b^g

to

publishAristides' treatise. He ranks the author as preceding Claudius Ptolemy, quite overlookingthe fact that into

he

fourth two

he

century, and

is the

Gjf at

to

nearer

but

added

"note

the

to

must

Guide scale,) the

by

surely have

because

Diatonic

Octave describes

moderns."

lived

place,

places G and this G, (which

who As

first

distinguishedas Gamma, already a capitalletter,G, an

it,in the ecclesiastical

Aristides

the

In

in

century

writers

above

a

probably a

base of his scale.''

was

as

earlier than

lived

writer

scale

hardly suppose

can

time.

there

it

I

more

own

Greek

only

the

mediaeval

our

of the

division

Ptolemy. QuintUianus to have

Aristides

or

above

parts from

60

the

the

borrows

when

Next, all scales

forgotten.He would not otherwise have misinterpretedPlato in musical of the forgotten term a relatingto one that he intended scales ; or to apply the suppose division of adjective,s4ntonon, to an Enharmonic the "

one

common

tetrachord,when "Ale

K"'

"'

traw

there

irdkaioraTOi

were

but

was 25

of

Enharmonic.

one

Meibom'a

translation.) At

KEXpijvrai." (p. Trpic riiQ apfioviag

p.

21, 1. 4.)

of Churoli scales

est gravissi"Si, qui omnium in tonum Hypodorium per mus, Omega remittamus, ipsum grave sumimus notarum principium." (p.

shaped Omega;

"

^

"

27, Aristides

half

a

tone

line of double with

a

stroke

marks

by

a

and

this Gamma double the

above

squareG- sharp

it,in the signs,by double

through each.

next

Chi,

ARISTIDES

The

131

QtriNTILIANFS.

Enharmonic

is tlie very oppositeto siintonon, of all scales ^the first meaning viz.,the malakotaton "

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 to the other.'' principalone, and appliesmalakon 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 is, that the mistake originatedwith the copyistof the old manuscript which he used, and that he lived at too late a period to detect it. He

himself

that

says

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 throughoutto explainthe other. The 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 music {BptiviiScie ap/ioviai).Even agrees with the preceding diagram, both the with the relasced tunings of "f and and there are to be found and the malakdn f suntonon didtonon, of sharp, (softlaatian and soft but no other kinds of sOjntcmon. Lydian, ) your tones are still either b TiW f obv BprpiiiSfiQ apjxov'uu; effeminate,or as if excited by wine. the pitch of You should bring down Mi^oXviiori,l^ij,Koi ffuwovo(Aiistox.,p. 25. See also Euclid, p. 11, and Claud. Ptolemy, p. 30, fol.)

"

"

"

"

"

.

.

.

XuJiori

(cat

TOicdiTai nvtg

.

.

.

Ttveg

Kai (TvinroTucai tuv 5" Kai f /v 8f 'laari, Xvdurri, apiiovidv; dlnviQ x^^P"' Kakmnirai." (ReThe Ub. iii.399 a.) meaning public, oiij' fiakweai"

,

"

your

music

more

within

the

natural

voice to fit it for of man's compass of warlike the men utterance "

Dorian alone

and snited

Phrygian (D for them.

k2

and

E), are

132

HISTORY

THE

MUSIC.

OF

system of Aristides Quintilianusis a universal all modes, and

he

in the

scale."

but

entire

givesthe

unknown

one

notation

This

is

century yet Aristides does system, or as any novelty,but been

great improvement,

a

has become

ancient

Aristides

his notes

discovered

upon

inner

movable

fixed

sounds.

Meibom's

this to

be

the

a

both, and

common

to

Meson^

"the

that

lowest that

Aristotle

says

clear that

Meibom

of the

had

guessing.

was

set

of

the

In

are

one

called

middle

string Hypate

tetrachord."

string was

not

.

emendations

the

so

this upon ancient most

two

was

In

the upon the outer,

upon

comments

it

he

of scales

joined together'by

were

third

the

on

tetrachords

strings,instead Again, in his

Hypo-

lyre. forte, or else Hypo-Lydian.

author, he tells the reader that the tetrachords

the

the

he formed

base

to

key-note on

be

to

seen

Octave

EucHd

erroneouslyas

be

may its

Lydian, by having ascending stringof its Scales were hardly have

The

for dissent.

cause

%"rmed Silntono-Lydianin

scales

of

set

would

not

show necessarj^to

Bcal^ that

and

ia the sixth

wrote

give it as his own the recognisedplan. as has date that Meibom has assigned to him so universally adopted by the learned, that it "

The

semitone

for every

Boethius, wlio

to

for

one

Mese.

read Aristotle's

It

is

Problems,

followingscales his not infrequentlyin

jectural con-

the

he might have discovered if he had as places, out a diagram of them, accordingto their key-notes on the lyre. The text of Aristides is undoubtedly very faultyin the copy Meibom used," wrong drawn

"

See

*

Notes

p. 27. on

209, col. 1-.6.

"=

Aristides

Qnint.,

p.

15th

The

Harleian

century,

emendations.

MS.,

would

No.

5691, of

supply

some

SCALES

OF

but

still,all

laws

about

ancient

DOUBTFUL

scales

wMcb

formed

were

tbere

133

AUTHENTICTTY.

is

no

according to disagreement among

writers.

Tbe

followingare the six "ancient" scales of Aristides according to the inaccurate revision of Meibom. The for the figure of ^ is intended Enharmonic

diesis

or

quarter-tone : "

COEKUPTED

SCALES.

MIXED

Lydian

DOBIAIT

2

Phbygian

2

Iasiian

Mko-Lydian

1

Syntono-Lydian

1*

..

above, the Dorian

In the is in its with

rightplace,as the

text.

interval

fourth

It has

an

to

of the ascent

its

key-note

ing series,accordof two

tones

string,and its diazeuctic tone is 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. from

the

Meibom fiU

up another

added its

one

Octave,

line

in

the

of so

the as

text,

above to

but

make he

quarter-tones it agree

ought

to

to

with have

placedthe added quarter-tone to the left,instead of 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 analysisfurther by comparing the Greek text with

134

the diagram at p. 21, and with, Enharmonic subjoin the principalseven

his translation p. 22.* scales

MUSIC.

OF

HISTORY

THE

I

at

accordingto their proper order. The diagonal line from one figureof 2 to another shows the ascent its diaeeuctic to the Mese, or key-note of each, and division to the rightof it. 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 scales alreadyfigured; and it was the reduction that Claudius Ptolemy recommended of the number

of scales to

TKUE

seven

:

"

SCALES.

ENHARMONIC

Mixo-Lydian

"/. Lydiau

7 Pheygiaju

Vi

DoRIiN

7.

Hypo-Lydian

K

Hypo-Phhygian .

"

.

y. Hypo-Doeian ......

The is but

value

little affected

scales,and "

The

many one

text found

Meibom

of the treatise of Aristides

to

as

is very

faulty^

in order

part agree with

the word

into

the

changed "Ditone," in

Again,he added

a

to

and

pose inter-

to make

another.

he twice

a

slipabout

musical

a

it necessary

intervals

by

Thus "

Lydian

ancient which

term

fanciful

had

tone,to thePhrygian ; the

Mixo-Lydian; to

what

These

and

is called

alterations

tone"

comparimg

scale.

with

dk'e"i", or quarter-

Quintihanus

his

his notes

the

Latin upon

the

fallen

to the

same

final Ditone

Syntono-Lydian. be seen by

will

Greek

text

at

p.

translation,and it.

21

by

DIAGRAM

into

disuse

wotild

man

Chaucer's

puzzled Elizabeth.

the

who

conld

age, with

time

when

impossible,

be

not

learned of

at

one

and

even

135

SCALES.

ENHARMONIC

OP

even

he

to

now,

define

not

who of

writing.

was

a

might, the

time

find.

a

It

musical

veryscale

perhaps, of

be

Queen

136 .

CHAPTEE Greek

Harmony.

re-considered. mixed an

with

Fetis's

"

Music

"

concords

amphitheatre. "

about

ancient

"

in Greek Horace.

"

Cicero

harmony.

with

discussed

education.

harmony.

on

with

with

The

ancient

great discussion

sounds

taught to regard it incorporated it into the

far

So

sense.

the

is

Symphonia

then, instead

But

in

the

in

word

the

simultaneous of

succession *

of

There

of

SympJwnia

concord sounds and'

and that

Several

that

have

incidentally,but

at

had

word

for the

of

inquiry by

Harmonia,

the

hasty time, the

no

single notes,

definitiona or

grate upon already appeared more

may

been

consonance."

intervals,in

it.

one

word,

simultaneous

world

pursuing

discord, i.e.,differing and mix please the ear,

sounds

the

Greek

but

aiid Diaphonia,

in the

seventeenth

consonances,

numberleas

are

intermix

Hght, aijd had modern languages in that discoverers were right, for

Greek

had,

did

that

definitions comparing Greek of the disputantsjumped to that

or

word.

arose

although

;

did, and

century, from the discoverythat the is not for a Harmonia, synonyme concordant

greater

making harmony

of the

sense

in it.

lias been at

or

in

controversy

music

consonances,

music

engaged

Greeks

the

discords; thus

technical

modern

modern

earnestness,

more

length,than as to whether simultaneous not, practise them

The

"

distinguishedmen

The

"

Practice of discords

"

descriptionof

Seneca's

"

in Plato

A passage

professed solution.

subjectconnected

No

VII.

be

here

from

conclusion of

sense "

meant

cited

some

a only according

Euclid

:

' '

"

'Ban

ii

dio av/i^biviajdv KpaauQ ^Boyyuyv, iS,vTkpovsaX fiapviipovAia^iovia Si '

Tovvavriov

uVW

Svo

aju^ia, firi ipBoyyiav

KpaOfjvai,aWd t^v dmiiv" (p.8). rt

"

Tpaxuv"rjvm

HAEMONIA,

their

to

scale."

succession and

did

"a

as

sounds, according to time, measure, ;" and, thirdly, Symphonia as "differing

from

sequences make up it

Melodia

defined

of

cadence

only

Next, they

137

MUSIC.

MEANING

Harmonia limited

were

Melodia

and to

such

intervals

Fourths, Fifths, and

Octaves

its

would

as

and

;

that

Seconds,

of

intermixture any Sevenths." So

permit

not

that

in

they denied simultaneous to Symphonia. even consonance Thus, from a promisingopening,the investigators rushed into error If the in the oppositeextreme. enquiry had been pursued in the only proper way, by searchingfor,and comparing,Greek definitions of have been Harmonia, its meaning would inevitably traced be the Theory and Practice of Music, to Thirds,

and

Sixths,

identical

Harmonia

or

with

includes

the

than

so

with

it has

a

the

Melodia, and

is

within

the

Harmonia.

not

of the

of

denomination

word

So

that

Harmonia

is

restricted

more

chanting

musical

of the

metre

music,' but

the

Mousike.

Again, poetry, though unregulated by sense

Harmonike.

word,

poetry united

poetry alone, and

not

later

intervals,

poetry brings it but

Mousike;

the

of

primary

it is

translation

"Music."

our

originalquestion might, at any time, have been settled by referring to the preciseexplanation The only point to have of Harmonia, by Philolaos. The

recollected

been

Greek

science

Octave

an

but *

a

SuKSTHinaTuni ifSiiyivtrai Kat .

on

.

Greek that

of repetition

"'Ap/iovtaSk

Comment,

and and

;

that, in the

was

the

IK

"

Timcetts, p.

practicewere

Philolaos, limited

to

could

be

other Octave any first. Therefore, as

xal ip96yyii"v juxOivToivSi tovtw, jiiXog." (Plutarch TO

of

time

252,

Keiske's

edit.

See

Quiutiliaims, p. 91. to

Harmonia

says

PoUux

the "

Plutarch aJso

Eupolis of

name

(lib iv.

Aristides

cap.

gave

'Apfioyii,

8.)

138

HISTORY

THE

MUSIC.

OF

the says, Pythagoras limited within that are to the sounds The

passage

Philolaos

in

of Harmonia

science

Octave.

an

probably passed of the difficulty

was

of by and neglected,on account 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 .

undertake

who

to

write

Greek

about

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

in

the

music, edited

upon

Therefore,the

1652.

collection

of

authors

Greek

by Meibom, and printed in extract was accessible, perfectly

might have read it for himself. every one The controversy has been carried on intermittingly

and

for fuU

hundred

two

In

years.

English scholars engaged warmly them,

classic lore,than

and of

some,

rather to show

throwing

Greek

new

authors

from

the

last

in

it,but

century among

their powers of argument any reasonable expectation

lightupon

the

music had upon In the present

meaning; formed

no

for the

part

of

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 it becomes subjectof the present chapter, necessary the hallucinations of the controvert latest to strange their

writer

upon

ancient

History a third and recentlyannounced.

mu"ic

"

F,

J.

posthumous

Fetis, of whose volume

has

been

F^TIS

The

theory of

himself.

It

of

This would

Such

a

the

harmony

than

level

of

theory is entered

medium

the

succession

Fifths,or

of

bring the polishedGreeks

and to Aristotle to have

other

no

cession uninterruptedsuc-

an

similar

a

had

Greeks

of Octaves.

succession

barbarian

perhaps peculiarto

was

that

Fourths,

139

MUSIC.

GREEK

F^tis

was

simultaneous

a

ON

in absolute

into F^tis's

of

whose

works

reading,if at

translations,many

to the

middle

contradiction

authors

two

"

the

ia

Hucbald,

down

ages. Plato

to

only all,through seem

of which

not

are

remarkable those

hung

for accuracy to the musical as parts of authors. The slender peg which Fdtis upon his extraordinary theory was not derived from

Greek

any

author, but

Further

than

but

the author

even

to

of

as

have

had

those

than

the

Brussels,he

in

and authority, a larger share

some

of Horace.

the idea borrowed, only was was misinterpreted. high positionof Director of the

of Music

Conservatoire to

Unes

two

this,not

F^tis held

As

from

was

his fluent

looked

up

writingsseem

of currency in France French and Belgian writers.

of learned

says, in his Biographie Universelle des Musiciens, he devotes twenty-five columns in which to his own He

Ufe, and he

the

wrote

joTimalsat criticisms

three

but

the

in

and

a-half to that

musical same

articles

time, and

of

for

Auber, that

three

often

French

penned

three

new work, and aU night upon one different points of view. from Add to the three journalsthe Biographie des Mv^iciens, in which he included living authors and well as as composers,

the to

dead, and be

a

we

have

a

formidable

needlesslyprovoked by

for favourable

man

musicians

report of their

; one

who

works, either

not

hoped with

140

OF

HISTORY

THE

MUSIC.

cotemporariesor \vith posterity. This must why his extraordinary surelyhave been one reason such free sway. allowed to have vagarieswere of all stylesand all the music F^tis wrote upon ancient theories about ages, but it is only with his

tlieir

here

that I have

music

In Greek

any concern. F^tis had the

music,

Aristoxenus

other

and

who

Greek

quite persuaded other great writers,did

and

not

of the Greek

the forms

known out

a

certain

ia

word

had

right.* He

when age infaUible

the

at

all

set them

that

instruments, but that he,

musical

letters sufficiently to look could

musical

Jewish

upon

was

to have

not

seems

and

F^tis

Aristoxenus,Juba, understand

Greeks, as

words

Hebrew upon instruments.

to correct courage well as Josephus

a

Lexicon,

evidentlyarrived selves them-

consider

men

hardly

been

recognised; indeed, the symptoms sufficiently not always been so stronglydeveloped as in the have We Fdtis. M. a proverb that young

have

an

"

age

has

that

late

"

old

think

an

as

1850.

would

he

then

He

we

Fdtis

infallible.

to

"

that

For

so."

are

men

fools,but old

men

have

in his

definite

the

been

his claims

asserted

announced

give

Icnow that

men

must

men

young indebted

early journal that

solution

as

to

the

the

which

genius,and learning such "of the greatest men, as Descartes,Leibnitz, d'Alembert, Euler, and Newton, Lagrange, had difficulties before

succumbed.'"* has

F^tis '

Oerierale

Histoire

i. 38.3 to 386. """

cultfe le

La

8vo.

solution

devant

genie et

new

a

way

de la

Mmique,

1869.

definitive

lesquellesont

le savoir

of

des

de diffi^chou6

plus grands

making

Greek

tetrachords.

homines, tels qui Descartes, Leibnitz,Newton, d'Alembert, Euler, et

Lagrange." "

Mars.

1850.

(GazetteMusicak, No. 10, p. 79.)

10

PiTIS It

differs

wholly from They all made

authors. two

and

tones

of

that

his

like

before

been

of

two

his

to

own

nothing equally

is

He

since.

or

of

only

are

can

it, either

Greek

consist

to

only have attained has system by inspiration ; for there He

tones."'

the

of

any tetrachords

half, but

a

141

AUTHORS.

GREEK

CORRECTING

originalin his teaching about the present musical 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

return

to

to

the

discordant

Thirds, or

Ditones,

of

Pythagoras. These are slightsamples of the peculiarteaching of the author of the most recentlypubhshed 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

F^tis felt

named.

could, and

well

as

need

no

did, write

the

as

books

other

great

of mathematicians. the

on

troubled himself having even intervals, or proportionsof musical

F^tis ascribes music

making two

tones.

thirds two

two.

was

and

tone,

at

to

the Greeks

different

the

the

laws

of

attempt at tetraohord by quarter-tone, quarter-, and tone half, making second His by twotone, two-thirds, and a

thirds,(six-thirds,) also making His

third

attempt,

three-

different

two

periods

first

His

learn

to

of

sounds.

natural

"

He

theory of music,

without

of

men

"

quarters of one

for

one a

tone,

tones, instead

de

son

Vincent, 21.

those

of two

d, M.

Membra

Lille.

8vo.

and

F"is,

M"moire,

et

only a

two

half."

"

Refutation A.

par de

who

quarter, and

one

again making

tone,

(Eipcmse

systems

J.

H.

I'lnatitut,p.

1859.)

142

MTJSIC.

OP

HISTORY

THE

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

Greek

the

author.

harped

of

time

derived

Fdtis from

upon

seventeenth from

ancient

and

century;

lines

took of

the

of

one

harmony

Perrault

misunderstanding two

he thus

that

idea

Perrault,

Claude

disputantsabout

numerous

the

in the

his

idea

epode

an

of

Horace. Sonante

mixtum

Hae

F^tis

Dorium,

pursued

circle,till he

the

had

tibiis

carmen

lyra,

illisbarbarum. "

illis barbarum

"

his

proved, to

the

all round

satisfaction,

own

Mixo-Lydian mode, and that it was simultaneouslyemployed with the 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 "barbarum"

that

must

It is clear that 19th and

of Fifths.

succession

constant

of

Section

the

to

F^tis

not

lines of

xxxix. xvii.,xviii.,

xl. "

of

Sect.

Ai Si iv

19, where

TipSii

irtvri

it is Koi

SiA

oiic t^ovinvoiirws," reaadpiav or, "oiic

said, over

did

sing

not

sing successions Horace,

them

In Problems

either

it is

Greeks did

Aristotle's

read

again,but will no farther through his "positivesolution of the

refer

and

not

Problems, in which

of Fourths, and sequences As to the two of Fifths.*

'

had

Perrault

again, that

over

the

mean

^Sovmv avri^tova."

we

shall

follow

M.

difficulties

In Prob.

xviii., Aid tI "^SiA iraauiv ^hmi miujiioiia nayaSiZovvi TaiiTip/, aKkrjV fiovr); yap "

Si

oiSifuav."

A

before than the

which

PASSAGE

learninghad succumbed," that he employed,through

genius and

to take

one

passage of an indifferent

medium

143

PLATO.

IN

of

translation

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 show

to

that

France. la

the

that

Poulo

Also

"fort

was

musique." Nevertheless, it

he

should

ancient word he

it has

;

dans

follow

that

not

technicaHties

of

the

first

it appears at so, almost Plato recommended the

for, where in unison

learner

the

understood

music, and

played

the

have

does

instruit

with

the

lyre to to guide "

voice,"(so as

right notes,)Poulo missed the 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 quickness densityand rarity,and between and slowness," imagines some peculiarprocess 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. to

the

"

"

It may

have

been

a

crux,

it goes a little than the modems

because

deeply into ancient music have usuallypursued the subject. is an The following attempt to give the more

the

author

rather

than

the

most

literal

sense

of

translation,

144

MUSIC.

OF

HISTORY

THE

amplification promises to render trifling have hot it more to those who generallyintelligible The original taken up the subjectof ancient music. 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,for the of the sounds 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

because

a

"

the

for the

intended the

voice

Toivvv

Set

or,

"

from those vary close intervals of

when

Enharmonic

scales

of the

intervals

wider

"TovTiav

"

instrument

and

Chromatic the

to

the

for

notes

")(apiv toXq

Diatonic''

la

loTsque

opposed also,when

are "

lyre

execute

certains

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 mpo^uiviav Kai I'aiguet le grave, et qu'on arrange 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 traits que

dans

'

SKvOkfTog fu\tf)Siav Kai

Kal

)mv6rrin,

irvKVOTTiTa

jipadvTrin,

Sn

ml

iroirfrov,

raxog

besoin d'exercer pas finesses des enfants

bi.intr"- /3apwr))ritrois

Kai

ans

pour

k

toutes n'ont

qui apprendre,"

ces

que

"c."

I'ffarmtmie swr Kai avri"puivov irapexofiivovg,(F^tia Memoire ^Vfupiavov TTavTodaird sm,uUa7i4e,"c., p. 12, 4to; Brussels, Kai tSjv pvQfiwv b}tTavTiag de roiai 1859, quoting (Euvres Platon, 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, truKvoxpffi^ftov iv Tpvaivhiai ri Trig pmiirue^g "

SiA lKXrpj/ta9ai kvavTia

"

raxovg

aXXjjXa TapaTTOVTa

yAp dvafjiaSiav to.

Trapsx"-""(Plato De Legg., lib. 16,

cap. "

or

C'est done

le maltre

de

jouer de

cet

de la nettet^ se

contentant

les

sons

Quant

H,

la nigme

dans

lyreet

ilkve

son

vue

que

doivent

instrument, i la cause des cordes, et en son

du

de

marques aux

vii.

Stephens, 812, D.)

rendre par

variations

le

iidyement

compositeur. sur

la

lyre,

njra

fuivoTtin,

much

substance.

of the

the

four

of

Chromatic

Plato Three

compresses

stringsout

in every tetrachord and monic in the Enhar-

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

lowest

semitones

three

between

strings

in

the

Plato's

foe,

directions

teaching

145

boys.

qiiickto slow, or higlito low notes, thus 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 oppositeprinciples, that is demanded confusing slowness ia learning."* another, cause one Three have been not reqviired only years would

there

are

"

learn

to

to

That

lyre.

Harmonia

in. unison of

branch

one

have

we

voice branch

one

itself but

which

from

the

accompany but was

taken

the

with

and

Harmonia,

of that

Mousike,

word

"Music,"

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, in the

tones

and

but

of two

the

highest. Manotes,

tetra-

scantiness

quarter-

Enharmonic.

Then

lowest

strings of all,in

chord,

were

each

called

the

barupuhnoi, mesopuJmoi,and the forefingerstrings,oaaupuknoi. (See Euclid, pp. 6, 7, 14. ) 'iSiov Sk lari Kal Tov Tov ^ev ivapfioviov ^titfiartKOv

next

above

them

"

ri

KaXovjievovtwkvov.

(Ptolemy,

"

p. 30, fol.) So Plato

includes

in

word.

those There

one systems scales. no puimoi in Diatonic The definition 14. of (Euclid,p. ) when the piiknotes was forefinger

two

were "

string was interval of

the

between

so

lowered

between

tetrachord the

the

that three

was

forefingerand

the

lowest

less the

than one

width

(Aristoxenus,

"

the

on

to

of

notes, through the intervals,and includes scales, as opposed to

of the

Diatonic Chromatic

and

short

of the two

sense

Enharmonic.

The

Greek

words, *'

is

fiavoTTjri, ones." intervtils against wide TrvKvoTTira

"

50.)

p.

contrary, refers

late Dean

The

took See

the

meaning

his article

Music

in the

upon

Alford of

close

also mis-

this

Ancient

passage, Greek

PhilologicalMuseum,

vol. ii. p. 437. '"'

"tS.ovaixiivTnviyKvickiovTraiSiiav fqai." (Scholiaston lines 188 and "

\9i9m.

The

Knighta of Aristophanes.)

146

that

"

all

consonances

sounds," and has

favoul-

that

Octave."*

"

the

of the

modems

;

for,

ia air, so much an upon have been thought ago, would them had not been one among

some

speciallydevoted

and. those

ears,

in

playing passages

to

of the

forbiddingthe playing of Fourths and in only allowing them sequences, with

other

Octaves.

again

modems,

in

in

of

sweetest

estimate

His

by

the

variations

years incomplete if there

Greek

pleasingthan simple

fullyshared

been

of

sets

MUSIC.

more

justly adds

is the

Octave the

are

he

consonances

OP

HISTORY

THE

cide coin-

or

Fifths

to

be

termixed in-

intervals.

The

development of harmony was ^JlJchless favoured of me Greeks by the national instrument The lyrewas than it is by those of the moderns. the triplepurposes of the rhapsodist, made to serve the

of

and

every

but

of

without

speak

now

and

orator,

house

the

is furnished

Plato, Plutarch, and valued

music

musician.

Orators

accompaniment

complete,musical

more

the

with

instrument

than of the

others

some

less

a

of

music,

portable, the lyre. ancients,

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 banished from his model ments republicaU musical instruthat

objectedto

had

"

^vji^avlaSi

iraaa

UoKvxopSoTarov

(Bepub.,

means

not

the

of Sect. 19.) is

lib.

iii. 399

only

a

such

duce.

It

it is

word

have

d).

x^P^

chord

also

often

a

He

sounds.*" many ancient Nomes

sound

the

string,but

of notes.

compass

having too

riSiuvajrXov i) SiA iraaHv

"

"

as

commended

06(5yyow,xal tovtiov (Prob. xxxix. TiSiffTti." *

extensive

an

flutes

Plutarch

"

more

as

a

is made

of

string"would evident

elsewhere,) for flutes no strings. Again, a means as

four

four

sounds

strings.

pro-

here, (as could tetra-

quite as

SIMPLE

TUNE

AND

VARIED

Olympus, wMcli were upon his expressed regret that the to the

of compass in his own time.*

with

occasional

strict

discords

"dissonance" with A

harmony"

discords

had

obsolete

become

instrumental

ments accompani-

of

such

with

B,*" and

(esteemed a imperfecttuning),and of the Fifth.

of Umit music

to the

be

to ;

C,

In these

againstthe

tone

one

In

discord the

or

concords

of the

however, of spite, suitable

his

attendant

than

in

the

Fourth,

advocacy admitted

on

is

art

minor of

account

on

in

passing

of the

;

njimber of notes, Plutarch

also "a

notes

the

were

next

and, in his judgment, the

beneficial

that, in the

states

they played

G."

or

Third

and

lie

limitation of melodies

for he

;

spondsean mode,

D, in

"

the

and

notes;

he played by the very ancients to whom were certaialy compounded of concords mixed

refers

as

Yet

three

sounds

few

a

147

HARMONY.

ality convivi-

never

more

of festive relaxation

seasons

and

thought, too, that music has of allaying the stimulating "the effects of power wine" (cap.ult.). proofsof the employment of harmony Many more might be derived from Plutarch's Dialogueon Music he states that the reason when as assignedfor the exclusive use of the ordinaryDiatonic and Chromatic of all such scales in his own time, and for the rejection indulgence."

He

"

"

refinements

Chromatic

as

quarters,of tones, divisions

minute

in his references

the

of such inappUcability for harmony (cap.38); and again, to Plato and to Aristotle (caps. 22 was

23).

and

Mmka,

"

De

""

Burette

instead that

Enharmonic

thirds, and

of B

there

cap.

said

was

natural,but no

Synemmenon

12.

"against B flat," Paramese

he

forgot in the

tarch's before "

De

time,

tetraohord and

even

it.

MvMca,

cap.

19. L

2

in

Plu-

for

ages

148

OF

HISTORY

THE

MUSIC.

and singing speaks of playing Mese Paramese; i.e.,strikingthe key-note and singing 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 forefingerstrings." 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,as the immediate disciples saying,in ii. of his Treatise

book

troduced

iu

"

*

that he

music, and Prob. "

who

xii. of Sect.

'Ev

Si

composed diagrams "

^aivofiivoi

39.

"

De

^

Intervals foreignto

cap.

aloga, or,

"

Aokei

took

pupils

of music

;""

n)v irohixopiiavsic rqv

i^iX^kKidapinv TrpSiroQ (laeveyKuv, irpHfog naBrjrdg t"v apjioviR"v IXa/8E,xal SidypamiaavvearriaaTO." (Lib. viii. Sect. 46.) Bai

"

Musica,

the first who

19.

Kpovaci

ry

was

(p. 11.) aiH^iiivoi."

termeA

"Stratonicus,

was

and voice,)

the

Poets, that

the first person reputed to have iafull chords in simpleharp-playing, (without

Athenian,

the

on

"

a

"without

scale

were

ratio."

CHORDS

149

HARP-PLAYING.

IN

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 strings; and even if it had but half that number, some 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 the

preserves it. use was was

with

of the

name

who

man

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

instruments,

great skill in all the and

in

all kinds

hands

Alexandria

had to

the

on

first who

the

extended,

instituted

passages brought into

Horace,

and

before the

celebrate his "

*

from the

at

a

Egyptian

harp kind with early date, firom buted, Epigonus is attri-

an

victoryof

"

See AthenEBus, lib. xiv. cap. 42. lib. iv. cap.

81.

was

and

chorus." Latin

authors

discussion

them among referred to.

villa, the song with AtheniBus,

the

This

Again, to authorityof Philochorus, that he between introduced duets harp

Several

harmony,

flutes."''

of the

Greece.

flute,and who been

of

above-named

that

quotation is another evidence of playinginstruments custom both

the first to

was

the

the

about ninth

Horace

Actium

have

with

also

ancient

epode

of to

proposes

Maecenas,

at

lyrebeing intermingled "

Athenseus,

lib. xiv. cap.

42.

150

"with, flutes

Dorian

a

"

and

of Maecenas

tte

on

or

"

Sober tastes

strain

yonder,Phrygian and manly Dorian

for those

MUSIC.

OF

HISTORY

THE

other."*

some

suited

have

might

there

Horace, but

of

side, and

one

the were

thought, who would prefersomething erotic enthusiastic, bacchic,or even more lively, ^ch a joyous celebration;

others, Horace more

"for It

almost

seems

needless

remark

to

upon

this

is of the voice,the. passage that the "intermingling" and lyre,and the flutes,and not of the Dorian are kept apart by sufficiently songs, which hac" and "illis." Yet the F^tis theory

Phrygian the words

"

built

was

directlyopposite construction.

a

upon

omitted, however,

He

system, viz.,how

rhythm,

and

character

he

the

made

be than

Something

more

Fifths

requiredfor

upon

was

that

that passage of music for the

only proof,he together les

he

Grecs

the

it

and was

an

imaginary

as

it

was

his

the

les

et

Yet

purpose. built up

his

opposite together.

of Fourths

Greeks, and

under

was

"

to

the

of songs harmonize

succession

a

this

system

two

part of words,

one

proposed that

time, of

to

were

elucidate

to

necessityof coupling 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

the

on

"

Hac ""

M"mmre

mr

Romains.

"

(pp.

Dorium,

I'llwrmonie

Sons, chez

tariie des

mixtum

Sonante

"

16

les Grecs to

et les

36.

SatwrrwMorum

"

4to.

Proem. Seneca lonim

Macrobius in this fashion: illic latent

apparent Conviviorum

lyra

illis barbamm."

shmd-

1859.) "

tibiis carmen

dissouis."

...

e"

abbreviates "

"/tosiugu-

omnium voces, fit concentus

ex

SENECA

publiccelebrations tlius

It

begins

: "

you not observe cborus consists ? and

from

aU.

One

middle

a

151

MUSIC.

Imperial Eome.*

of

Do

"

a

ROMAN

ON

those

has

voice

of

a

yet

high,voice,another

the

tones

flutes

are

;

voices persons' many sound is produced but one

of how

of

low,

added

are

women

third

a

to

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 men

;

"

"

it with

I have

Another

allusion to

which Epistle,'' adversity. He And

"

and

vooibus ex

media.

De

multorum

quam

oonstet,

Tiris

tibise.

In

losophi noverant. nostris

plus

in

theatria

olim

implevit,et est, et

ex

genus

Aliqua

apparent. veteres phicommissioni-

cantorum

how

animum '

ordo

canentium

seneatoribus

pulpito

omne

fuit

cincta

tibiaruni

me

Ad

graves

fiat

Monstras biles:

mens

consUia TtiiTii

mea

qui

et

quomodo

reddentium fac

potius

secum

con-

discrepent,

sunt

modi

fle-

potius, quomodo

monstra

adversa

vocem."

acutse

se

concordia:

animus

nee

Doces

transeo.

inter

disparum

sonum

Talem

volo."

consonent,

nervorum

inter

consonuit,

nostrum

quomodo

may

dissonis.

musicam

voces

high

concord

ex

esse

"

sonet, :

voices

orgamormnqne

quomodo

est quam

spectatomm

vias cavea

feminse,in-

Singulorum ibi

omnium

bus

how

fit concentus

tamen

unns

redditur.

Accedunt

voces,

teach

you

"

"

sonus

omnes

"

harmony together

chore, dico, quem

quum

:

says

est, aliqua gravis,aliqua

terponuntur latent

harmony is found in his 88th the subject of consolation in

music

to

vides,

iUic acuta

there

make

chonia

omnibus

is.on

now

low "Non

"

minds."

our

non

emittam

flebilem

152

HISTOEY

THE

arise from how

thoughtsbe

be in concord

may

free from

rather

mournful

how

is another

my

You

restrain, the utterance

of any

For,

certain

in

as

music

parts, which

in

of his

book

is

"

maintained

be

to

sounds, which, if changed

or

endure

;

educated

ears

will be

Republic: pipes,or in vocal music,

stringsor

consonance

different

from

equallyunequivocalpassage

in the second

cannot

of

out

made and

a

crepant, dis-

as

this

arisingfrom the control of dissimilar yet proved to be concordant and agreeing the highest, the lowest, the middle, and the

consonance,

voices,is

"

of

so, out

and itself,

pointout modes strains,but, in my adversity,

I may

Cicero, relatingto "

rather, ^teach,

note."

There

found

"

with

discord.

fittest for mournful show

MUSIC.

stringsof varying sounds

mind

my

OF

orders

intermediate

of men,

in

as

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 becomes

of accord

is concord

same

Cicero's

in

state."*

a

definition

mere

of the

word

concentus, in

ought to have been enough to prove the Republic, Hie [sonus] whole acuta : cum case qui graviconcentus bus temperans varios sequabiliter efficit." {Rep.,vi. 18.)Again,if any of the disputantshad read of Aristotle's Problems, and Section 19 especially his

"

"

.

""Uteniminfidibuaauttibiis,atque ut in oantu

quidam sonis,quem est

ipso

ac

vooibus, concentus

tenendua

ex

inunutatum

eruditse

distinctis aut

disore-

ferre

non aures pantem diaex concentus, iaque poasunt; simiUimarum moderatione, vocum tamen efficitur,et conconcora Sic ex aummia, et inflmis, gruens.

et vi

.

.

mediis, et interjeetisordinibus, ratione somis, moderata civitas,

diasimillimoruui, concinit;

consensu

et qu" harmonia in cantu, ea est dia."

42,

"

in

musicia civitate

dicitur concor-

(Ciceroi)ei?ep"6.,lib. ii.cap.

vol.

1831.

a

v.,

p.

8to.)

28.3,edit.

BoniUet.

CICERO

No.

39, in which

are

he says that all concordant agreeablethan singlenotes, and

more

concords

ought

153

HABMONY.

ON

the to

sounds

"

Octave

have

is the

sufficed

the

prove

But, in truth, floating upon

the

of

agreeable,"that

most

to

that

Greek

surface

case.

has

of music

been

for ages more popularthan diving. It is now curious to look back the upon

discussions of

the

about

Dr.

Burney History of Music concludes

to

a

with

read

to

the

or

the

those who

among devotes

no-harmony,

number

took

of

dissertation

upon

smnming

own

tinguished dis-

part in them.

nearly forty pages

his

the least curious

not

harmony,

ancients, and names

and

the

ardent

this

of

his

subject,

up, which

is

part.

The

from his followingis the catalogueof names eighthSection of vol. i. It does not include those who

enlisted,or

1776, neither those

who

drawn

were

does

it affect to

preceded that

French.

Charles

"

Boileau, Racine, Abb^

Fraguier,

into the discussion

La

date

be

as

to

: "

Perrault, Claude

Perrault, Bruyere, FonteneUe, Abb^

Roussier,

Mersenne,

Chateauneuf, de Chabanon, Father Cerceau, and

complete

after

Burette,

Boujeant,Father

Jean

Jacques Rousseau. Franchinus Italians. Gaffurius, Glareanus, Marsilius Ficinus, Zarlino, Vincenzo Galilei,G. B. Doni, Zaccharia Tevo, Bottrigari,Artusi, Tartini, Bontempi, and Padre Martini "

Spaniards.

"

Germans

Sabnas

and

Hollanders.

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

"

"

154

HISTORY

THE

MUSIC.

OP

Mason, Dr. Jortin, and, lastly, Boohs),Stillingfleet, Dr. Bumey. There would be no difficulty in adding largely to Dr. Bumey s list,but it suffices to show tbe great interest formerly taken ia this subject. In his erroneous summing up, Dr. Burney adopted an The definition of Harmony of the Ancients," from Aristotle,he missed the Mason,* and in translating distinction between the Greek and Sumphona Antiphonay is perhaps no In the historyof literature there one thing more singularthan that, with the number "

of all ages, and of all nations, who enquired into the historyof ancient music, no

of learned have

men

should

of them

one

have

ever

thought of making an the meaning of the been incorporated into

adequate investigationas to every-daywords, which have modern languagesthrough the Latin. have been implicitfaith cause may and

usages

traditions; but that

excuse

attribute

to

we

and

;

mainly owing

to

"The

simple sounds, scale,with respect to and grayity." (Burney's accord-

their

acuteness

"

History, i. Dr. Bumey thing

is

lack

125. ) did to

nearer

Even

above?

How

not the

it that

was

encounter truth

without

some-

than

the

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 "

"

nXewvuiv

fQoyyuni b%vr")Ti

ISapdmin Sm^tpovriav

KarA.

rb

is

other

cient insuffi-

an cause

thing is certain of enquiry that icai icpdms."

irTutne

8vo. *

"

are

it is

"

Greek

(p. 82.

Oxford.

1673. ) He

translates

"Neither

Aristotle thus

:

"

the

Fifth nor Fourth, though concords, were sung together in concert' Instead of "in ^(i. 137)., "

himself

^

in all Church

alone

what

to

One

that

to

of

succession

ing

it?

definition

"Mason's

yet,

the

In some,

(cat

aiirb

concert"

he

"

should

have

written

"in

a"iisuccessions,"or, "not as phons." By translating"in confer cert,"he has made Aristotle contradiet himself writer.

It

and must

every have

other

Greek

been

Burney's misunderstanding of word antiphon that .led Viim definition. accept Mason's

Dr. the to

music

has

relating

passages been

long

so

There

Greek of

are

Rqman

or

the

long

so

remained to

next

a

music

in

and

mystery,

classical

that

authors

have

misunderstood.

no

extant

harmony, hymnal

155

DISCUSSION.

MODERN

THE

melody, chapter.

specimens but which

there will

of

three

remain form

Greek

ancient

the

subject

of

156

CHAPTEE Three

by

Greek

with

hymns

music.

illustrious Oxonians.

remains

of

Eeasons

given.

Now

Assistance

"

The

"

music.

"

ViNCENZO and

Greek

VIII.

three

published in father

Galilei,

Florence, in

1581.

A

second

Usher,

Musica were

then

in

from Rev.

e

the among in Ireland, after his Fellow

of

"

astronomer

their

music,

Moderna,

copied from the libraryof

found

was

hitherto.

the first to

with

Antica

They

bought by Bernard, who

hymns

manuscript,which

Greek

hymns,

same

great

Galilei,was

Greek

manuscript that was St. Angelo, at Rome.

only trustworthy

notation.

modern

of the

mathematician, Galileo

pubUsh three ancient in his Dialogo delta

the

hymns

duly represented

^Not

"

learning rendered

to

a

at

Greek

Cardinal

included

the

of Archbishop

papers

decease, and

was

St. John's

College, took it to Oxford. The hymns were printed that manuscript,under the editorshipof the Edward of Christ Church, at the end Chilmead

of the

Greek

a

edition

of the

astronomical

poems

of

Aratus, publishedby the Universityin 1672.

During

the

seventeenth

century there

great

was

ancient

the learned at Oxford in reviving among Greek literature, includingthat of music.

When

Mark

earnestness

Meibom,

Meibomius,) undertook works them

of Greek at

and

edit

upon he received

assistance

University, and

to

authors

Antwerp,

Meybaum,

or

from

a

(in Latin,

collection

music, and most

to

of the

publish

heartyencouragement

eminent

from particularly

members

of the

Selden,

from

SELDEN,

LANGBAINE,

157

WALLIS.

CHILMEAD,

Patrick

Young (who had been librarian to James I. and Charies I.,) and from Gerard Langbaine,Provost of Queen's College,and keeper of the Archives of 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 publicityto his work. Many copiesmust have been 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

found

Meibom

Then

further.

himself Dr.

unable

John

to

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 Latin ments translations,and with large and useful compubhshed by the upon them,) and these were therefore be said It may University in 1693-99. SavUian

Professor

that

that, within towards ancient

of

half

advancing music

than

the has

century, Oxford

1720,

M.

Burette

more

knowledge of this most been accomplishedby any

Universityin Europe, whether In

did

found

before a

or

third

after.

manuscript

containingthese hymns, in the King of France's libraryat Paris, No. 3221, and he reprintedthem in

158

THE

HISTORY

the fifth,volume

OF

of Mimoires

MUSIC.

I'AcadSmie

de

des

scriptions In-

1720. The but

edition

Florentine

the

agrees with that of Oxford, adds six introductory lines,

edition

French

-without

music,

three

four

to the

Hymn

to

Apollo,and supplies

missingnotes. These hymns are the only trustworthyremaias of 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 especiallyin this case. Although every possible search was made for the aforesaid manuscript soon and all the manuscriptsin 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 or

which

Auctores, and ancient

an

Sir John but

copy,* was

it

then

was

flat in the Te Plain

in the

"

^

of Meibom's

Song

into Greek

it would

look; and

natural

note

in the

ecclesiastical

the

understandingof English readers flat at the signature, should be one to so as with his Greek music.'' it correspond i.p. 49. 4to. flistoJT/,

Hawkins's Meibom

characters

how

for

Germany to sing the B Deum, although the flat was not marked Song, he adopted the Greek sign for B

For

notation.

make

Plain

mistook

in

custom

left that

flat,but there

the

exercise

an

ingenuityin turning Church musical notation,justto show as

Hawkins

has for

given the

-wrong

note

C

Greek on

the

syllable populum to the

"Sal"

in

tuum."

wrong

scale.

"Salvum He

there

fac turned

first of the

The the

three

and Calliope,

Muse

159

MUSIC.

WITH

HYMNS

GKBEK

ancient

it includes

is to

hymns

Greek

address

an

to

The second is a Apollo, as leader of the Muses. to Apollo, and hymn of greater length,addressed cated the third, which is imperfectas to music, is dedi-

Nemesis.

to

of

state

music

formed

from has

music no

always

hymnal

in

such

chance, survive

for many hymns throw

these

state

secular,and

piece

a

of

centuries some

Ught

they

were

to

Yet

come.

upon

the ancient

of the art.

Before

Burette's

time

without

Chant, He

adequately Sacred hymns.

ordinary fairly century would in Europe, present state of music similar a specimen might, by some

represent the

even

former

be

of the

arrear

that suppose of the present

music

although

been

of the

fair estimate

in any country can the remains of its

would

one

No

any attempt at first who reduced

the

was

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

adopted notation.

Homer which those

to

the

not

represent ancient In

the

time

music

of the

for and "

xiv.

in fairly

that of

to

excused, because

Atlienseus,lib.

have

been

modem

andrian Ptolemies, the Alex-

grammarians discovered included a largenumber they then set themselves held were irregularities

accounted

should

system that

cap.

32.

the

poems

of

irregularHnes,' to rectify ; but be sufficiently the

poems

were

160

THE

written

HISTORY

MUSIC.

OF

for

and were intended always to chanting, be rhapsodised,or chanted. In music, it is not that the exact of syllabicreading-length necessary words should be adhered It would to. thereby be in monotonous deprived of all variety,and become the extreme. Music has the power both of prolonging and of shorteningthe duration of words, and in metre. For thereby of covering irregularities'

instance,we the

Psalms

written and

as

even

How

much

essential

chant

the

the

Deum,

Jubilate,and

rhythmicallyas to music, although Rhythm is the parent of melody, prose. beat regulartime to their songs. savages then must more rhythm have been an

part of

Greek

that the laws

Greeks

Te

Burette's

copy

is

music, when of

rhythm but

now

were

it

from

was

derived

the

!

hands

little in the

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.) no

sufficient

selected

this

first of

added

to

it.

G. A.

Macfarren, of the

Seeing

has "

My

the

learned

for

modem.

in the Greek So

the

view reader

them, especially this

hymns and

difi"cult to

even

of

one

reason

kind

to

comment, have

two

of the will

now

a

I

base

friend.Professor

Royal Academy

contributed obligingly

one

be

kinds

of

of

Music,

harmony

key, and one judge for

in the

himself

SCALES

liow

far Dr.

DECIDED

161

KEY-NOTE.

THE

BY

lie when from the mark Burney was of these Greek hymns insusceptibility

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 equallyto 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 questionbetween the modes of the two which notes, F by Aristotle's law nearly comphes with the sharp or C sharp, more required conditions,as the Mese in question? In that view there can hardly be a doubt but that C Mese. So sharp,and not F sharp,is the nominal 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, (asof this d" natural in a mode having C sharp 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, "

"

"

"

"

semitone above find the same Mese, and so may the tluree scales,. Ion's, and this, may Terpander's, we

M

162

HISTORY

THE

fairlybe this

said

and

Herein, too, "a"

above Church

favourite

the

in

of long continuance hymnal modulation. b flat" originof the

of the

Dorian.

If it

noticed

link between

"

Plain

how,

allowed

of considerable

the

trace

we

and

;

MUSIC.

establisli the

to

ancient

OF

in

Ghant

its most

modulation but

were

of

the

Western

ancient

from

form, it

Hypo-Dorian

for this

the two, these

one

to

hitherto

im-

would

hymns

be

historical interest.

Another

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 "

"

the

below Fourth "

to

treble.

below

to

vocal

it,viz.,to G

a," the

Nemesis,

The

extends

b," the minor

to

a

upwards Hymn to

rises

Sixth, and, in the

minor "

compass sharp,and

Seventh.

writingout the Hymn to Calliopeaccordingto the strict quantity of syllables, the metre being Dr. Bumey adopted the system of making irregular, and four changes of time, from tripleto common, In

vice

versd, within

included and

two

began

a

-

the

the first Kne

lines of

poetry within

eighth bar

Si, Movaa,

/loi

of the

^i

-

with

Xij,Mo\

music*

these

He

bars,

seven

rest.

a

-

Trijc

flAjeKUT

-

"(vol.

xo^' ap i. p. 86.) -

lEREaULAR

It would

163

METRES.

have

puzzledany chorodiddskalos,or Dr. Bumey himself,to have kept singersia time with such interruptions of rhythm. It is strange that he should have printed it so, after having remarked but

few

a

before

pages The

rhythm."*

"is to be ruled

of

time

"

that

Greek

music

"all

was

Gaudentius,*"

notes," says

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. it had

been

music,

as

ject,no

desired

one

effectual

beginswith

the

means

Dimeter,

four

second

could have

or

poetic

iambus

in

The

been

This

was

iambic,consisting

formerly called

was

England."

I eldg, Mousa, | moi is

adopted. irregular irregularity "

first is what

Measure"

feet."

"

A

The

line.

Two

"

Minstrel Measure"

"

throw

to

hjam. is described in the text as {Jambos Bdkcheios),and the

iambic"

of

ridicule upon ancient of disposing of a troublesome sub-

way

more

The

called

the

by

philg.

poetic foot having the first syllableshort and the second long. The spondee has two long syllables. In irregular metres, the law which overrules the a

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 "

In vol.

"

to

beat

time.

Have

not

castanets, tambourines, drums,

cymbals

been

for

same

the

used

in modem

and

times

mark

the

rhythm,

but

do

not

con-

stitute the music, *

Gaudentius, p. 3, edit. Meibom.

"It

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,

thus: purpose? They all DSs I cend, y6 nine, dSs | cend Sad sing, Th6 Ibreathing Instrtl | ments Inspire." "

"

M

2

164

HISTORY

THE

MUSIC.

0"

of the

strict timingof syllables is the Measure A

Measure

of necessarily

not

to

of two

the

same

poetic feet, which are kind, and is the equivalent

The

the bar in music.

one

is that the bar of music

the two or

consists

down

beat, which

verse,

is the

difference between

beginson

stronger

the

accent.

thesis, That

dancing,as the arsis,or 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

was

reversed for

once

arsis is weak.

In the

case

of iambic

verse,

or

other

with the arsis, i.e., beginningwith a weak syllable, is placed before the bar. So or up-beat,that syllable of iambic, has the appearance of the reverse of trochaic,or the firstsyllable viz., long and the second the music

short.

The

to

subserve

or

up

and

has quantities syllabic lengthof irregular and

to be fitted into the

down has

"

been

of the

foot of

verse,

thesis, in the

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 quantities.Proportionmay be preservedwhen exact ^itis but as quickeror slower speaking. 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

beats

arsis and

identical

SO

if he would

best

interpreters of musical rhythm %f syllables.*In

of the

one

thought more the equal diu-ation which the hymns have

in

state

been

Dr.

Greek,

is the

as

own

have

less of

the

our

have

could

Bumey and

with

165

BARBING.

RHYTHMICAL

been

hitherto

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

are

,so

cases

many in old timeless

found which

gives

melody

may who

musician

the

in which

notes, but written

wUl

poetry,

over

fine old a many obhvion from by a

that

measure,

yet be

be

is to

music

rescued

adopt this

In the

course."

hymns change from

printed,there has been little in their time, Burney's copy as to notes, but much in order to preserve rhythm. Anciently,the Long and the Breve in music wei'e equivalentin duration to the long and the short 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 as

now

the Dr. Burney haa measured syUablea in the opening of the Hecuba of Euripides,and has given them a comical by timing appearance "

in

them

hymns.

the

same

fashion

(i.72.) They

"

six

mitted.

As

trochaic

metre,

first,third, and

in

tri-

varied.

feet, iambic, which

and

sixth, and

the

iambic, fifth of

the

would

have

Greek

for

like

modem

operas,

in which

every

syllableis set to varied music and to be chanted, timed. They were and in chanting,greaterlicense than this

might

have

been

well

per-

might

Perpetual trochees,

was

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

been

to bear

be

to

were

rest

petual

or

the

second, fourth,

iambics, without

meter,

with

so

that

except

trochees, instead

as

are

with

too

even

or

be

per-

stops,

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 ears

for any

*

that

the

airs

were

country-dance, times. must

To have

be been

as

in

many

well,

as

cases

baJlad,

dance tunes they strictlyrhythmical,

166

THE

favour be

OP

giSTORY

that will occupy rapidly written, and

together so glanceas to last,the

form

to

as

the dtiration of several

crotchet

and

times.

that

first

be

notes

afterwards.

be

into

divided

in

accents

before

down-beat

the

is

divided.

the the

but

hymn,

the

words

in the

be

poetryby the ictus,* to the

half

second

music

This

one

in the

as

of

longer lines,or requireto be further

case

lines may let the notes

Then

as

the former

bar drawn

the

tripletime,

bars

recommend

sufficient division for short metres,

a

first Greek of

of the

quaver and short

long

two, by scanning,or a

at

that the line of

Then

and reading,*"

until

;

therefore

I

one

the

copied over precisetime of

crotchets,and that the determined

notes

represent the

,

at

eye

even

or

quaver,

semiquaver,now syllableof ancient the

for the

gmde

a

and

bar

less space, that can that be tied can

of notes

more

or

MUSIC.

be timed

within

those

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

cases

With

music.

such

there

care

seems

Httle

of material variation from the probability originaldesign,and it is perhaps the only way of is a comparatively arrivingat it. To bar music by accents modern bars were first practice. When of time, therefore introduced, they were mere measures old barringis not to be followed implicitly. but

"

"

a

The

division

as

(Theatre of the Donaldson, *

of

form

a

to

the

agreeable D.D. the

acute

accents

the

words

p. three

ear."

"

37.)

in ancient

what

marks

Greeks

accents

grave

Greek

their

for

the

and were

had

quantity, which

Greek

for the

but

indicate,viz.,

names

rise

and

fall of

voice,or pronunciation marks.

movement

Qreeks, by J. W.

by printed books, Not

is such

verse

by

line

of each

comprising it most

of

structure

other

also

hereafter.

acute

accents

differs from

of irpoaifdiai,

The

giving quantity in

to

for

accents

called

the The

the modem

ancient Greek

practice grave

of

and

Europe use.

CHARACTER

In

OF

167

HYMNS.

THE

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

the

Hymn

to

"

between

pause

lines in the

each

There

which

hjonn

time.

common

foot.

several

are

other be

equallyrequireto the

Thus

iambics

in

become

must

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

a

katalexis be

syllables may to the

music

make

the

up

time,

both

or

shortened, according proportionably

necessities

The

to

of metre.

of the

is included

hymns

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, corrected

BeUermann

printed versions. manuscripts,and

A

several wrong few notes are

they

here

are

notes

in earHer

deficient

suppHed

in aU

in smaller

type. Greek "

hymns

emblematic

of

were a

mind

tranquil kind

a

at

There

ease."

of

music, was

no

gehenna in the creed of the heathen to disturb their equanimity. Every banqueting party was subjected to wore a god ; and, accordingly,men garlands appropriatedto the gods, and 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

OF

HISTORY

MUSIC.

The

Hymn to Calliopeis printedin the 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 ordinaryvoices. distinguishedby 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 requiresa high tenor voice : a, which "

EI2

(}" 4*

(p

erZZ '

"la/i^oiBoKxeios.

M0Y2AN. '^

"'

AeiSe, M.ov(ra,fioi (j"iX"i, Sing,0 Muse,

Z

Z

Se Ajjpi]

i'

Z

E

Z

(Twv

air

me

;

My

song

Let

the air of

lead thou

:

t

oKireow

cr (f) p M(p aSoveiTCO' 'E/ia? (ppevas "r p Mp "T (p (T KaXXtOTreta a^ocpa,

M

to

M

^' e/x^sKorapyov,

MoXttw Z

M cj"

t

enrov

dear

thy groves-

,

Z

d"

Excite

(T

cr

(T

^

n.

a-

Who

Mouffft))/ irpoKaQayeTi Tepirvuiv' R

"r (jf)

Kat

crod"e r

M

E

I'M.

M

p

EM

|0

i' Z

M

^

o-

R0C

1

ill P m Since

hymns deficient over

Muses

thon, wise initiator into

Son

of

Be

at

or

"p in

been the

the fourth and

hand, propitiousto

o-jo

OP

M

^

Bumey's time

have

Latona, Delian Apollo,

INTEKPEETATION

THE

wm Dr.

gladsome

or

EXPLAIN

TO

SCALE

the

mysteries,

Ev/xevelgirape(TTe fioi. A

;

o-M

A.aTOvs yove, Ai^XteTLaiav, M

leadest

And

fivarroSoTa, Z

mind

Calliope,skilled in art, 'R

"r

my

other

discovered. first

line,and

sixth lines.

THE

I

me.

HYMN.

Z

E

^

manuscriptsof They supply vary

the the

the letter E

HYMN

No. With

an

1"

Accompamment 'A

^

a

-

Bi,Mov

-

CALLIOPE,

TO

HYMN

in the

169

CALLIOPE.

TO

Hypo-Lydianmode, by ad,

-

G. A. Macfabben.

MoX-tt^j S'l /iijg

^i Xij,

jioi

-

-

m

3E A

-ei-de,Mou

moi

sa,

-

Mol

phi-le,

d'e-

pes

mes

rt

Kar

fi^^kat

AB

dp-xov,

-

-fTrti

-"

P- p

"

"

Au

-

de

re

0-

ap'

son

^J

..",..J

"E

^3^

-

So

vas

se

-

"

KaX-

"

n"

"

s-

do

-

I

hr

nei

Kal

t5 ;

-

Xt

-

o-ira

a

-

^

"1

phre- nas

B

on

-

-

li -o-pei

a

-

f^'-ii-jn-.ii^m ^is

^f5^ (TO

-

0^,

^=lil so-pha,

Mow

?f=y -

^ Mou-s5n

cuiv

irpo-Ka -da

"

^

yk-Tt

iF^

"

i^

rep-irvuip Kai '

T

pro-ka-tha

^#-^^-JH^ Si

-

ge-ti

-

^

"

vei

-

al

i^ J

.

fpi

ai-iav

-

=62=;

SI

"

mas

;

Sk

av

4:

.

fidg

li adv

pij ""

w-^

ar-chou,

-

-

ter-pnon;

^s ^-^-^

Kai

=

170

THE

fJL

(TO 00

HISTORY

^k

UV fiv

OE

-

phe

so

OF

BTO OTQ

-

sto

ma

-

So

do

MUSIC. Aa

Ta,

-

La

ta,

-

-

-

tovq

yo

tous

go

vs,

-

ne,

-

^^^^^^^m r

T

aa

^ "J

#

A^

Xj

-

Ilai

"

-

dv,

-

Eu

ps

*l m'H-^^^

vets

-

jrap

-

e

ffre

/iot.

^^=r4^^-J^

w

De

^

.

li

Pai

e

-

Eu

an,

-

P^m

-

me-neis

par

-

e

Si_

J

s

^ # THE The the as

HYMN

SAME

CALLIOPE.

TO

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^ El

-

-

Mow

(Ta,

-

fwi

^ir^Vi

-

M ^m

ei

-

^H=F

de, Mou

!

moi

sa,

-

phi-le,

d

^^ 4

rt=sR=*

Tim

%

^SP

ap'XoVy

Au

ar-ohon, Au

^f G"v

pij

-

^? -

.

-

re

^

p

de

son

^^^^^^^m pa^^^=

d'e-mes

-pes

^i

^^

F=P=F

kat

Mol

I

:fc=5 4

fl-p^c

MoX-7rqf

.

A

in

E,

^^m

ate

a\

ffl

wv

-

'E

"

:^^^ ap'

al

se

=1^ -

on

HYMN

jUiJs

0p| -vag

So

phre-nas

do

vd

-

1/1

CALLIOPE.

TO

KaX

'

n"

Xt

-

-

6-7rei

a

ii*i f"r- j'.i. Ji.i.j^j riij J-JJ J mas

-

nei

Kal

to ;

-

-

li -o-pei

a

-

m^-nf#Tt""i4i4 sfi a

m Mo"-

I

Is* g7~J BO

ye

Mou

-

pro-ka-tha

Bon

Kai

rtp-TnimV

n

-

^^4^-^-^^=^ pha,

-

irpo-Ka-Ba

o-uK

^

^"= ge

-

ti

ter-pnon

j

Kai

li* m

^^^^^^m

Mi* W^

S?^?^=^ (pi fiv

CO

"TTo

sto

mu

Aq

M Xi

-

-

g

-

li

-

e

do

-

"g

-

rows'

yo

tou3

go

La

ta,

-

Hat

-

Pai

av,

Eir

^e- V"if

irdp

J -

an,

e

r-

-

ne,

ark fwi.

J. J^j Eu

-

me-neis

par

e

ste moi.

ffiip}^\i-M:t^m 1

v",

:^==t

*4

^

-

F-

;S

"

p^tr ^Tj De

-

Aa

ra.

-

Jl^f' ^^^

g^Jj: ^%7^-

do

J'l

p'*j."J. phe

-

^^m

r

172

HISTORY

THE

OF

MITSIC.

The

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 "

which

I contend.

freedom There

In

exercised is

a

Greek

as

b oth cases, in music

passage

On

find the

we

of the the

same

present day.

Phrasing of

a

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 quantitiesof syllables, often to change so as them to their opposites. Time is not to he regulated but syllables hy syllables, by time."* ,

"

"

That

there

be wondered

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 capitalletter. The Greeks noted music by letters "

at, after the

"ij Sk pvO/uKrlKai fwvaiieij fu-

ra^aXKovaiv

airdc

av^ouffm, Saari iroWaKie oil ydp \HsrU')(ii"piiv "

Kal fitiovaai rdvavria Eif

rais

ajjXKapalg

avtvOvvovai

xp^^ovg, oKKd rotf mJWajiae." (Ilfpiavvrag "xpovoiQ Keiske's Biaiwe ovonarov, edit.,volv. p. 64.) Tovg

"

PROBABILITY

ERROR

OF

inverted,jacent both on upriglit, the face,turned right or left,and letters.

Such

notation

misconstruction

would

be

173

MUSIC.

IN

the

back

and

on

by parts of subject to

even

very did

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 Dionysius,in the Oxford 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,saving the six hues of introduction, is set to music throughout;and it rambles about in a less tunable stylethan the other two. In to Nemesis, there are the Hymn only six lines with

music, which

The so

a

is written

hymn, except consists of

by

in

one

the

over

first

manuscript,and

part of the

yet the poetry

twenty lines.

Greek

verses,

accessible to the

which

are

not

set

to

music,

are

curious,in Dr. Burney's History other that, not being sources,

and in of Music it seems to directlywithin my subject, 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

modernized

version, may

be

excused.

The

one

174

HISTORY

THE

MUSIC.

OF

the Hymn example of Greek musical notation over to Calliope will probably be tbougbt sufficient. There tween beis, again,but little difference of notes the Dr. Burney's copy and following,but

the

time

difiference of

key.

much

in

last, in the

the the

from

The

treble

higher than music

allotted

therefore if for

pitch,as

well

as

printedlike

is

hymn

clef,and

real

them,

to

the

Octave

an

reading

man

a

as

In this case, however,

treble,or G, clef.

it is left in the

originalscale of Alypius,CJf minor, to show how high Greek hymns were, and the Ptolemy's system of necessityfor Claudius transposition.

No.

2."

Xt

GEEEK

0

vo

-

HYMN

(Ski ^d

-

-

-

TO

M

^m

o

'Po

So

no

-

ta

-

'A

rep

-

ovg.

pi

t2=t: Chi

wd

pov

APOLLO.

ble

-

-

pha

sav

l#l m

-

rou

pa

dv

oq

?2Z

-

A

ter

-

tv

ya

ous,

irii

-

\ii"v,

?2Z

do

Ko

TLra

-

-

es

hos

san

vie

voiQ

?2I

vt(s

i;)^

tu

an

~

ga

-

Ion,

po

oi

M.

pte hup'

Pta-nois

Xpw

i

oeat

ich

oiv

-

-

nes

-

si

yd\

a-

li^ m

di

k6

Xo-fie-vog

-

keis,

6

jiaig,

-

H^^^l-l Chru He

seai

pi

tt $ ii

vS 0

Pe

ri

no

sin

-

-

Tov

a

-

d

gaj

-

lo-

Tret

m

^

ton

pel

ko

me-nos

pi

ri

-

-

rov

ton

-

ov

on

mais, -

pa

ra

-

-

vav

nou

HYMN

'Ak

tT

-

va

TO

TTO

Xv

-

175

APOLLO.

arpo

(pov

-

afi

ttXI

-

M

^m

^ Ak

ti

-

At

i

KtaVf

"

na

po

y\ac

lu

-

stro

Xv

"JTO

Isl s^

Sep

-

-

"z kon,

pie

phon

am

kI

a

irii

yav

a

pa

gan

-

-

.

'"^^=^\^m Ai

glas pi yai

IIe

^il* gf

r

m

lu

-

av

-

der

-

a

ke

-

ira

-

\ia

t

aav

-

kJ-il^

"

Pe

TIo-

po

ra-

ri

gai

fioi

Se Ce

ha

(f" "fe

rll

rw

an

-

mav.

-

pa

-

Bev tfsv

-

he

aan

-

TTv

pbg

-

*t

lis

son.

dfi (3p6 -

-

^Erf

fm^

row

-f2-

"Z

Po- ta-moi

TtK

de

se

I

Tov^aiv

Mi gag tou

-

sin

-

fi^P

2ot

ls*i SE

pa-

P-=

ros

am

a

fu

tov

m

ra

-

pbg

-

-

P

"

pB

e

%o

pu

iTTt "

Tik

then

-

ha

ton

-

St

Ev

cho

men

'O

Kar

Xwjn

vov

-

-

di

eu

ros

-

a

it iteg

voK

-

-

ran.

ark

pfjiv

-

^^ 03

-

x"

ra

-

pav.

a

og

^

Soi

tou

zE:

me

PZZK

T2Z

'

-

^

-

~

bro

-

ste

a

"

P"

"

-

r5n

^^

m

Kat'

0

*A

VI

-

Imn

TOV

-

a

pon

-

fii

-

nak

cd

Xof

-

cho-

ta

-

"

ei, ei

"f"

."

.

m

-

6.

iv 0

reu

.

^

Si"iv, f2-

1

": A

ue

-

ton

me

-

St

los

ai

np

iro

-

a

en

-

ue

vog

-

-

ei

\i

Phoi

-

be

di

ter

-

p"f,

^

^^

IS

don,

po

-

me

-

nos

lu

ra,

176 rXow

Si

Ka

1^1

frj^-f Glau

Xpo

i

1*^ as Aew

de

pa

Kwv

-

ri

-

tt Leu

Bav

kon

-

-

w

-

nu

sur

po n

i

ma

-

v6

oi

hoi

te

d

mo

ei

schon;

-

vf/Q

fie

fio

k6"s

va

"

-

^^ ei

mo

-

kos

na

-

eu^

os

-

i

\U)v

'"

lu

si

-

of

no

Isl m Po

axiav'

iio

-Y-rrfr^=^

de

\v

rto

ffi

ei,

neu

-

P^^?^ m

hu

tai

-

mo

-

jia

-

i^^f-f-i^ i il Ban

ge

(rip

wo

Ss

rax

-

ha

on

^

"^

na

-

i

-

V

la

the

-

va

-

ct

ov

~

\a

Se

6e

-

roi

:?C3

lio

non

pot

0

pt

m

ira

0

io

vov

Chro

i

ka

-

MUSIC.

OP

HISTORY

THE

^ mon

me

-

Xiff

nes

(Si""v.

\^\{^ ^^ he

lis

son.

-

able; Hymn is,in one respect,very remarkfor, although noted, like the others, in the Hypo-Lydian mode, which, at the originalpitch,is 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

E

;

be be

and

as

by sharpto

as

so

D

to

Mese, and, except for D

modem make

laws. a

is natural

of E

would

lose

one

modern

major Seventh

in the

onlya semitone, instead minor key-note,or Mese,

is

By

of

a

Greek

natural, laws, D

in the

key

scale,because

of it

tone, above, the ancient

therefore

of its four

the

modem

sharps,and

that

key one

If,then, D is to be natural, the major Seventh. modem key is A major, with three sharps,instead The hymn is essentially in a of E major,with four. major key, and is another of the many instances in its

HYMN

which

the

musical

has

ear

guided to

laws of ancient

complete major key down

to

the

177

NEMESIS.

TO

times.

under

is right againstthe

what

musical

Greek

close of the

could not

There

be

a

laws, even

century, after

thirteenth

which

Biyennius wrote, but every old minor scale had a major scale within it,by beginningon the third in A minor as ascendingnote instead of upon the first, 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 practiceof a major scale may be traced. The earliest evidence about the hymUj accordingto Burette, is that it is ancient than Synethius, a father of the Church, more "

flourished

who

Christ

after

quotes three was

,

.

has

it

from

verses

in his

sung "It

and

time

the

to

firom

as

attributed

been

by

Justinian, but from

flourished

Mesodmes, who

thinks

Burette

a

sound

.

named

twelve

years

who, in his ninety-fifth letter,

and

;

hundred

four

of the to

some

under

the

hymn

that

lyre." a

poet,

the emperor

corrupted

name

and

in his life of Capitolinus, a Pius, mentions lyric poet of that

Mesomedes;

Antoninus

withdrew a part emperor of the pensiongranted to him by Adrian, for verses

name,

from

which

he

whom

had

that

written

in

praiseof

his

favourite,

Antinous.

Eusebius, in his chronicle, speaks of

Mesomedes

as

he

calls

a

a

of poet originally of

composer

(KiOapwSiKwv vofMwv

Nomes

for

Crete, whom the

Kithara,

which TToii/Ti/y) agrees very the hymn in question."*So

fiovcriKos

well with the author

of "

Bumey,

i. 92. N

178

OP

HISTORY

THE

MUSIC.

Dr, Bumey, quotingBurette, but stillthe autliorcertain,for these hymns are free ship is by no means

says

in a very different stylefrom Nomes. compositions, musical gi"ounds, An4 now, to judge upon strictly which

not

seem

account.

extends

to

to

a

Seventh

have

been

taken

into

hymns are noted above the key-note;yet Perfect System, because

scale in which

The here

hitherto

the

they are upon the Lesser they have the semitone,iiistea.dof a tone, above the 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 note, higher,so as to make an Octave above the keynot have been a Lesser it would System, with the Greater; and but of equal extent one Ptolemy'sobjectionto it,as not being two Octaves in extent, and, therefore,not being "Perfect," would _

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 periodof Greek history,but these modes were very much used in comparativelylater times.. Boethius gives'only the musical notation of the Lydian and 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

OF

EVIDENCE

179

DATE.

been written after the once-attributed

characteristics

found and they were forgotten, to be mere differences of pitch. These remarks not offered as sure guides,but are they lead to inferences that the date of the hymns

of modes

is not

had

been

earlier than

the

from

second

to

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 Alypius,but Claudius Ptolemy'stransposition 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

Both

when

Greek

Euclid

poetry

stiU

was

say that the scale may within Octave.* semitone an

Gaudentius

and

be

transposedto any The harmony has been kindly contributed by my friend,G. A. Macfarren, who is the first person who taught a system of harmony founded upon publicly the laws of Nature, in this country,or in any other.

No.

m

Nl

3." fie

pSi

at

-

TTTc

-

-

me

-

si

pte

p6

-

"sa,

ta

/3i -

-

ro

-

es

sa,

ov

po

-

wA,

m^

r crir

F rir Ne

NEMESIS.

TO

HYMN

bi

-

ou

ro

-

pa.

flH"li: lil^i^li^^^ p

#

1^

d7ro ttjs fitra/loKai Sia ^lUTOviae apidiuvai,fiixpirov "

Vivovrai

Si al

m

I*

vaaSv.

N

2

180

n-i/fi

Kv

OP

HISTOEY

THE

-

9e

jri

MUSIC.

8v

d,

At

ya-rep

-

sag

-

"A

"

41

p%-^?=f=ff^^^f-f+r-^ Ku

a

-

-no

-

The

pi

Di

thu-ga-ter

it,

-

kas

-

Ha

;

fag-H^H^dd m

r

T

(coS

$

0a

-

j"pv -ay

/ui

lit S

ra

Bva

ta

thna

-

pha

-

phru

*l pm^. "

-

ma

ag

-

E

-t5n

:g=

^m

r^

f=f=F= k^

^^^ """

X''?

"

"ag

^''"A"*"

"

"

"

^'

X"

'%

* "

"V

^^ pe

-

cheis

P^

a

-

da-man

-

ti

cha

li

-

^'.

^

no

;i j^i

^

^ flou

(7a

-

Ech

;

f"

^

'E

tSiv

?^ kou

i

-

rr

fe

f 6

;3piv

d'hu

brin

6

Xo

-

av

/Spo

an

bro

^

?^^ thou

-

sa

W-4^

-

J IJ J=^=f^ J

gi

lo

J

J

,J

J

J

,J J_

t8n

SECOND

Me

W

PAUT

\a

M^.

la

-

-

THE

Ik

vov

181

HYMN.

rbg

-

e

\av

-

vuq.

-

j-^^ii^

J Me

"p96

va

-

OF

Ek

phtho-non

na

-

m tos

-

lau

e

-

neis.

m

^l i 'jr^^^-^j--^^ ^au^TJ-i-U-^^^fJ-^ W The

music

Nemesis

of

part of the

second

hitherto

has

manuscript

the

to

found

been

fifteenth

the

Hymn only in

century, which

to one

is included

in the the

other the

to

as

not

music

be

to

the

of

Royal Library at Naples.' Like all manuscripts,it is in an imperfect state for

wondered

author

consideringthat

at,

be

cannot

words, but

few

some

than

later

is, perhaps, of the

century, and

this

the

the

second

is

date fourth third.

or

transcriptionshad, in aU some Again, there are probability,been made. notes that, in three cases, I so evidently wrong of the have changed one, giving a memorandum Several

is No.

mann

This

includes

MS.

music

given by 262, iii.,c. 4,

manuscript,

aJso

in

the

century, includes

the

the

sikes, Aristides

other

Bellermann

on

fifteenth

the

collection,

same

It is 259, iii., In

verso.

Ptolemy

Commentary,

of

with

this

are

Porphyry's

Plutarch

and Aristides Quintilianus,

Bavarian

fol. 83.

treatises

hymns.

i., fol.,218

Claudius

The

Ptolemy,

Bryennius, Bacchius, and Quintilianus. Another

of

Aristides

c.

Beller-

reference

The

"

intermediate

at

Bacohiua.

Munich,

215, fifteenth or sixteenth containing Porphyry,

No.

codex

century, Plotinus,

the

"

Mou-

Quintilianus, and

hymns

4, in Paris, No.

at

fol. 457.

2458, written

No. 5, in the by University Library at Leyden, is No. 47 of Scaliger's collection,and of Petrus

in

1544.

No.

sixteenth

century.

Library

of St. Mark,

318, of fourteenth

Music,

on

manuscripts quoted by No. 3, in the Royal are Library

Bacchius

Peri

anonymous

an

241

"

arithmetic

6 is in the

Venice,

or

fifteenth

codex tury cen-

folios, including the of Nioomachus

andDom-

nius, Ptolemy, Porphyry, Manuel Bacchius, Bryennius, Nicomachus, "c. to

This music

manuscript is for the hymns.

deficient

as

182

change

the

at

little of

a

them

other

are

to

been

the

equal

'Y

iri

-

rpo

f^m Trd

p6

me

r

-

ro

HYMN

a

TO "

ara-rov,

NEMESIS.

an

-

-

jSrj Xa-po

-

poi

a

'

-

sta-ton,

orpl-06

TTbiv

I

sti

a

rai

-

stre-phe

-

r^

"T

me

rou

iro

-

Trq

-

-

tai

tu

cha

-

L5

;

("3

da

po

bai

r-

neis,

-

kKI

va

"

'

veig

^^

non

cie

au

d

xvv

-

si

/3"

-

o

-

-

kli

na

tov

/le

-

neis ;

-

rpcif

New

iS eg

"e

pB

po

ffv

irb

-

-

chiin KoK

a

-

irov

-

ei

bi

i

-

El

i

o-

ton

me

Bar

-

6

"

treis,

Neu

^piv

s eia

d'hu

"

po

kol

-

pon

a

-

ei

kat'

o

-

,

ry

-

"

f^

lei Hu

"

Afi

%"

22

-

Cha-ro "

tv

vov

/ic

bS

-

~rj

par

tit m Gau

"

7=^

de

sa

tention in-

part.

THE

pon

-

g r

"

Fav

i

the

so

-"-

thou

$

but

nature,

^i^=^ pa

$

x6v

-

tro-chon

sou

/a

ill m fei SE

There

^ Hu-po

$

first

OF

abv

the author.

by

cannot

CONTINUATION

THE

conceiire

cannot

be discerned. easily findingof another manuscript. the continuation of the hymn

the

to

I

own,

doubtful

a

meantime,

is not

Having learnt system, aiid especiallyits

writtea

so

of

cases

MUSIC.

page.

our

of the composer await the must

These

the

Greek

the

to have

OF

of

foot

resemblance

strong

In

HISTORY

THE

phrun

"

CONTINUATION

OF

ybv

Zw

i"l

i^

"I

me

XH

r

r

f

Hi

la

thi

ma

(71

Trre

-

lil ii

jKE

*A ss

-

0

183

NEMESIS.

pa

chei

ta

-

01

Kpa

tov

-

aa.

fia

xai

-

Si

pa

-

kra

ra

-

tou

-

xa

Xe

ffiro

kai

-

po

-

di

ra

-

eir

ka

/3i

oa,

spo

-

fJo

o"

-

le ;

-

ffd,

-

0

me

-

si

-

pte 6e

ttiv

fic-

Mrjg r"r-

ro

-

ai

uv

-

es

-

^ bi

sa,

lo

-

fti

-

,

me

ra

Ktjv

is m

sin the

-

fft

vv

-

ai

do

-

7rr"-

-

me

pa,

-

riv,

Ni

phthi tan,

Ni

-

^-^^-t

na

6fi

pov

ro

00i

^

.-T

on

-

ou

va

g r-pir ^ Ne

"

f^?

^ Nl

-

^pl

-

Nq

juav,

^ k5n

i

TO

Z2r

\a

-

Ne

i

ri

/it

gou

-

Nl

i

HYMN

iP5S Zu

i

THE

ta

rk

flip

i* m

nu

-

-

si

-

-

wd

Kat

a,

pte -ron -

cm

pg

-

bri

Spov

-

N5

man,

-

Ai

-

A

Kav,

^ te

mer

tAv

fiB

kai

a,

-

Xa

ya

-

i ite

pa

re

-

dron

-

pi

vo

Di

|8po

av

Ha

kan, N"

t"v

-

fii

-

^

^

"=^

tan

me

-

ga

ipk

aa

ow

la

-

no

-

peif

ik% m

-

ri

bro

an

-

ica-ri

rap

Ne-me

ton

-

"

pov.

ra

i

w=^

so

*

This

f

G

is

the

would

sa

be

undoubtedly

phe

-

A, accordingto

ka

-

the

ta

tar

manuscript,

ta

but

-

ron.

here

the

script manu-

wrong.

manuscript, which cannot be right. be B, according to the manttscript. should

in the

j This D,

B

-

reia

remainder

of the

music

is deficient.

After

the

next

notri,

184

THE

HISTOBY

MUSIC.

OF

a discovery hopelessto anticipate 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 enquirerwill find,in Greek notation by letters, a complete scale,iucludingevery semitone exactly in our modem Chromatic as scale,fi:om Gamma,

It

seems

the

or

the

now

G

so

the

on

b," which

"

above

it.

The

under

letters

copiedout

lowest

line of the

is three

Octaves

and

base

clef,up

major Third

a

line is for the voice upper for the are lyre. If this

over

the notes

the letters

which

and

also

referred

be

great difference

same

to

collection in

the

The been

the

There

is

systems, but

two

by of can no

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

more

that

but

than

pages his work

of need.

case

between

;

be

represent,

far less tedious process will be found turning from one mode to another, in the in the

the

clue

the

Alypius

to

clue

difficulties of Greek often

indulges in passage : "It is

musical

notation

have

is one who exaggerated. Burette this hyperbole,and Bumey quotes the

"

ancient course

them,

astonishing," says

Greeks, with of never

so

ages many invented a

M.

all their as

music

shorter

Burette, "that

genius,and was

and

in of expressingsounds way and twenty notes." 'sixteen hundred

"

in the

cultivated more

the

by

ous commodi-

writing than by (Burney,i. 19.)

EXAGGERATION

Bumey

he,

the

works table

their

I

of

sent

other

of

men

copies

and

the

those and

did

century

Learned

notes.

not

were

Langbaiae,

Gerard

Meibom's

this,

which

scales

by

under

was

Besides

treatise.

of

of

244

last

which

turn

original

to

overmuch.

sources

The

notation

entire

(gramimata). there

but and

letters

total

far

modes

in

have

of

letters

added

Octave,

sufficed.

short

hended compre-

but

included,

sound each

is

double

not

are

such

two

would

the

thirty-eight

one

so,

fall

must

in

all

Quarter-tones

was

tetrachord, double

of

Aristides

by

as

his

by Selden,

243

pages

of

with

observed

have

to

but

;

historian

seems

Quintilianus,

27

p.

Meibom

to

tliis assertion

later

any

acquainted,

am

at

are

nor

Aidstides

eyes,

there

at

Burette,

185

DIFFICULTIES.

gravely against

argues

neither whose

OF

In

sixteen

each

in

eight

more

the

case

any

hundred

and

twenty. is

There which

was

is still in

notation

employed

for

in

employed

some

notation the Western the

Greek

a

by

chapter.

the

Church.

ages,

of and

of the

world. or

neumes,

services

The music will

A

signs

for

was

seems

form

to

the

This Greek

raising

Church kind

date

ing lower-

use

in

the

the

latter

only

subject

of

and

in of

signs, system

similar

once

conversion

of

set

rhapsodizing.

voice, (pneumata,)

purposes

middle

of

parts

the

another

by

of

from a

to

the later

186

CHAPTER Basis

of

music.

of

science.

the

Minor

"

Claudius

by is

of

law

"

discussion

The a

measure,

of ancient go

Greek,

scale is

and

so

present low

too

and

whatever

scale.

music.

for

"

the

modern ;

of

Causes modern

by

hearing.

our

science

for,as

appliesto

wind

The

scale.

"

realized

our

must,

present times

ancient

equally applicableto the present. estabhshed fixed and clearly has more than

Scales

"

modern

No

is

laws

proportions

intervals.

"

in hand

hand

Elevenths

guide. Objectionsto

true

of the

high

the modem

true

of the

^Pythagorean ideas

"

too

Defects

only

Seventh

Discord.

Sounds

"

the

deducting

and

followed

and

nor

The

uses

alone

not

question whether "

"

strings

scale

intervals.

adding

Earliest

"

hy Didymus,

the

test

Ptolemy.

minor

and

science.

of

Nature

and

Concord

to

for

and

of

Fourth

How

"

Eules

Bidymus

The

"

of

the Greek

Hence

key.

one

concords.

for scales.

Neither

"

laws.

divisions

introduced

tones

Ptolemy.

properly in

were

in

Mathematical

"

sufficient.

fundamental

Its

"

IX.

science

fundamental

will teach

them

as

it

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,

plays upon the although tuned to

emit in

exists

kind, and

tube open follow in the

of any

tube

slowly

or

the

so

continuous,

of

;

the

foUow

;

the

succession.. as

just

lowest,

or

to

wiU

notes

By blowing make

the

fundamental

into

soimd

note,

length of the pipe is first the rapidity then, by graduallyiticreasing breath, an ascending series of notes will of which be predictedas one may every

produced by heard

same

all the

the

entire

THE

they

187

NATURE.

OF

gradually,higher and higher,up to the pitch that can be obtauied from the breath mouth. The same risingsuccession of notes

rise

extreme

of the

is heard

in the

of the

one

SOUNDS

fundamental

harmonic

sounds

that

follow

upon after the pianoforte,

long stringsof a note, produced by

whole

the

of

length string

the string,has been struck, and when graduallysubdivides itself into smaller and smaller nodes before finallycoming to rest. They then follow so rapidlyas to seem into the to run one other.

From

deduce both a may scale from perfectChromatic

these

laws,

we

perfectDiatonic, and a 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 good or bad, by calculatingthe proportionsof the 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, or any other vibratingsurface, whether

the

instrument former

the

chord has case,

that

been the

a

has

been

concord

movements

struck or

a

upon

dispord.

of the

sand

the In will

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 be

"

The

tation

following optical represeu-

of the musical

intervals

of the

Fourth, Fifth, and Octave,,as shown by sand upon a vibratingsurface,is

188

THE

included and

and

all music.

OF

MUSIC.

harmonic-foUowingFifth, minor

and

major

HISTORY

Sound,

as

Thirds, is the is well

and

foundation

known, does

in the

atmosphere,but is an affection produced by succeeding elastic waves strike that

the

upon

only,are

reason

From

this,and

all

said, there the

was

the

be

this

be

can

of the called

no

can

deduce

may be

no

brain

of

air that

which, for

solace

might

fact than

that

of man;

that, in the

should

and

mouth

be

that it

music

from

of man,

for the

fittingmedium

more

of the

that

more

Creator the

exist

"sound-waves."

evident

more

of

not

and

ear,

much

from

design of the companion and

we

there

drum

Fourfcli,

praise

of his Maker. The their

attributed

find

we

those

music

also

was

have

originto

earliest

uses

to

applied by them religiousworship. At a later period,

of

it to

divine

a

the music, and, accordingly,

which are

heathen

ancient

cultivated

been

for educational

purposes, chieflywith the

the Greeks, and especially among above its too frequently view of elevatingthe mind "The noblest first and grovelling tendencies. applicationof music," says Plutarch, is in offering the next of praise to the immortals the tribute : is the purifying, regulating,and harmonizing the "

souL"

Speaking copied

from

of Science

25.)

The

for

the

of times Quwrterly

January,

lower Octave.

note

Journal

187Q.

of each

past,Plato

(No.

is

Our

"

says

middle

lines ia the

C,

:

or

treble

the

0

:

"

interval Fifth.

Fourth.

music below

the

THE

then

EARLIEST

189

MUSIC.

OP

USES

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 of Dionysus (theGreek Bacchus),"which 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

divided

"

"

chant

for

poets

introduced

another.

But,

in

of

process license

unlearned

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

earlytimes, the to

the

Greeks

subservient of purposes then unknown those

sacred

He

account.

of the

music ;

the the

to

;

and

art

honour

of

strains

only

which

the

yet more unknown

was

being then the gods,

Theatres their

"In

theatre

whole

education.

:

says

and

themselves music

to

were

consisted

employed

were

made

in

of the

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

HISTORY

THE

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

doubtful whether is very of antiquityknew nations

any the

of laws

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 string,nothing more 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 point out the positionsin which those intervals be placed in a musical scale,so as to make must of them within by keeping them one consonances Nature

as

to

the

the

"

"

Aristot.

De

Audib;

p.

801

and

p.

80.3,edit. Bekker.

DEFECTS

OP

191

SYSTEM.

GREEK

THE

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

one

part,

so

to

as

and, in another

rest ;

The

defects

be

witli

concordant

discordant.

be

part, to

of this

shown in are origin, the Greek scales,and, among others,in. our being wholly Greek. The

Octave, the

the

Fifth, the

Fourth,

of

many own,

and

it

the

major tone, {ie.,sounding eight-ninthsof a string 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 derived

soimds

of

from

different

roots, and

is, therefore, strictlyspeaking, in

and

was,

different

keys. instance, in

For one-half

of the

long keys of the is

other

the

Octave,

half is derived

Greek

or

is in pianoforte, from

same

If way,

a

notes

major, the

on

C, and

scale of F.

This

the

its

E, F, G, A, which, when

F.

the

C

the scale of

taken

major scale, and not of a minor, in their roots or key-notesthe one in

of

having been composed out conjoined tetrachords, B, C, D, E,

consequent upon

of two and

Diatonic

scale

adopted

our

minor

it would

scale show

therefore greater deviation

were

to

as

as

C be

parts of a of old, have

and

the

tested

other in the

greater variety of roots, from

the

rightpath.

192

THE

HISTORY

OF

A

comparison with, the presentlyprove this ; but, order

MUSIC.

of

scale the

in

the

that

purport of these understood, suppose that, in the sound

we

C

in the

treble,the

the

C.

base

last two

The

Fourth.

treble

But

if

being

F

the

sound

G

from

C, and

to

taken

from

other

below

to

F

is

in her interval.

F, and

requiresF

concordant.

As

C with upper of the F above,

deficiencies

face the

us

The

yet

Fom?ths the

and

'above

of

C, but

difiference

former

from

wUl

cases

G

is from

for its base.

the

may

is,

Then

C

to

the

is of

root

it wUl

be further

be

exemplified

intervals

made

from

have the G

to

what

work

scale.

ever known, how-

system

see

Music,

adopted

our

of

change

of

a

upon,

be. may dwarfed

tkrough

Greeks. to

C and

from

C

to

F,

were

puzzles to writers upon Harmony, not only for several ages past,but even far into the present 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 conteijdingthat Fourths, and what have been one two

of

the

least be

at

Science

of

and difficulties,

melody we having copied from The

defects

any

for

scale

And

both

are

present subjectis the

my

improbable Let

the

sequel.

speak freelyof

Its

The

These

a

artificial interval,disavowed

an

scale

Nature's

in the

F,

to

key-note,the one it,in our key of C.

Nature

by

C

the

C

that from

from

in

of

with

immediately below it,instead retain C as the base, it is a concord.

and

F

interval

discord

a

major,

and

it 0

the

be

may

of C

key

at

makes

again

we

remarks

with

-will

time, in

mean

G

the

I

base, and

Nature

MATHEMATICAL

called

"Elevenths," or Fourths, were concords,

193

INSUFFICIENT.

SCALES

combined the

and

and

Octaves other

as

stoutly

of Neither discords. maintainingthat they were the two parties thought of appealingto the Harmonic scale for the solution of the difficulty. Harmonics trouble to until lately, looked upon a more as were, pianofortemakers that ought to be got rid of,than of music, and as as being containingthe essence therefore a necessary study for a musician. There is indeed

little that

comparisonof

our

with

Octave become

only

be

may

so

that

a

determined.

Greek

of aU

it is from

Mathematical

yet this

a

maticians, mathe-

scales

"

^the the and

the scale of Nature

fittingpositionfor

it, and

without

ancient

most

by

than

Every musical interval within misplacedas to leave the key

discord,and

a

instructive

more

scale,calculated

that

scale of Nature.

be

can

each

scales

are

material

has

to

be

insufficient

deficiencyin

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, Pythagoras,might equally be called the scale of 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

scale which

downward

in its consonant

form

to

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

skeleton

of the

Octave

remained

but

to fillup

Nature

company. each into

major

two

of

major

being

the

exact

When

Fourth, the which

the

in the

of

taken

of

out

such

of later

upper at the

in

a

kind

to

of to

256,

the earhest

which

later

law

as

our

to

Greek

semitones, the semitone

extended at the

scale, and

two-octave

and

remnants

was

Fifth

a

on

key-note,like

Nature's

with

a

music.

scale

originalOctave end, the

of 243

given by

of modem

Greek

Octaves, by adding of the

that

diiferent from

are

Greek, and the

of

Aristoxenians

it.

semitones

When

and

included

one

called these

practicalmusicians but

Fourth

a

PhUolaos, but

as

of them

one

limmas, meaning "remnants" of the Fourth, after the two tones

interval

were

by

were

was

The

remnant.

a

ratio

diesis

a

Pythagoreans, such Pythagoreans named of the

them

became

was

name

and

between

of

remnant

which

semitone

point they part subdivided, originally

directed

was

two

scale of

that

were

interval

the

scale and

tones

tones

complete,and there Fourths by smaller

two

from

Fourths

choice

Fifth.

the Greek

and

agree, These

MUSIC.

thus

was

So far the

intervals.

OF

HISTORY

scale own,

the

lower

to

extreme

Fourth

a

two

at

its

began and finished and equallyagreed

skeleton

of the

Octave.

Therefore, for the comparison of ancient with modern is here

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 tone, and there will remain disjunctive two conjoinedFourths, B, C, D, E, and E, F, G, A, just as on the long keys of a pianoforte. the

be

The the

way

to

Fifth, the

test

such

Fourth,

intervals the

as

the

major Third,

Octave, and

the

CONSTITUTION

minor

A

OF

Third, upon

TKUE

string,is

195

SCALE.

stop* successively the half,the third part,the fourth,fifth, and sixth parts,and

to

comparing

each

of the

a

sound

whole

to

of the

remainders

the

of these

the

intervals with have

sound

equivalentin modem music the note to produced by stopping the seventh part of a string, which is the Harmonic length.

Seventh, but It

it is

We

string,

natural

a

note

employed in the untempered instruments, such in

horns

bands,

and

B

cannot

effect in his

no

with

century

fiddles and

basses,

for ages before, when keys or shdes. It affords

key-note,so, in C, would flat,and we might employ

its

to

Harmonic we

as

horn.

in melody without change of passages the Harmonic is called Seventh in

It

reference

well

trumpets had

additional

key.

as

as

the

upon

last

was

small

no

use

our

B

flat,because

the

be

called

it where

latter

does

change of key. Swiss singers, says Spohr, Seventh employ the Harmonic Autobiography, a

in their which

music,

the

as

Harmonic

Fourth,

produced by stopping the eleventh part of a string. They are quiterightto do so, because they enlargetheir sphere of melody,

and

is the

weU

as

have

Nature

Harmonic G

interval

B

on

their side in both

flat divides

the

upper into two

Fourth, from

aU-but-equal key of C, parts, and these might be called Thirds, but they to the minor of diminishingcompass, and next are Thirds that we employ. Nature's Octave is divided the eighth part into eight tones, beginning with to

C

in the

The

cases.

stopping''any part of a string is here mentioned, the absolute is stopping or meaning shortening the length by so much, *

and

Whenever

sounding

"

the whole

The

not string must lightly at a point, for make

it subdivide

and

produce quite a

be

touched

that

itself

different

remainder. o

2

would

by nodes, effect,

196

of

THE

HISTOKY

OF

MUSIC.

string up to the sixteentli part ; but we, followingthe Greeks, Chaldseans, and Egyptians, with their seven seven notes, have planets and a

still but G

to

C

to

Natiire

seven.

C into

the

same

divides

number

of

the

that from

parts as

G.

As

the

seventh

Harmonic

B

part

flat,so

the

the

string gives the eighth part stopped gives it. I have already said of

a

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

interval,from

moderns

pass

on

to

the

sixteenth

of

the

the

from Its from

F name

the

When to

E,

from pass down it is by the semitone

is from

we

the

Greek, but

Latin, and

that

intervals

those,

From

part, and

stopping it, they raise the note by what termed a indifferently major semitone, or a semitone.

tenth

C in

is

by now

Diatonic to

B,

or

question.

of hemitone

they are equally improper ; because, instead of being a semitone, the interval of a sixteenth part of a stringis reallythe 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, stringmay be. Length onlychangesthe fundamental 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 Octave ; and we employ but three of them, viz.,the

THREE

largesttwo, "

and

Tones," and

Diatonic

the

tMs

is

music.

another, and

It

is

part of

than

the Diatonic

between

G

the

a

and

G

a

or

employed when unchanged, as G sharp. the

Greeks

the

F

some

Harmonic thus

F

to

other

Fourth

names.

the

and

used

of their scales. the

and

from

were

C This

It

is

it

is

remains

note

sharp, or

intervals

or

one

two

of

interval

key-note.

or

Chromatic,"

"

name

from

true

scale,when

in Nature's

other, has

before-named

in

It is the

sound, and

minor,"

"

semitone, in modem

truer

a

sharp

fundamental

called

were

first two

major

"

misname

we

semitone.

semitone, like the

the

the

name

produced by stopping the twentystring,and therefore is miich less

fifth

All

We

semitone."

There

is

least. least

197

RULES.

NECESSARY

G

to

by

the

Even

Seventh

Harmonic

included.

Our

semitones were coupled major and minor scale of Didymus, and together in the Chromatic tone. the minor combined two are equal to one

Hence, when Third

he added

between

Fourth

the

the usual

highest

tetrachord, he

or

interval

two

made

of

a

strings of the the best possible

scale. Chromatic arrangement for a Greek diazeuctic such the two tetrachords, and

tone, he His

completed

Enharmonic

divided

his

the

completed three

should

ma^or

equallygood, for

f^.

Then

into a

its two

he

best

major Third, |,

tetrachord.

there referringfurther to figures, simple rules that every incipientmusician

before

But, are

was

major semitone, ^,

that

With

Octave.

scale

quarter-tones,|^ and

minor

know.

It

is not,

however,

to

be

assumed

198

THE

that

all do

HISTORY

know

them

supposed that there are these rules,yet it has with

met

for

;

books

that

rule

beforehand.

"It is shall the

their

able

to

have

contaiu

my fortune to have Musicians too appear

such

information

writing know

real

a

tell with

aside, music,

upon

kind

every

of

musician, that

certaintywhat

effect of any combination often wish ascertain to

may he cannot

be

must

which

music

on

readers

indispensablefor

be

although it

been

not

generallyto have thrown and mathematicians, when assume

MUSIC,

of them.

one

any

OP

of

will

intervals,and

it for

he

himself

be he

when

the

opportunity of testing them how he well, therefore,to know

practically.It is with can on even judge of them greater paper, certaintythan by ear, however good that ear may be. convenient Indeed, it is by far the more way of testingunfamiliar intervals. The

three

deduct

to

with

one

rules

one

are

from

"

How

another

another.

The

comprehended in a hue. deduct, cross-multiply ; To a

common

not

denominator.

be, in all

cases,

add

to ;

and

answer

To

intervals How to

all

compare be may

add, multiply;

compare, Still,these

sufficient

to

How

;

;

bring

them

directions

and, in order

understood

To to

will to

be

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 "

Common

Measure."

EXAMPLES

To

do

OE

THREE

THE

199

RULES.

ordinaryrule of the Divide arithmetic, which is thus expressed: greater by the less,and the precedingdivisor by the remainder, and so on continuallyuntil there is no this,we

follow

must

the

"

"

remainder.

The

Common

last divisor

will

the

be

Greatest

Measure."

This

perhaps be more by quickly understood example. The ancient Pythagorean tetrachord, of two Fourth, consisted major tones and a

an

or

will

limma,

remnant

or

intervals,f, f Then

f

f

X

X

81, and the

81

by 5184,

15552

5184

is to

;

by

and

second

three

64, and

are

it leaves no

Divide

^"f || "

to

To

9

Then

5184.

the

are

greater fore, There-

remainder.

the

times

64

the

=

:"

9 times

Divide

divisor, and

last

rule

8

20736.

15552;

lirrvma

explained thus

denominator,

it leaves

it shows

the

For from

are

Measure.

Common

by

256

and

tones

be

to

8 times

the

is the

5184

f

=

For

less,20736

words, of the

major

Mfll

times

other

.^

two

15552.

are

by

=

||f

the numerator,

For 243

HI

and ,

the

for

in

;

Greatest

originalsums equal to f. two

be

subtract

interval

one

the readiest way another, by cross-multiphcation, the figuresof one of the two invert ratios,

under the others. Then to place them This positionof multiplythe upper by the under. convenient for a simi. the figuresis the more 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 and

to

it will stating these sums usual signs, save space to adopt the for for multipUoation, + X viz., "

In

addition,

-h- for

division,

=

for

equals,

"

for

proportion.

deduction, and As

9 to 18, stated thus

4

:^

is to :

8

8, ::

:

:

is

so

9

for

:

18.

200

THE

know

that

"c."

Fiftt

a

Octave, as

HISTORY

from

and

C

remainder

the

Octave

is

deduct

The

vibrations. case

the

former, the Fifth

3 to

be

may

The

The

the

shows

third

useful

most

rule

to

2

as

1

the

Fourth

in so

as

compare To D is

5 vibrations

to

figures^ figuresf.

To

Octave stands

scale

as

thus

here

five to our

interval

denominator

2

.

intervals.

present

our

with

its

note key-

a

G B

a

to

2

Fifth, f

a

To

A

.

Sixth,

a

major Seventh, '^. Lastly, 1 of the key-note. So the

1, f, f, f, f, f, V,

:

three,which

odd are

cannot

24, where

mimbers, two

have

48.

it

B, as

of the a

y.

As

the

C.

four to

three,

imperfections

lower

common

ought to be 8. So we must multiply every ratio by such figuresas will 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 dropping the lower figures,we compare proportionsof our Octave scale as 24, 27, 30, 32, 36, 40, 45,

than

:

3:4 .

to

compare will be to take

every

includes

scale, we

Fifth, 3

Fourth, viz.,

C, D, E, F, G, A,

Octave

the

figuresof

major tone, f, or as 9 vibra^ key-note. To E, a major Third, f, 4 of the key-note. To F a Fourth,

To

is

1:2

as

How

"

example

tions to. 8 of the

the

Octave

the

to

in C

of

ratio of

Here, adopting

either way. is as 2 to 3, and

the inverted

remainder

scale,and

and

The

.

For

in

Octave,

4.

Multiplyby

in

an

either way,

same

stated

Therefore,takingthe

or

is the

interval

the

length,or

an

Octave

to

from

Fotirth.

a

in

2

G

from

Fifth

a

be

to

to

1

as

togethermake

G, and

to

ought

MUSIC,

Fourth

a

up

Therefore,if we

the

OF

A

This

GREEK

COINCIDENCE

rule,

WITH

201

NATURE.

multiplying the ratios by 24, is necessary for understandingDr. Wallis's edition of Claudius Ptolemy, and books. more many When the principal intervals are stated in figures, according to their proportionatevibrations, the Octave

is written

3 to

or

or

f, and

The

2.

the

minor

to

2

or

Fourth

semitone, And

f,

Third

The

|.

as

Fifth

^.

as

having given the three necessary I wlU. in future state only the results,and them to be tested by the curious. One

now,

of the

Seventh, is

or

f,

as

major Third as tonic major, or Dia-

The

|.

as

The

1.

scales in which

Greek

seventh

part of

exceedinglyworthy scale in Greek

of

the

scale in all the

the

Fifth, from

leave

Harmonic

string,was employed, note, and quite an tional excepa

music.

(Diatonon homalon) of the 16th chapter of his part is,that he follows

the

rules,

It is the Even

Claudius

the

intervals

in

Ptolemy, given

first book. out

Diatonic

The natural

that

remarkable division

of

included

are

in

the

key-note upwards. Therefore he has so far a true major scale,with its major Third, of the perpetuallyrecurringminor instead Third that minor Third being always consequent upon the disjunctivemajor tone immediatelyabove the keynote, 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 "

"

donn^

"La par

mode

mineur

la Nature

analogie

que

par

Cela

est vrai dans

;

il ne

n'est se

pas

trouve

et renversement. le

systAme

de M.

Tartini, M.

ainsi

Rameau."

Mimque,

under

que "

dans

celui

(Dictionnaire "Mode.")

de de

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

"

required for excellent that he

a

B

Greek

"

and

just employed

four

altered

tetrachord, he

repeated the

arrangement, and had

C

flat,and

in the

Fourth

were

that

intervals above

the

F, and G. key-note,viz.,for the D, E, Harmonic that Before change, he had adopted Nature's scale so far as taking successively the sixth,seventh, eighth,ninth, tenth, eleventh,and twelfth parts of 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 ratios,such as 10 to 9, 9 to 8, only super-particular 8 to

7, 7

Ptolemy

6, 6 to 5, 5 to 4, 4 to 3, and 3 to 2. As here employed them in graduallydecreasing to

intervals,he fell into the law of Nature. of limma Pythagoreansgave the name of 243 to 256, which less than to the proportions are the half of a major tone, they called the remaining When

the

greater part awkward

an

apotome,

proportionsof sizes of the two

multiplythe figuresof it 1944 was

to 2048.

called

a

The

or

2048

segment. to

will be

the

limma

2187. made

comma

the

The

parative com-

clearer if

we

by 8, thus making

difierence between

Pythagorean

It had

these

two

(komma), viz..

MINUTE

GREEK

203

INTERVALS.

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

Therefore, if

531,441.

"

this reversal Nature have

has to

"

of order

is,that

other

few

other

sometimes

be met

them,

it is better

minor

semitone

leaves

what

125

to

at

modern

between

This

Diatonic,

from

only

diesis,

Enharmonic

an

major semitone,

of the

one

Didymus, |-^

diesis is a nominal The

A

board.

major semitone,

a

of

tones

Db.*

and

or

the

are

diesis is less than

Enharmonic

C#

notea

clear the

to

once

termed

now

Enharmonic-quarter The

the

because

with

deducted

128.

where

will peculiarnames with; and, being bound to explain

intervals

is

Fifths

Octaves

purposes. continuouslyperfectintervals. A

make

we

designed them,

not

serve

a

interval and

]^.

difference

between

major

a

=

our

is

tone

128

TWS'

A

Greek

Enharmonic

sometimes

called

a

diesis,or

Tetartemorion, meaning

piece" of

a

part of

tone, is called

a

intervals

tone, and

have

not

for lexicographers which

is two

is two

tones.

A

"

Schisma

This

modem

tones

is

law

to maintain

been

made

.'of a

Diatonic

an

seems

the

semitone,

quarter-tone, is

a

Chromatic a

a

to have interval whenever

These

Tritemorion.

half,and

iuterval

to

one name.

be of

quarter-

diesis,or

of

third two

mistaken

infrequentlybeen the much largerones and

"

of

a

by

Fourth,

a

Third, which

read

of in mathe-

the

two

notes

changes

its

204

THE

matical

music, but A

comma.

gorean of the

before

Diachisma

Enharmonic

brought into approximate half of a Pythar

often

not

Diachisma

named

limma.

is As

division

similar

a

the

interval

of

a

scale.

Lastly, the referred

to

important

in modern

more

than

so

of

comma

major

is

Didymus syntonic comma.

a

interval

It is far

a

of

comma

as

The between

MUSIC.

approaches to a quarter-tone, it may employed in the ancient practically

been

music.

OF

one

It is tbe

practice.

have

HISTOKY

and

a

the

as

tone,

of

is the or

is

an

in ancient

comma

Didymus minor

This

well

as

sometimes

goras. Pythainterval

between

the

eightiethand the eighty-first 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

to the

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 reallyvery important,change,we have but to add together the two major tones of which the ancient

was

added

comma

limma, and

THE

EAE

COMPARED

WITH

THE

205

EYE.

Ditone, or PytliagoreanThird,consisted,by multiplying the mimbers

f

f

x

major Third, the

ratio woiild

the

wiU

same

^,

as

numbers

as

been

have

f^, which

be found

m

by

discord.

16.

The

organised than sixtieth

old Ditone

it to

much

so

two

did

pass

the

test

bear

not

is

be

harsh

a

delicately

more

and hundred a eye, that even of difference in vibrations,in one second

part

time, has

is

ear

been

true

a

by dividingthe

Although the Third in melody, it would a harmony. Every ear found

for

of

If it had

f^.

=

the

effect,which 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 semia

"

H-, made And

a

as

now

Fourth

true to

the

the

f"

=

of

f

=

.

the

minor

also be

proved ; for anything as a fact

fix

It consists

memory.

^

x

discordance

Pythagorean Third, which must there is nothing like proof to upon

^

:

=

of

a

limma

and

a

fj. Twenty-seven ^^ major tone : |-|f x f indifferent proportionsthat carry to thirty-twoare them. discord with They are neither midtiple,as 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 .

The

consonant.

imperfectminor F, when C

;

the

because

Third

scale it has

has then

ratio of

to-day,as

been a

with

is identical

tuned

between for the

minor, instead

of

D

our

and

key of a major

206

THE

tone

it

in

inherited minor

Third

be

i|f

=

consists

H

:

3^

x

OF

Claudius

f

x

of the

One to

if

:

from

seniitone

HISTORY

of

like {jpoUaphbsioi),

the

was

The

true

major

a

else

or

as particular(epimorioi),

is

Pythagoras was, that, be either multiple must

of

Octave, 2, 4, 8,

Twelfth, 3, 9, 27, 81,

Aristotle,in his

defect

.

laws

musical

doctrine

TMs

=

concordant, all ratios

This

f|-.

=

Ptolemy's scale. a major tone and

-^ff f

=

MUSIC.

3

to

referred

they

3,

or

super5

to

4.

others, by

to, among

Problem

41st

be

must to

2, 4

like the

or

of Section

19.

We

bave

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, very imperfectlyacted upon his disciples, for a full 500

it- was or

by

death.

followers

Therefore, his

either

by him,

years after his could have not

reallyessential principlein music, and law of Nature in the division of a string, a as of a column of air enclosed in a pipe. If otherwise, or too they acted inconsistentlyin having admitted only the Octave, the Fifth,and the Fourth, as They should have included simple consonances.

regarded it

their

a

ratio of 5 to 4, and

in the

intervals would

as

added

have

scales in

out

Neither

Octave, consonant

can

the

that

Octave,

be divided and

the

minor

into

5, which

to

Thirds

When

doctrine,and

Thirds

minor

inconsistencyin cap. 6.)

and

form.

their

followers

the

major

consonant

a

Ptolemy followed true major and twitted

the

6

his

to

Claudius so

brought

scales, he

of

Pythagoras with thenrespect. (Ptolemy, lib. i "

nor

into

nearest

any

interval

within

the

equal parts. The most to equal division of the

DIDYMtrS

Octave

is into

ratios of both The

Fifth and

major

division

a

AND

PTOLEMY.

Fiftli and

a

must,

in

Hke

minor

Thirds, |^x f Fourth

Seventh,

from

The

would

be

|.

We

making major Third

tones, -f X T^

=

^

minor

Third, and

Greek

scale, but

two

our

=

of

the

into

who

=

i%%

=

best

Harmonic

If

=

f

=

of

adopted

our

minor

.

minor

and

divisions

tone, in the

The

|-

the

i-

into

major

lack

=

divided

the x

t^

=

tone

into

t^-

is known

carried

have

to

ratios into all super-particular his scales is Didymus. He had been preceded by Archytas,and by Eratosthenes, but they did so after only in part. Claudius Ptolemy followed one Didymus, but made the same exceptionto this did Eratosthenes, by retainingthe true 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 out

doctrine

M

f

f

f.

=

by

C

to

major ^

f"

=

be

divide

semitones, xf first Greek

The

G

we

be

manner,

would

the

Fourth, and

f and super-partictilar,

are

of the

207

of

the differences treatise upon and Pythagoreans, of which

Aristoxenians

between we

know

now

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,

some

"

"

A.

In

the

article

written

Greenhill, M.D.,

for

by Dr.

W.

Such

W.

but

and Dictionary of Greek Biography, the only Didyand mathematician musician,

Smith's Soman mus,

is dated

as

of

the

fourth

century.

among who at

a

the

Didymus Didymus others, by

took

me unknown; largelyquoted, Claudius Ptolemy,

is to is

astronomical

Alexandria,

A.r.

observations 139.

208

THE

HISTORY

Ptolemy's arrangement, for the minor

scale.

OF

MUSIC.

both

because

intended

were

difiference between

The

the two

is but

the intervals being the same, and the slight, scale of Ptolemy seemingly copied from that of Didymus, of which it is a mere transposition.In

Octave,

every

two

minor

tones

are

necessary,

Fourths,

being requiredfor

each

them

consonant.

Didymus placed one

tones

between

and

G,

between now.

while D

In

C

and

of the two

D, and

E, and

between

this last interval

the

Greek

the

key-note,but

"other any Fourth from

of

having he

a

could

G

and

full tone not

between

their

Ptolemy make

to make

of his minor

other

Ptolemy changed

and

law

the

one

places A,

as

we

F to

do

broke

through

below

Mese,

a

or

novelty by a perfect

Didymus obtained A to D, a perfectminor Third from D to F, and a perfectFifth from D to A. 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 advantages and the disadvantagesof these No. 1 and two as systems, which have been ranked for our No. 2, by mathematicians present imperfect seven planetscale,will be best seen by placingthem 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 means.

IMPERFECTIONS

OF

TWO

THE

209

SCALES.

necessarilymajor, accordingto Greek laws, but in the major scale of C, accordingto Nature's law, it ought to be a minor tone : "

The

imperfectionsof the scale of Didymus are, that by having placed two major tones together,(G false major Third from to A, and A to B,)he made a G

B

to

there

C

false Fourth

a

minor

no

was

from

tones

The

from

A

D, and

false minor

from

another

C from

D

to

is

to

F

two

from

to

from

C, because

a

false Fifth

G,

are

with

up

A

to

a

of

minor

D

to

F

false Fifth.

major Sixth, in

tones

minor

false

Ptolemy

Fourth, from kinds

one

to

in

tones

of Claudius

minor

two

D, with

E

made

D

dijSerent

A, with

to

minor

two

false

a

Third, and

Also, that he has one

had

they are instead of major. of the scale imperfections

that

G

it; also

Thirds, because

minor

are,

he

B to

from

in

tone

G, because

to

Again, from

it.

a

also

;

it, and

tone.

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 place,and the other in another. between with Ptolemy as to the intervals agrees If Nattire

C

and

were

D, and

major

tone

between

A

called in to

between

between and

B.

D G

and

and

E, but

A, and

a

she minor

wiUs tone

a

210

THE

The

OP

HISTORY

MUSIC.

scale,by Claudius

Ptolemy, to whicb of the tightly-strung Diatonic" he gave the name adopted by the {Diatonon syntonon),is the one It is, perhaps,the best that has been modems. the inherently devised for keyed instruments upon defective system of making a true Fourth from the key-noteupwards. Even by Greek laws, the tetrachords began on the second A note. singer,or a fiddle player,may avoid the defects of a scale,but a alter the tuning"of a note cannot pianoforte-player for any change of key. We are so thoroughlyGreek 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

"

in

what

Fourth

is misiiamed above

it.

It

scale to be iu two

our

therefore, the concerned;

scale

and, with

its

subdomina'nt,

is that

Fourth

keys instead in

which

we

which

of

one.

are

all deference

just a

or

to

makes Such

is,

immediately the

Greeks, defects,

into its to look perhaps,venture its advantages. We have infallible as as one guide to test it by, thoughit has been but little subjectedto thiat kind of analysis; A thorough knowledge of oilr scale is a first requisitefor a to make good harmony. composer The preeediiigfigureswill have shown that the two B, G, D, E, and E, F, G, A, are tetrachords, jsqual that their proportionsare identical,(16 to that the one follows 15, 9 to 8, and 10 to 9,)and ^in fact,that they are immediately upon the other equal conjunct tetrEichords. The followingscale of that equal intervals, will show Nature within two consecutive tetrachords,cannot arise fi:om one root we

may, well

'

"

"

in

a

Diatonic

scale,because

Nature's

Octave

scale

ANALYSIS

diminishes

211

SCALE.

MODERN

step, viz.,a ninth, eleventh,twelfth,thirteenth,fourteenth, each

proportionsat

tenth, an

a

THE

OF

and fifteenth,

sixteenth

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 its

to a

new

and

its

Octave, and it therefore leads

Octave, and makes

F become

key-note. Then

becomes

G

major tone, and A,

which

into' a minor

to

tone,

the scale is Instead

being divided the

5

by

make

changed from

of all

as

should

to

it

12,

the true Harmonic

intervals

10

Third

Third

ought

F,

11, and

to

as

its

Thus

F.

to

C to that of F.

to

10

or

to F

major,is lowered

be

a

and

Octave

Second

this,the minor

6,

the

to

E

to

have

G

been

Eleventh, making

an

11

from

to

It

12.

is the

change of the ratio of an Eleventh to a Sixteenth that bringsF too near it touch so to E, and makes closely actuallyomit E sharp upon E sharp,that we scale. But in our E sharp is wanted in Nature's scale to make Seventh.

The

"'

and

B

Fourth

a

two

flat.

The

has

ear

to

notes

very wrong Ptolemy's that we

of Claudius F

Fifth and

a

the Harmonic in this scale

have

adopted, are always told that they

defective,as wiU be farther shown.

are

G, the Fifth, retains its place either way, but A

ought be

be

to

Second

a

proper D. above

making E, and

notes have

is to

Fourth or

else

a

has

It a

major

imperfect. be

called

up-wardato the

name

F

been Third

for E

"vrill

flat to make

by

which

B

a

flat, the

key

G.

Then

of

G, and

altered above

below these

sharp

Harmonic

above

for the

Third

minor

nomenclature

Our

"

it

major tone

a

C

for

F, ;

but

Harmonic

kno-wn

a

Fifth

sake

Fourth the

be

a

the

Seventli must

it would

of

above

alteration is

changed.

generally As

there

eight Diatonic notes in Nature's scale,we require H after G, or else

are

to number

them

from

8 to 16, which

p2

I

212

takes

it: out

she

A.

the

of

key

of

MUSIC.

such

relative

"

a

not

key-note,neither

her

"

miudr

as

C, (ifany scale Third above it,to

relative minor

Nature's

does

Nature

C'

under

acknowledge

For

OF

Third

minor

provide a does

HISTORY

THE

to

look a must we called,) According to Nature, every minor scale has its note key-note a major Third below it,so the key-

be

can

E. real

so

of A scale

is F.

minor

Third The

law

is made

This

will be

of Nature

minor

a

begin

to

is well

the

on

further.

seen

to sounds

as

words,

other

that

is

merely one of the key.

In

"

known

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 greatlyincreased,or, as we term it,"when, the wind blows hard," the string is fluttered into these shorter sections, and lengths move many with multipliedrapidityof vibration to the whole in parts wiU length. This sensation of fluttering famOiar who be sufficiently has carried to any one would

the odd

aemitones and

16 will

32.

in

could

then

instead to

5 to and

this. scale

our

of

have the

which

reduced, *

The

exhibit

sharp

val

right names,

be the

under

numbers

and

between

instead the

had

we

of

true

F, B

E we

fiat

out-of-the-keyinterour

ears

have

been

that.

name.

present A has the ratio of 3, but it is only to F, as a root, will be seen not to C, as by

Our

reference

scale,or

scale

following If

the

to the

foUowing Harmonic

scale of Nature.

If C be the

fundamental wiU are

C's sound, the Octave 8, 16, 32, 64, aU which indivisible by 3, and our minorbe 2, 4,

toned

A

take

F

then

Nos.

is not

as

3 and

A, (likeGr and

in the scale of C.

the fundamental

and

5 wiU E

be

in the

But

note, and our

key

C and of

C, )

give the required proportions;

but

in

No.

3 will

a

different never

part of the scale, be a key-note.

THE

umbrella

an

wMcli

the

self-made

MUSIC

in

OF

Mgh.

a

THE

WINDS.

wind.

The

then

string is

divided

213

sections caused

are

into

by

n(|desare The^ nearly quiescentpoiats,and all equidistani;. number of sections increases as comes each;-divi|ionbeshorter,while the pitch rises j^ropoAionably nodes,

divisions,and-thfse

or

is length. This dimirliition caused It by the increasingintensityof the wnd. is like the overblowing of a pipe, by wh|ehit is made to produce As the .sections very high notes. their

to

become as

diminution

in

less,the united

sounds

acute, because

more

greater the number

become

the

of sections

louder

as

well

higher the pitch the emittingit. .Supposing by nodes into sixteen

stringto be thus divided above the parts, their pitch will be four Octaves fundamental note produced by its whole' length.An extraordinary part of this arrangement of Nature is, that in every progressionthe ,^hole of 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 graduallyincreasingintensityand 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 a

;

and

so

than stiU

the

if it draw

action were

shorten

upon number

which

blown

breath

at

eight different

note, to

of the

or

the

the

end, the player may

of air.

he may commence, he can of Harmonics

from

sounds

generator, without column

less direct

becomes

removing

The the

mental funda-

one

lower

a

the

finger note

largerwill be the produce before reaching

214

sounds

are

called

"

"

Natural

Harmonics"

These

above

the

high the

whole

or

do

They

low

;

low

The

ear.

and

or*

Overtones,

as

to

fundamental

whatever

of the

"is that

of succession

not

vary the fundamental of pitch

the

reach

because

prodiiced.bythe

tone

order

same

derived.

some

"Overtones,"

Notes, Harmonics,

intervals, from

when

horn, and

string.

a

rise in the

chosen

a

upon

string; also, according to

nomenclature,

Natural

be may because

Notes" a

upon

Helmholtz's

they are length of

MUSIC.

possibleiacrease of rapidityin Breathing. so They produced have three names.

tlie limit to The

OF

HISTORY

THE

musical

they

note

in their

order

has

been

note

this may be proved, even be too low to sounds may

one

provisofor

Nature's

scale

the

in size, and string shall be uniform quality,and the pipe be an open one. the Fqr exemphficationof these rising soimds note followingtable is subjoined. The fundamental '

selected and

is

C,

two

the lowest

below

C

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, "

clef

in

4 foot C"

I have

C,

as

because intervals.

on

a

nominal

a

feet 6 inches and

C

Octaves

taken the

"32

length,with about the

are

Nature's

is

pitchat

512

now

about

28

inches in diameter,

15

3 feet 7 inches

onlyproper

Octaves

feet C"

long.

vibrations

standard

for treble

for musical

pitch; the only continuouslyperfect Octaves are always multiplied

THE

by 2 ; hoped made

as

TRUEST

215

PITCH.

FOR

STANDARD

It is to be

2, 4, 8, 16, 32, 64, 128, 256, 512.

that

at

future time 512

some

will be

vibrations

the standard

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 Society,instead of the Societyof Arts, 512 would undoubtedly have been the standard English pitch. In the Societyof Arts, 512 was admitted to be the of manufacturers, right pitch; but, for the accommodation who

feared

that their stock

of instruments

might have been rendered unsaleable, the pitch of carried 528, exactlya quarter of a tone too high,was and thus a temporary divorce between by a majority, the science and the art of music was pronoimced. The

C, is two

a

French

standard

curious

Neither specimenof legislation.

notes

can

fractions.

be carried

the

art

of

diapason ment."

the the

Octaves

of vibrations

fractions The

of the

without

divided

into

not

yet

resorted

are

law

for

excited

to,

strong "

Handel's

vibrations.

tuning That

1772,

of 8 5

two

of 522

so

scientific musicians against le among fix^ arbitrairemalheureusement normal

of

(accordingto 843 Commission,) was

in

A, and

it has accomplishing

divulged. Where is changed. root

renionstrance

500

down

read

Truly,we

fractions,but the been

of 870 for

which 3-5,

fork

gives

Mozart, and the

from

that

499

of Berlin

report of the

"half-vibrations"

is the calculated

to

for

pitchfor A

present system of tuning the Sixth ; or true A, (a Fifth above D,) allowing 512

French stead A, inunder

864, if for C.

Haydn, and those of Beethoven, were composed for a pitchapproximateto 512. need for private interests not Considerations prevent the Societyof Arts from giving notice of The

later works

of

216

HISTORY

THE

future

MUSIC.

what

know

members

The

change.

OP

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 requiresthe addition of richness of quahty in the tone. The practical ia effect now is,that the instruments orchestra are too thinlystrung,and thus, richness an 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 be resorted tension, so, thinner new stringsmust but, influenced

"

of the

Thus, the works

to.

great

inadequatelyrepresented. It Germany and England should change must await the repealof Frenoli

The

"

vibrations, and

two

bers

are

fore

to

to and

oouat

fro

their

so

our

num-

the

doubles

of these, there-

be

looked

for

Octave

an

^fr^-,'

"

as

In

which

France,

eccentric

law.

F

is 11 to 8 of

4

to

is

only

3.

Result,

^

sharp (or

F

is 4 to 3.

F

0,

Deduct

of 4 to 3 from

above.

aa

*

in

case

unite. an

now

F

"

A-it u T -.r.^ "Allnoteswithinbracketsdifferm

a

are

Harmonic

interval

8,

is

masters

that 33

and the

of

11 to

32.

:

flat)is

21

to

16.

.

.pitchfrom easilyprove B

flat

F

is

spale. The readermay figureshow much our

our m

a

F

another Fourths

together by

(tx4

"

monic

J

from

B

flat

is

'/- '2

':

^

4.

n

to C.

-n

flat

"

(inverted

f to 4).

^^^^

Result,

63

the former :

64.

There

^^ +.

'"""^

^J^^^

s"

J-

,

""

^'Z '"J""^ ''^,^^\^ ff'^K.^^ 63 forty-eighths. ^ ,f.^f"^*' 64 ff'^J^J ^ ^^C. ^-"1*' a bove forty-eighths

r^'"''

two

J Deduct

i,,,",.

!,"""""

Har-

Then

1,77 but

the

^

j^

Deduct

i"

our

multiplying

")

=

x.1^-

B

to

Add

Fourth.

them:

0 to

From

sharp. Fourth, and too

IS

Our

Difi'erence,

J.

63-64

NATirilE

THE

Or,

a

the

Table of Natural order

be the

of

NATURE

OF

;

Sounds, called Harmonics

of their

sound

SCALE

MUSICAL

217

ART.

VERSUS

from

ascent

length of

the whole

pitch that

of any

note

any

Overtones, in

or

string,horn,

any

pipe. The swing to and fro of a pendulum is here one vibration, according to the English meaning of a

or

may open

counted

as

vibration. Vibrations per

Fundamental Octave Fifth

note, Generator, No.

to

No.

in Bass

(Half length

1.

Twelfth

2, and

clef

Fourth

"

No.

Second.

32*

of the

No.

to

to

Root

or

string)

64 96

1

Octave

3, and

to No.

2

128

Major

Third

to No.

4

160

Minor

Third

to No.

5

192

Harmonic

Seventh

clef

Octave

"

to No.

Major

tone

Minor

tone

Harmonic

[?by

B

our

a

63 to 64) (".".,

sixty-fourthpart in Tenor

flatter than

C,

to

to No.

224

4

256

8

to No.

288

9

Fourth

320 No.

to

8

(sharperthan

F

our

by .352

33 to 32)" Fifth

No.

to

to No.

to No.

Seventh

Major

to No.

Third

clef

Treble

Octave

to

No.

Semitone

(Too

8, Minor d

flat)

544

F

our

by

63 to

to

64)0

572 704

Fourth

Harmonic

768

5,

to

24, Major Sixth, No. 26, Major

to

a

is

to

tone

Minor

a

736

12

to

tone

10, and

20

13

Harmonic

(Our

to

to

9 and 864

24)

896

Semitone

above

for

6lr) to

to notes

Harmonic

(Too sharp

Seventh.

928 960

15 above

Semitone

6.

(Too sharp

for

our

c

[? )

992 1024

16 a,

800 832

24, Fifth

14

to

our

640 Seventh

14, Harmonic

to

Third

to

Semitone

Octave

512

our

11....

to

Octave

flat for

:

16, Octave

Semitone

18.

to

608

20, Fifth

above

Semitone

Octave

Sixth

18

than (flatter

to

to

448

576

to

12

416

10, and

:

16.

above

Octave

No.

9

to

No.

7

to No. to

flat)

480

Octave

"

OctavetoiO

For

8,

Fifth

A

our

12...

above

Semitone

Octave

8, Octave

10).....

Semitone

Fifth

(sharperthan

8

to No.

Seventh

Harmonic

No.

384

Sixth

Harmonic

in

8

b,

c,

d,

see

precedingpage.

218

THE

The

scale

HISTORY

carried

be

might

MUSIc!

OP

tones, but it is unnecessary

further, into quarterprintit,because there

to

simplerule by which any one may tell what the interval will be, and it appliesto the division of all ratios,or such as differ onlyby one "super-particular" degree. Nature makes no fractions,but doubles the the one and onlyintermediate numbers, and interposes is

a

number.

Thus, in the above

3, which

is in the ratio of 3 to 2 of

doubles

the

ratio,viz.,6

divided

into 6 to 5 and

Third.

A-U odd

have

ones

numbers

2, she

No.

Octave, this Fifth is

next

4, minor

5.to

numbers

before

CC,

Fifth,No."

the intermediate 4, and interposes

to

Then, in the

5.

division of the

are

sounds

new

the Octave

appeared in

of the Harmonics

Third

and ;

major

all

below.

even

The

of

importancein many First, each indicates its proportionto the ways. whole string,so No. 5 is a fifth part of the length, and No. 27 a twenty^seventhpart,vibratiugtwentytimes as fast as No. 1 ; then, by multiplying seven of No. 1 by 27, we the 32 vibrations ascertain the are

of the latter to 'be 864

vibrations

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 or

as

to

21

a

ratio of

These

14.

are

they represent are

notes or

the

Take

Third.

ratios

are

interval Third

;

musical These

Take

Fifth.

true

3

as

of and

a

"Fourth." on.

ratio to are

mere

9

to

the to

2 ;

to

therefore,the

interval

12,

of 3 to to

12

or

another, 2,

16, the

4; therefore,either p^ir'isat the

to

so

8

as

at

number

one

If 15

Every

all the

hints

to

number

18,

true

a

thus

minor

carries its

rest.

of the value

of the

scale

A

of

KEY

Nature,

tke

of

find neither

Harmonic

the

scale

scale

of

C

Didymus with

to

of G If

A

Nature's

Fifth

the

below

above

27, thus

C, where

and

he

But

has

the of

comma

major

a

G, it would

tone

agree scale of

the

proving that point. Ptolemy Fointh

a

such

no

we

with

a

is,viz., as

tone

No.

K

tuned

were

it

it,,

is the- root, because

C

at Didymus to be correct has mathematically calculated a

for-

m

tune

we

as

intimatelyconnected

our

minor

a

.A

nor

fundamental

a

higher than

instead of

F,

scale,when

they belong only have

It

surface.

to

We

wrong. in the

the

upon

point out its deeper meanings.* to try our adopted scale by tim most, all scales,and the one test of right and.

now

ancient

219'

SUKDOMINANT"^

ITS

all evident

musician

And

AND

made

above, and

iatervals

from'

come

the

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 root

we

;

derive

may

of C from that

F, except the B natural.

is from

third

a

root

Natiure's Octave the

scale agrees therefore with

Greek, and

to

justly be said to consist major tone immediately above If

number

Professor his

No.

1, and

be

No.

German

Helmholtz

fundamental

let the

2,

of

B

flat "

C

to

reader

of

would

No.

find the

hia

book,

from

1,

a

same

as

an

this scale.

a

that

meantime,

does

he

of the

have

book

is intended

the

theory

our

No.

to

of music

8, and

each

disjunctiveor key-note, and

thought guides to harmony, to

with

extent

own,

the

Jn tte

as

first "overtone"

instead

advantage from English reader may

would tone

this

our

may

*

to

belongs neither

it

"

As

scale

F.

to

nor

of this so-caUed

interval

every

so

on.

"

not

seem

numbers

as

although lay a basis

hia

^hia No.

7 is

for

220

THE

then

of

From

C

G

and

D

from

difference It has

G

C

to

been

said

scale

our

brought part of

as

of the

the

above semitone

;

for A

Sixth

the

ought

to

as

We

F

be

key-note

Also, of

a

be

the

flat in E

a

33rd

we

had

our

F

is above

eighth

notes

between

scale, and

in the as

true

Sixth, and

Our

D.*

tone

the

semitones

Nature's

above

much

Diatonic

Fourth,

of the

the

harmonize

would

three

part

scale,the

our

flat is just as

stiU. counted

were

if

64th

a

B

in

Fifth

true

only

is

F

wrong

Our

one

Seventh

a

is

sharp,and Again,

omit

is but

and

then

would

it.

note

E.

Our

eight, viz.. Nature's

Seventh

two

are

G, instead

have

above

omit

we

real to

of

out

to

The

of C.

above

artificial B

Fifth above

true

a

E

of Nature.

F

that

semitone

flat

B

key

we

it.

to

stringabove

instead

true

D

Fourths.

two

and

the

tone

because

close

the

below

major

a

only

too a

of those

for

notes

from

Fourths.

two

F

Fourths;

or

is;and that E sharphas been omitted

minor, as it now in

the

are

filling up ah-eadythat

should be

A

MUSIC.

is in the

iessentially wrong that

OF

conjoined tetrachords is the major tone, and

two to

HISTORY

B

it

natural

scale,if the 1, and

No.

we

eight,as in Nature. 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 admitted

there

as

"

Kftb the

As

is

no

such

Fourth

27, its

true

(multiplyingby 3,) must

be

the

sound

real A

of 81.

is No-

It cannot

be found

as

nearer,

and

F

from

because

all odd

the

27 is

numbers

an are

root

odd new

of

number, notes,

CONSONANCE

C,

neither

SO

from

the

has

semitone, scale

of

the

on

the

makes

And

now

Octave.

the

to

as

carry their own "and sounding

the

other

Its ratio

of

otu*

side,to

of 7 to

of

6

order

in the

Third.

constitution

of

consonance

which, although they as interpretations "sounding with,"

apart," have, nevertheless, and

misapprehended;

has been

consonance

natural

its

as

words

two

DISSONANCE,

B

interval next

minor

a

on

flat

flat that

(No. 27)

the

tone,

a

it the

to

consonance

and

30) as

it from

Fifth

side,and

B

as

B

Harmonic

major-toned A one

or

Fourth

such

any The

F.

the

(No. 15

divide

the

of

root

omit

we

is there

221

DISSONANCE.

AND

of

one

but

the

Httle taken

two

been of

causes

into the

general

account.

Degrees that

of

coincident

vibrations

apart."

The

because

therein

Their

alone

unison

only

do

upon the

or

upon their with

perfect consonance,

all vibrations

coincide.

rigidlyexact, whether unison-stringsof a pianoforte,

the

of

instruments

many varied

orchestra,

an

qualitiesof tone. interminglingof any

is there

intervals

is

is

simultaneousness

sounded

The

vibrations.

non-coincident

and

upon the proportion bear to those which "sound

depend

consonance

in

Only

coincident

unison

is not

interval.

an

order

In the an

scale

Harmonic Octave

has

64

No.

2

abbreviate

to

The

apart.

vibrations vibrates

as

at

per 2

to

explanations,I

p. 217. first has

of No.

vibrations of No. two every of those of No. 1, while the

"sound

apart."

32

and

1

and

the

2

1, and

to

2

are

second

Therefore,

of time.

second 1

Nos.

refer

the

coincides

remaining 32

first of

with

one

of No.

2

:222

TttE

AgaoEj Nxjs. tke

at

are

.96

and

2

C

and

double

and Eiffch,

No.

3

double

or

.of

of No.

64

MUSIC.

OF

3,

internal

the

to

HISTORY

a

.2

vibrates

proportionof

in the

or

"

G,' 3

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 to

Tke

2.

vibrations.

6 A

example

from. Nos.

by

and

2,

96

by

4.

Here

to

3

it,

prove One total

Divide

more

number

and

3

of vibrations

is 96

to

i;he first only of every three

of the

one

128, but

it is

that coincides

vrith the first of every four of the other. the naimber of non-coincident vibrations while

the

Therefore, has

processed, coincident

the

of 32 originalnumber vibrations has remained .stationaryiFor that reason the interval of the Fourth, or 4 to 3, is less consonant' than that of the Fifth, or 3 to 2 ; just as of the

interval

the than

of the

that

This

natural

consonant

two

numbers, the

sounds To

necessary be derived

take

last

a

represent the

to

16

times

of

15

32

proviso for from

the interval

of

Here

semitone

times

32

with

But

as

They

16.

b

other.

coincides

and

it is from 15

the

in this scale.

15

major

a

are

of the

from

Still,

that

consonance

root, as

one

example

to

in every The c.

of the

only the

one,

first

the

first of every 16, coincident vibrations to leaven

stillbut

the

of dissonance.

32

throughoutthe increase,between

consonant

every there are mass

carried

vibrations

more

of vibrations

numbers

1.

ascendingstep,while stationary. So the lower the

interval

scale.

Harmonic

2 to

at. every

remain

the

2, is less consonant

to

be

may dissonant

numbers,

consecutive

a

Octave,

law

scale,wherein

it is

Fifth, 3

So

the

ear

pronounces

the

CONSONANT

interval be

to

from

simultaneouslysounded, theless, and disagreeable.Neverare absolutelyrequiredfor

b to c, when

exceedinglyharsh the

223

VIBRATIONS.

sounds

two

melody. Hence

follows

rule

a

aggregate number from

the

string "

of vibrations

fundamental

whether

32, 33, 132, 133, will be the

note,

it be

number

scale. every Harmonic of indicate the proportions

in

number

indicates

its

of time

"

vibrations of the

the

Hence

between

succession, numbers

same

numbers

two

any

interval,just as

an

proportionto

The

scale.

same

therefore,representedby the

are,

one

a

length of a a length as to give quantity ^the same

such

of

may second

entire

or

two succeeding sounds every intervals follow invariablym

and

in

any other of consonant

or

be the

that, whatever

"

a

every

whole

striag. are equal

Again,a second rule. Consonant vibrations in the total number of vibrations to the difference for just as 32 between succeedingsounds every two "

is the

number sound

vibrations

of consonant of this

scale,so

is the

32

the vibrations

of every two throughout the scale. If the same

the vibrations

but

in

Thus

the

the vibrations as

they

half

a

are

second

2

are

in

later

number. of

and

1

4, with

to

of the

succeedingnumbers interval be taken

same

Octaves,

vibrations, and

tween difference be-

proportion is observed, completed in half the time.

higher,the

Octave

an

iu the fundamental

time

are

So what

2, with 64

32

and

doubled

and

64

;

the

128

in

rapidity they only perform in the

others

do

in

a

second.

strengthenedbeyond by their perfectagreement, just as in the hammers instant. two strikingat the same

Coincident others case

of

vibrations

are

224

THE

The

united

of the the

HISTORY

sound

one

is then to

were

OP

MUSIC.

louder

follow

than

blow

if the

immediatelyafter

that

of

other.

Coincident

vibrations, having

mark

thus

superior

a

musical

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

power,

a

of dissonance

amount

alone

is free from

first in

order

embodied

all dissonance.

of the

sounds can

ear

unison

Ehythm

is the

pleasuresderived

It suj6"ces whollyfor the savage, with tom-tom

The

it.

ui

fi-om music.

his monotonous

beats; and, except as to the Harmonic that the evolved, it is the onlygratification receive firom such

instruments'

of

percussion drum, cymbals, a as enjoy the effects of

such singlenote In harmony, we castanets. or rhythm erdianced by a combination of various sounds derive further pleasure that differ in pitch,and we of tone that are produced from the varied qualities as

yieldbut

a

"

of

by the many instruments of so many appreciation

an

simultaneous

reward

reserved for those who

powers

of the

Some

ears

unisons, while varied

for appreciation

an

have

also

sounds

is often

of the two

sounds

cultivated

due is

a

their

taste

spice,in audible

The

others

have

a

greater

harmony. Of the latter, which indulgeslargelyin the

of coincident

rhythm

third sound.

a

of

admixture The

have

The

stand hearing. A peasant wiU better undersinglesound of a fiddle or of a flute. remain uncloyed by the perpetualsugar

of successive

some

orchestra.

form

of discords.

vibrations

in the

conditions

sounds originating

between

separate form

are, that

two

of

a

the vibrations

shall be

sufficiently

OTHER

SOUBCES

225

CONSONANCE.

OF

rapid,and

be high necessarily they must, therefore, scale. If otherwise, they will not admit of

in the

vibrations

consonant

second

of time

musical

form

to

into

themselves

a

audible

an

few, the resultant

If too

note.

within

in sufficient number

tones

are

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 experiencein the sequel.

from indistinguishable

The

second

adverted

of

of

source

is in the

immediatelyafter sounds

be

to which

consonance

sounds

Harmonic

the notes

voices,and which

If two

the

thus

of

serve

I have

which

follow

and pipes,of strings, to enrich

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

double

4 of the

When

Octave.

scale the

Harmonic No.

1 is

interval

is

soimded, it throws

they enrich the with No. 4. consonance Upon keyed instruments. Octaves are usuallythe only intervals thus enriched, because, in all cases, Octaves are tuned perfectly, but, in too many cases, other intervals are tempered, out

its

Harmonics, 2, 3, 4, 5, 6, and

i.e., put either

a

little, or

not

a

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 Unless

the

Q

226

THE

Professor

HISTORY

tlie

Tyndall at

Britain.

The

MUSIC.

OF

have

lectures

of Great

Institution

Koyal

published,and

been

nition having reached a second edition,in which this defiis repeated,the objectionsto Hehnholtz's 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 reputationof 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,

in the

fairest way, I extract one his Tonempjindungen. The

paragraphsfrom words is

at

are

foot of the

Hteral

a

very "The

translation":

and

page,

original following

the

"

f

c", gave interval,"|:|'

of

second

the

of the

time, which

make

fluctuations

33

us

the

imited

in

soimd

a

very

The interval of a whole tone, gratingto the ear. 6bi Cj, yieldsnearly 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 in

fluctuations

88

allows

latter interval

us

roughness which

the

of

the

c", gab una Secunde, Schwebungen scharf den Zusammenklang welche "

"

Intervall,K

Daa

eines ganzen

Tones, J

i

doppelte Anzahl,

solte

uns

das

Intervall

Das

machen.

Bohwirrend

die

der

in

33

c

j ,

giebtnahe

diese

Intervall der

Endlich Meinen

second; to

but, in fact, the

hear

the

Terz,

scarcelyanything

fluctuations

a'

c", der Eeehnung

Schwebungen in

der

Intervall

That kaum

in der Seounde ISisst aber nocli

the

of

das

etwas

nach

88

geben; letzere von

der

RauhigkeithOren, welohe die Schwebuugen der engeren Intervalle herkonute nun vorbring"n. Man

QUOTATION

FROM

227

HELMHOLTZ.

closer intervals

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

circuit from

a

the

that

imagines

eye circle.

10

So, also, with

to

it

times

15

sees

the

in

second,

a

continuous

a

disk

of

fiery

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

it

on

blended

are

into

fixed

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 one

vermutlien, das es die wachsende der Sohwebungen sei,welohe

Zahl

ihren

Eindruck

unhorbar

und

verwische

wiirden

Wir

mache.

sie

Wenn 10

Vermuthung die Analogic des ebenfalls habeu, welchea Auges im Stande mehr nicht ist, eiae auf einander folgender Reihe schneU von

Bondem,

deren

wird.

gross Kreise Kohle. Mai

wenn

in der

zu

der

diese etwa

Seonnde

gliihende 10 bia 15

ihre Kreisbahn

glaubt das Auge znrflcklegt, continuirlichen sehen.

Ebenao

feurigen auf

Miachf

Anzahl

eiae im

den

Kreis

einen zu

Farben-

Scheibe

die

sich

arbe.

Licht

meis-

sein wird. mebr

Sectmde

als

nmlauft,

verschiedenen

aufgetragenen einem, ganz ruhigen tensivem

an

der

sie

ihrer

den

bekannt

solche

in

vennischen

zu

umgeachwnngene Wenn

die

auf

Anblick

Leeer

Mai

einander

denke

Man

meiner

fiir

diese

Liohteindruoke

acheiben, deren ten

Nur

Farben

bei der

musa

zu

Eindrucke sehr inWechsel

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

der und

Wechsel

Ruhe

verwischt

zu

sich

zwiachen scheU der

Q

Reiz-

geschieht, Wechsel

2

in

228

HISTORY

THE

is obliterated

change

continuous

becomes

and

perception,and uninterrupted."

is not

in the

ourselves

we

ear,

MUSIC.

the

convince may that the increase

"But the

in

OF

the

in

rest

of

case

number

of

the

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

the

interval.

also may fluctuations without

the

of

number

But

increase

we

alteringthe

interval

interval, by transposingthe

same

higher region of

If, instead

the

take

we

obtain

we

of 6h'

notes

same

manner

how

show

der

die

Empiindung,

continuirlich ' '

konnen

wir

iiberzeugen.

Steigerung der die mobt Schwebungen davon Ursache ist,dasa "

dem

wir

namlioh

Zahl

dem

von

der

alleinige sie in der

verwischen.

sich

In-

Intervall

Tones, K c", zu dem Uberbringen, einerkleinenTerz,fls'c",

eines

halben

habeu

wir

Wir

des konnen

die

sondem

Schwebungen, Breite

blosa

nicht

IntervaUs aber

der

Schwebungen

das

Intervall

zu

auch

wir

dasselbe

Zahl auch

der die

vergrossert. die

vergrossem,

verandern,

Zahl ohue indem

Octave

c""

von

feebler in the

full

his

length,

argument

second Intervall

part, he in eine hohere

A'

Schwebungen, in der Lage 132 Schwebungen, sogar

diese ben

fluctuations

c",die beiden Tone holier,Ik' c", so erhalten

-wir atatt

66

actually

der Scala verlegen. Nehmen

Gegend beim

uns

die

Empfindung

wird

the

In

sind

wirklich

Weise, h' c", wenn

in den werden."

c",

Octave

are

at

of

part

first.

letztere

davon

zunaohst

dasa

second

anhaltend.

und

Indessen

Ohre

the

words

a

higher,

an

33

they becoine (pp.269, 270.)

againstthe

militates

these

indeed

c",though

of "h'

yet

the

as

very high Octaves."" I have quoted Hekoholtz's to

if

and fluctuations,

132

into

Octave

an

fluctuations,and

in the

audible

scale. two

same

66

higher,even

the

the

wie

ganz

horbar

die 33

hohen

eine wir h'" und

in dersel-

Schwebungen allerdings

sie auch

Lagen

schwacher

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). "

A

DIFFERENCE

gives a case in which are equallydissonant that

dissonance

OF

33, 66, and and

;

follows

that

this

depend

33, 66, upon Hehnholtz has mistaken

They

vibrations. mistaken

It is them

dissonant bb

that

also

given them.

and

consonant

shoidd

have

dissonance

the

of to

he

tuations, fluc-

must

cause

coincident

But

of these

he has

name

attribute

as

vibrations to

to that

strange that

vibrations,instead from

the

prove does not

fluctuations.

the character

the indefinite

nothing but

are

should

interval,and

and (Schwebungen,) be attributed

fluctuations

132

alone

132

or

229

OPINION.

to

so

consonant

exceeding number mixed

are

the

in

of

interval

c.

That

give

I may not misi'epresent Helmholtz, I again The number his words. At p. 258, he says, "

of fluctuations

within

difiference in the total number

gimgen)

which

the

time."*

That

is

vibrations,and number

it

be

can

Fifth, Fourth, Third, has

mistake

led Hehnholtz

the

cause

occasion This

when music.

einen

"

Die

equal to the vibrations (Schwinin the

execute

of

to

scale

the

of

other.

no

in

propound

a

same

consonant

The

more

interval

any other. character of

or

the

of resultant

same

less

or

be

Octave,

"fluctuations" doctrine

new

sounds, to which

as

to

I shall have

to refer hereafter.

eminent the

acoustician

did

not

sufficiently

scale bearingsof the Harmonic he proposed to lay a basis for the theory of That part of the subjecthas been too much

regard

"

in

is

precisedefinition

a

rapid succession, whether The

of

sounds

two

throughout a

runs

time

given

a

musical

Zalil der

Schwebungen

gegebenerZeit

gleiohder differenz

in

findet sioh also

in der Anzahl

der

Schwingungen in

derselben

{p. 258. )

welche Zeit

beide

Klange

auafuhren."

"

230

HISTORY

THE

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 scale would

of the

led into such

been

and

18

numbers

must

tions, when the

when

reasons

in

beats

cc

and

and

dd ee

"

vibrations

has

given, the

their

or

have

D

and

tenth

he

can

himself

20

doubles. fluctuar

throughout the

note

pitchof 33 vibrations. above equallyto given,I demur Professor TyndaU's Lectures, on

that, while the

to

of to dd

10,

fundamental

at the

C,

doctrine

Sound,

attribute

and

9

our

18, neither

the

is C C

the

be

have

cannot

For

to

only the ninth the example which

in

book

slipsas

As

coincide

has

conferred, and

"fluctuations,"instead

20

(p. 259).

C

have

German

"

dissonance

number

33

is at its maximum

per

second, it lessens

graduallyafterwards, and the

beats

the full

amount

length of

entirelydisappearswhen to 132 (p.296). If per second" the stringbe about four feet,and "

give 132 vibrations, there will be 132 in every dissonant. or followinginterval,consonant AgaiQ, writers upon the science of music have for admitted an fact,that the as a long time assumed numerous

of

sounds

which

result

from

the

Harmonics

string,or pipe,are not only emitted collectively 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 Then, followingout this theory,they attribute all the various qualities ia musical inherent of tone instruments, whether by wind, by string,or by percussion,to differences a

"

in their Harmonics.

HARMONICS

231

CONSECUTIVELY.

GENERATED

So very generalhas been the submission to these assumed to the present time, that some laws, down be astonished

may

them.

give

evidence is

ear

throw

doubt

a

even

Nevertheless, both the eye and the

upon

the

that I should

The

againstsuch doctrines. within everybody'sreach. of the

ear

of

test

lowest

keys upon a grand pianofortesmartly,and raise the finger fall heavilyupon that the damper may so instantly, the string. The harder the damper, the more patent For

instance,strike

will be

the fact that but

note

may

be

one

the

Harmonics Each

consecutive. identified

by

are

taneous, simul-

successively rising

cultivated

a

not

the uncultivated and even grand pianoforte, the progressively distinguish risingsounds, and the highestnote of all is the last. old

This

order would

be

reversed

if the

an

ear, upon

sounds

can

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 propagationof sound through long water pipes may emitted

cited

be

The the

to

establish the

same

order

in their

sion. succes-

results of these

experimentsare pubhshed Professor TyndaU's Lectures.

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 in

"

"

232

THE

mental

sounds

which The

HISTORY

then

each

propagationof

which

is due

sounds.

to

In

embracing change its are

before the Harmonics, other in the order of pitch. sound changes its timbre,

the

the

admixture

of

the

Harmonic

very long conduits, therefore, a tune would certain extent of the gamut

a

character." the

concentrated

MUSIC.

heard

are

succeed

OF

best

by

So far for the

These

(p. 329.) proof,because "

the

long sounds

duits con-

are

them. ear,

and

next

as

to

the

Not

eye.

quick eye see the diminishingnodes it changes its a pianofortestring when upon Harmonics, but Kundt's experiments have proved them He strewed the lightdust to demonstration. 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 string,or of a column 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

a

.

PROLONGATION

OF

It is the after-current

account.

wMch

follows

upon that displacement

minute

displacementof air,however

every

233

TONE.

be. The vibrations of the air thus may has continue, as in echoes, after the excitingcause ceased. of

The

the longerthe string,

vibration; and, therefore, the

is its range turbance. greater the dis-

wider

displacementis felt on a grand scale in the after-current which accompanies the dischargeof a cannon. Not only the concussion, but also the rush of air,are sensiblyfelt by all who 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 The

concentrated

effect of the

intermixed

and

polishedwindings of And to

musical

a

be

for difference of tone

says, "It fundamental

Tyndall

overtones

to

enables

clarionet from

has

and

to the

ear.

been

posed sup-

in numberless

of these

of

renders

of

tones

addition of the

pure

of

same

sound

of

sound

of

fundamental

detached, they would each the other; but

be

instruments

admixture

the

Could

from indistinguishable

different

is the

distinguishthe and the a flute,

to

us

that

both.

violin from

tones

theory which

hard

instruments.

pitchwhich the

the

shell,by raisingit

the

to

account

Professor such

as

now,

a

within

oveitones

their

in

the

different

diverse, and clang-tints therefore distinguishable." (p.127.) In the first place,a flute,a pianoforte, violin, a Harmonics and a hautboy,have the same ; but very In the second place,pxu-e different are their tones. in harmoniums, tones fundamental are always detached because they have no audible Harmonics. with This is perhaps owing to their being made instruments

"

234

THE

HISTOEY

tapering springs. Yet are sensiblyproduced

MUSIC.

of qualities

different from

different

the

tone

of

stops

distinguishbetween pipes of an open equal length,but, one of a square shape, with the proportionsof 3 to 2 in superficies, the third of triangularform; they have and

harmoniums,

every ear can Again, take three wooden

them.

organ, of the second and the

OP

Harmonics, but all differ in

same

If facts

tone.

gainsayed,surely the two 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. The practicalrange of the ear for adequately 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

kind

sounds

indefinite

to

of the

notes

extreme

be

cannot

most

of

an

the

them,

to

make

even

the

are

not

easily

their

them

Octaves

sounded

are

definite.

The

advantage

eighthOctave consists in this,that it iacreases quantityof tone, and gives the richness of its

Harmonics

to

the others.

six-octave

The

First, the

scale

of Nature

and

its

note

divided

Octave,

into

providingan each

and

Octaves

seven

unless distinguishable with

ears,

of the

into four

change omitted

two

equal

the

character

Harmonic

and

number

divisions.

Thirds, of which

the

Octave

Fifth

a

is

Third we

of the

as

foUows

only.

: "

Second

wards Fourth, after-

a

of intervals

Octave,

for

divided

employ only two, and lesser two, by having

Seventh

that

divides

them.

ATTENTION

FoiTRTH

FIKST

the

semitone."

Fifth

before, with Sixth The

of

the

entitle

least

Octave, the

their

Octave,

graduallydiminishing employ only the largesttwo

we

least,but

eight

scale

"Diatonic

a

eight tones

same

as

semitones.

intermediate

tones, semitones, and

Harmonic

235

HARMONICS.

TO

Octave, eighttones

interval,of which and

DRAWN

quarter-tones.

only developed during the last century, and was scarcelythought of in the 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.

was

John

mathematician, in 1676;

English edition subsequently in the

Mathematical Dr.

Works, in

Narcissus

celebrated known

first made

was

him. in the and

Wallis, the of his

Algebra,in edition

Latia

by 1685,

of

his

1693.

of Maxsh's

Marsh, founder

Library

was exemplary prelate,who 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

in

Dublin, and

his

own,

Dr.

WaUis, the Savilian Professor

about

or

at

an

their

In

rooms.

had College, at

command,

discovered

vibratingstring,and and without simultaneously, that

a

the Harmonics

a

Before

of his

years before that date,two Noble of Merton College,and

of Wadham

time, little seems

friends,

Thomas means

Pigot of producing,

natural

or

this to

informed

Geometry, that

of

three

William

from

he

1676

notes

all appearance

intercommunication. to

have

been

known

236

THE

the

beyond

facts

tmison, and the

from

HISTORY

the

OF

that, if be

one

MUSIC.

struck

other, the second

at

The

effects.

by

the

from

stringwill

the

Greeks,

-

with

the

will

produce weird harp exposed to its

a

and, among

was

shared

the

earHer

St. Dunstan.

by

natural

be

sound

of information

amount

same

ancient

modems, The

stringsof

in

great distance

no

that the wind first;and, secondly, sounds

tuned

stringsare

two

of

notes

a

of

trumpet, or

measured; therefore it is of

a

horn, could

importanceto have discovered that, if one of the aliquotparts of a while the stringis stringbe touched very lightly, not

imder

the friction of

nodes, and

a

some

bow, it wiU

give the Harmonic,

divide

instead

itself into

of the fundamental,

notes.

It has

proved

be of

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 it more states as a curiositythan as of advantage to science. The discoverylay fallow for half a century, and taken then was Taylor,who was up by Dr. Brook the first to publishanalyticalresearches into the vibration of strings.'' Thenceforward,successively, by Euler, Lagrange,d'Alembert, Eiccati,Dr. BemomUi, Matthew Young, and by the illustrious Chladni,down to

more

"

mathematicians

to the eminent

It will be

an

""

"ne

are

1693.)

to consider composers roots in every key,when

writingfor performancesin largebuUdings

pereat." (Wallia's O'pera

Matliematka,

present century.

advantageto

the difference of the several

they

of the

*

"

vol.

ii. p.

466, fol.

et

Methodm inversa

1715.

Incremenionmi auotore

Brook

directa

Taylor.

herschel's of

and

resonant

often

must

of

definition

237

harmony.

Harmonic-givingqualities.They

wish

conflict of discordant

the

avoid

to

Harmonics, siace grandeur of effect mil, in

depend

measure,

semitone,

and

Harmonic

scale, may

in that

care

upon even

great

a

respect. Every the

quarter-tone, in

every be used

in

without

melody

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

"

"

be

may

of dissonance.

causes

Harmony included

are

the

the

derived

Very

discords,both

to

from

word

a

he

have

impulses on

root."

the effects of the

difiPerent are

If

would

coincidental

common

of which

only,according

harmony, "

truly,

Harmonia.

consonances

of

idea

his definition

ear,

and technically

Greek

intended

popular

limited

with

the

ia

had

Herschel to

both

means,

of concords

mixture

a

now

same

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 in two

Fourth

a

from

The one

Quoted by

J. H.

Analysis of

(p. 32)

"

from

John

reason

is

that,in the last

Again, the key into another. its right place,is one degree

the interval between

Griesbach,

Musical

Sir

in

than

consonant

more

his

iti

Third, when

minor

"

above

he goes

case,

What

places.

Sounds

in "

Herschel'a

the

Preliminary Discourses on Philosophy. of Natural

Fifth

the

Study

238

OF

HISTORY

THE

MTJSIC.

but, if in tte key of C, B we sing or play ascending C, E, G, Harmonic flat,B natural, and C, we have an agreeablemelodic and

the Harmonic

whereas,

passage ;* B flat,our

G, and

B

to

by

the

further

we

"

system

of subdominants

We

and in the

is much

of

interval

a

its Fourth Her

Fifth

will not

ear

back

allow

for the

above, which

Nature from

forciblyobserved by' the old musicians because they did not test the s6ale by but

;

ancient

ears,

always been protestingthat The protest against the Seventh, commenced

minor

of this kind

and

these two

D

were

modem,

notes

the

from

less

Nature

of

from

G

of

not

sake

perfectFourth

Defects

of C.

but

and

now,

A

upon

Greek,

perfectFourths are the key upwards, as

of

key

the

to

flat.

sacrifice too

allow.

not

Third

driven

are

Harmonic

for

minor

a

the flat,

of B

making one extra the key-note to Second

B

is

discord

Nature's.

does

substitute

we

play C, E, G,

so

The

if

;

flatjwhich

ascend

us

Seventh

than that have

are

wrong. and notes, Fourth

in very remote Egypt, on the

Antiquity, assumption Egypt, of impossible

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 the scale,in its passingdown from the Octave, over the Seventh; and then from the Fifth,passingover we

"

principalintervals

The

scale

Harmonic

also

familiar

to

me,

duty bound,

monochord

which

a

under

the

Kemp.

I

prafcticaUy,

having, (as

from

before

subject,)drawn

the

only

not

are

theoretically,but

of

writing

out was

a

on

in

the

scale, from constructed

superintendenceof Mr. had then the opportunity

of

tryiug-the

ways

a upon thfe mondohord.

uufamiliai

by

testing

The

real

is not

them

by

effect of

arrived

at

upon

a

alone

They gain immediately

being

places.

in various

pianoforte tuned

sounds

monochord. upon

intervals

For

tried a

gression,try E,

in

bold Harmonic

their

proper

melodic

F,

proand

G.

AND

rOTIRTH

Fourth

MINOR

SEVENTH

239

KEJECTED.

those

than that of any other motive intervals which their ears told them

of the

key.

Again, the

for omission

out

avoiding

; to

which,

in

Plutarch

the

notes

two

same

picked

were

Enharmonic

Greek

tells us, had

out

were

originin

its

scale,

the desire

of

It is also Olympus to avoid the minor Seventh. that Olympus, or whoever invented that system, sure equallyrejectedthe Fourth; for no ancient Chromatic Enharmonic

or

the

scale includes

other.

the

Similar

moderns

in the

Seventh

judged

lead

to

received

from

sensible

;" or,

eUe

the

Tonique rejectionof

Seventh It

"

the

in

be

would

music

the musical

by

if

an

there

were

a

at

ears

the

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 present time.

out

of

With

tune

The

consideration

will

give

does

not

There

are

consulted Thirds

some

harmony

as

in the

of

bear."

sounds to

that

the

ear

into the arrangement.

enter

great deal they must

will

ear

pleasure

most

a

many

the

as

that

ears

of

to

will bear

."tempering,"smd been

have the

new

in Thirds

especially

tuning

system. is

now

of

of

the

Sustained

of

name

Rousseau, fait

et

both

ears"

advantage to larger

of such

preponderance

the

words

la

annonce

Again,

the

French

the

in

or

be noticed among may universal rejection of the

ascending minor scale, and the major Seventh, which the to the Octave, so definitely

of

substitution

note

one

instances in

as

"

either the

that

parcequ'-

sentir

le

Ton."

and

sensitive,as

to

educated, them

ears,

any

minor of old

well

instead

of If

pleasure.

should

masters

be

it

note

of the composers

able

has

ear

"la "

Fourth

the

in

led

to

as

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

trying

have to

imitation The

tenfold

instil of

imperfect

is, that system pianoforteplayer his tone

of

twelve

instrument like

it

the

keys

But

a

or

not the

;

com-

and,

as

sustain

harmonium,

passes

greater number

they do disagree- pleasure from

the the

the

not

equal temperament with

sounds,

enables

does organ

the

of

have

to

in

them

recommendation

one

mand

trouble

into

muster

of persons. derive equal

music, although

240

HISTOEY

THE

popular ballads,Scotch English airs of the same included

in

because

the

English airs

the

of music

followingout

not

sanction

the

counterbalanced aJl

of

out

redeeming It

tune

by

having

and

without

would

greatestbenefactor

pianoforte,in

and

in tune

remain

is not

but

strings. Till then, of out something character.

"que

one

The

alterations.

key, others, It

that

is the

make

recevons

Par

fureur et

la

jusqu' k quand eUe

Tierce

des

in-

leurs amples ex-

id^es

de

trop forte, qui nous miueure, est

"La

vraie

tonality

character

gamme

modeme,

de

s'exprime

est

trop

in every dental coincia

sort

majeure de depuis I'in-

Monteverde

Casini,

ou

les

rapports 16, 18, 20, 21, 24, 27, 30, 32." (Compare the numbers monic by the preceding Harn'est pas conscale.) "EUe forme

par

ceUes

i

devaient

:

donnies

la par ^lesleurs

"

infaiUiblement

^garer tout Cette spioulateur contemporain "

seule

gamme

majeure qui nous 4 la joie,nous natureUement

imprime

a

g^niralitddes didacticiens of

des

rhythm

novation

la Tierce

excite

douceur,

lorsqu'eUe is

it.

"

la

which

also.

impressionsdifferentes tervaUes i proportion de differentes

of

much

d' observer,"

des

la

a

give

can

nous

et

that

difference

est bon

"II

Rameau,

we

tendresse

It

vibrations

shortens

that

one

Caccini.

or

character.

shiftingmovement

a

wanted,

says

there

scale ia

true

a

There

matical mathe-

the

by pedalsto

be raised

could

in

does

from

by

tune

was

"

not

interval,derived

be he who

mechanism

invent

could

the

upon

attriste

foible.

will

laws.

writer

nous

same

any

too an attempt imperfect instruments.

is

is

them

do

to

upon

a

of

those

porte i.la

cause.

keys

twelve

variation

alone

of Monteverde

tlie

the

Nature, and

music,* there

of

out

of

advantage

The

also

;

but the wrong, the investigation

are

upon laws of

learned

one

time

point

to

have

for

rests

conflict with

branches

unable

probably Ireland

science

of the

any

According to from

Time,

to

or

intervals

two

and

use

would

not

were

Olden

the

of

remarkable

tunes

Mathematical

science

they

many-

of already too large a number in one selection. Other publication

have

that

true

Music

are

was

for

omissions. teach

class,but

Scotland

to

There

Irisli.

voice

pubHc

there beca4;ise

cotmtries

and

Popular

them

attributed

MUSIC.

OF

consonnante

contient et dissonante

oonjointespar

I'harmonie eutre

eUes

^galterme appreciable spire incomparaison, qui nous sentiment un unique de "c. et tonality" (Calcnl Musical un

de

"

PhUosophie de la Mumpie par Charles Meerens, p. 20. 8vo. 186*.)

THE

had

the

changed to 16).

F

MIXTURE-STOPS

lowered

does not

which

should

so

to

as

have

make above

Diatonic

major

of

allude to the

this arrangement, upon Foiirths and Fifths with this he there writes

E, because scale.

the

But

scale is confirmed

Harmonic

trumpets and

B flat

Harmonic

followed

true

semitone

the

by a sixty-fourth part, so really sharp,and it had the true A (27

it into E He

241

ORGANS.

OF

horns

without

only of a partialadoptionof by the ancient use keys. They were

in out-door important instruments could not be played upon in any other that of Nature until keys or valves were

formerly very music, and scale than

So it appears that the moderns and have reallyretrograded, have gone away from for employNature in the present scale. The reason ing

invented

for them.

the

above

semitone

evidentlyto keep

as

present scale. tempered scale is, that to

as

the

near

well

much

as

upon

false notes.

E, as

One

to

make

Nature

F,

an

was

would

permit grand objectionto a

it makes

false

Richness

of tones

Harmonics,

depends

Harmonics.

mixture-stopsof an organ are solelyfor the Harmonics which of supplying the are purpose there be no deficient ia stopped pipes,and can grandeurof efiect in an organ without those mixturestops. 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 The

used

the fuU organ, so that their tones be may If made by the volume of other sounds.

with

covered

instead of a prominent,they produce a disagreeable, 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

HISTORY

THE

wiad

has to travel to

OF

and

MUSIC.

fro to

obtain

exit

an

at

of air is thus the open lip,or notch. The column and the note producedis therefore ddubled in. length, Octave

an

clarionet

than

lower is of the

that

nature

of

of a

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 clarionet,viz.,a a can Twelfth, and

another

Twelfth

it

above

"

^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: with

"

"'Names,

.

.

.

c,

D,

B,

r,

G, A,

c.

b,

'ilatesof vibration,!, .f,|, |, f, f, V. and to

then avoid

of whole

Multiplying these ratios by 24, the following series obtain fractions,we "

says

:

numbers, which

of vibration

of the

notes

express of the

24, 27, 30, 32, 36,40, To upper in the

by

some

2."

the

relative

Diatonic

rates

scale:

"

45,48;"

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 musical

FOR

purposes,

the

243

INTERVALS.

is

one

efficient

as

as

the

other.

But, for those it should

be

who

pointed

in

verged

are

out

that

mathematics,

the

of

use

the

logarithms of the intervals very much simplifies then the all the calculations, as multiplication, denominator, "c., is entirelybringingto a common The dispensed with. logarithms,in fact, exactly to

represent ear, and

the

eye

what

the

intervals

do

to

the

have

the only to deduct or compare logarithmson paper, just as the ear does when the correspondingintervals are heard. For example, taking two kinds of tetrachord : their compositionis at once clearlyillustrated by the followingsimple statement,in which, it will be observed, there is nothingbut addition used : we

"

Pythagorean

Logarithm.

Tetrachord.

Ptolemy '8

Logarithm,

Tetrachord.

Majoe

Tone

0.05115

Major

Tone

0.05115

Majoe

Tone

0.05115

MraoR

Tone

0.04576

0.02264

Majoe

Semitone

0.02803

0.12494

FouETH

LiMMA FOUETH ...

This

excellent

of

mode

0.12494 ...

intervals calculating

was

introduced

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 logarithms;' and, secondly, For

*

in

those

their

table

1200

who

are

extra-curious

calculations,there is a lated, logarithms,calcu-

of

acoustic

by

M.

Delezenne,

semi-Tibrations,

from

1

to

expressed

in

This

table is

appended to the already quoted Gaicul MaMccd, by M. Charles Meerens, in pamphlet commas.

form.

8vo.

1864.

R2

244

THE

the

division

OF

MUSIC.

stringinto its aliquotparts is of and, to many minds, it will practicalapplication, a more livelyimpression of a sound, than convey will a short row of figures. And quittingthe subjectof calculations,I now, musical turn to anothef of Nature's arrangements. The Pythagoreandoctrine of the existence of certain too of which are vibratingsoTuids,some high and others

of

HISTORY

low

too

a

reach

to

the

both

unexpected confirmation the

by

The

present century. the

of

union

two

sound, which Next,

one

that when

even

generates

discovered on

attracted that

this the

resultant

two

in 1745

they

last and

of sounds

existence

in

that

sound

by

tones

its two

lower

primaries. obtained

be may inaudible.

have

musician

and

Sorge,but

the

On

to

said

are

German

a

much

been able

that the disclosure the

time.

Then,

discovered

they were

are

and

little attenticAi at

very

called

third

a

primariesare

music, named

the celebrated were

during the

is quite distinct from

side,these resultant

writer

has received

ear,

high for our hearinghas been demonstrated discoverythat, under certain conditions,the

too

are

human

fiddle

independentlyby Tartini, player,in 1754, and, after him,

Tartini's

said

to

have

On

tones.

been

the

other

discovered

by

side,

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 while

"

graduallydiminishes

from

the

instant

of

its

RESULTANT

production to

its extinction.

of resultant

245

SOUNDS.

sounds

the

For

by

musical

audible

duction pro-

instruments,

it is

and requisitethat the sounds be continuous equal. They are produced audibly by organ pipes, and by the metal reeds of harmoniums, also by many different

intervals

tenor

made

are

tell his

to

tune

unless

resultant be sustained and

sound.

by

stringsof a violin or powerfully. Tartini used

to vibrate

pupilsthat they heard

heard

the

their '

the

Resultant when

female

two

voices.

Thirds

could

not

also resultant

be

in

note,'meaning the

low

sounds sounds

may

ally occasion-

powerfully Triangles,metal bars, are

bells,not'" only produce their Harmonics but

To

when

sounds.

"^ "

fully, power-

(p.65.)

produce such tones audiblyit is necessary that the two primariesbe sounded rather loudly,as well as continuously,and it is expedient to select two of high pitch for the notes experiment. Some attention be requiredat first to singleout the may feeble resultant plished tone, but it will be readilyaccomafter 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 by the same springs,but, instead of a 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

The higher two. the auditorynerve

by of the

condensation

When

of

a

4,

two

minor

1

win

be

6,

a

as

we

the

If

we

a

and

try

a

minor

"

C, No. it,

result will be be

now

only

c.

with

the

C, No.

only a

4,

Fourth, the result

a

as

c, Nos.

8,

one

be

Sixth,

in the

Twelfth

Octave

32, the resultant

from tone

former

two

below

g. c, and

of g and and 24, the 16

C, No.

as

it,Nos. 12

above

c

same

major Sixth,as

result wiU

:

major Third below the e. below c, the major Third

transpose the order C, No.

tones

will be

tone

before,but it will

as

it is

Fifth above

20, the If

resultant

Nos. are g, which scale,and at the interval

the "interval of

same

now

will be

tone

try g

making

but

cases,

If

below

next

we

4,

obtauied,

concertina.

16, be sounded, the

C, No.

and

20

and

20

a

e, with

Octaves If

and

same

same

two

of

cold

upon be

cannot

Third, the resultant

Octaves

Nos.

the

or

of the Harmonic

24

If the or

confusion

no

breath

followingare examples of the two primariesbe e and

and

20

of the

symphonixun

a

try the harmonium If

is

that to Harmonics as deficiency the harmonium substitute an unsatisfactory The symphonium should be warmed, organ.

metal.

The

there

It is the

diminish

to

further

A

ear.

therefore

yieldHarmonies,

for the

mouth to pasa through the the Eustachian tube, therefore

advantage of the springsdo not is,that, practically,

this method

makes

MUSIC.

tones

inside the drum

sounds.

OF

above

g and

take

g

resultant

the other.

e, Nos.

12

and

8. e

to

will

cc

above

be g. No.

major Sixth below e. been It might have supposed^from five have resulted above examples,that aU would

it,Nos. 12, the

of the in the

CONSONANCE

key-notes,had

true

the

not

247

TONES.

DIFFERENCE

versus

last

experiment

proved dis-

it. Helmlioltz

Difference

to

resultant

That

of

vibrations, and

the

to

theory, and Young, that these

the

is

difference

would

for

indeed

The of the

vibrations.

The

Nos.

are

The

tions.

384, and

I

proved. a

difference

and

mnnber

the

shorter between

the above

24,

two test

to

giving 640 the

the and

difference

vibrations,we

4 of the scale. Therefore

taking the

e

to

cc,

640

the

last of the

as

another

and

1024

difference

indicates

other

example

referred

and

32, with

g. No.

test, vibra^ both

are

12,

as

the

intervals

would, however,

between scale is

and

All the

resultant.

and

Then

tone.

consonance

that

equal

for the

reason

look for 128

we

Sixth, from

20

a

g, when

producedby C, No.

series,the minor

find

consonance

if

C is the resultant

they

and

Nos. 20

128, and

find them

sounds

also

are

Dr.

primaries. There superioraudibUity; but it

constitute

e

preceding scale,are both

of

reflected

the

are

that

to

Helm-

to

the others.

Third

minor

I demur

revert

difficult to

which

notes

two

all consonant

the two

for their

reason

be

between

predominance of

are

primaries. accoimt

are

vibrations,which

consonant

good

768

not

above

Therefore

new

Thomas

to the

the

notes.

upper

holtz's

of

of the two

it does

but

enough,

the difference

equal to

Difference being audible beyond others. only add one more degree of discord to each

tones set

is

the

that

was

reason

the ratios of vibration

is true

their

his

is that which

Tones

of Resultant

name

Tones, and

note

between

the

changed

be similarly may ence suggest that the differ-

numbers

than

that

vibrations.

in the of

Harmonic

the calcuLating

248

THE

I

but

can

due

HISTORY

OF

MUSIC.

Helmlioltz's

suppose

the imperfectionof the

to

theories

new

be

to

wMcli

instrument

he

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

intensityof either This is given with I

have

tried

delicate instnunent for

with

me,

a

the

of four times

tone

of the

ones" (p.278). interfering aJl the emphasis of italics. the experiment with the most for the purpose, tuned perfectly "

in

cotton

my neither

external

exclude

to

ears

aU

influence,and by that means, by harmoniums, by concertinas, or other, can discover

intervals

any

of sUence.

nor

I

Furthermore,

-

I

have

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 employed for the experiment. And, possibly,the for the theory Siren is also to be held responsible of the

"

of which

hard

seems

for

to account

principle. nondescriptinstrument, the tones produced by puffs of air through 12,

are

holes

30

or

virtually12, the

It

any other Siren is a

it upon The

20,

fluctuations."

20,

at or

time, and

same

together,it

combined

of

some

reeds, exactly alike, be of

tones

than

those

forks

of the

instant,near

of

placed

side

one

by

have If

pitch be sounded another,the sound

at

harmonium-

certain

either,separately;

same

to

two

wiU.

are

acting counter-

are

If

two

there

sounding

these

is all but

the

So

instruments

30

effects of others.

the

sounded

time.

one

side

and

that

the

less

tuning

two at

power

the

of both

same

may

THE

SIREN

249

EXPERIMENTS.

EOE

ILL-ADAPTED .

be neutralised

angle

the

to

by I

This

have

with

of the other. assist each that

the

that

the

It forks

two

of them

one

fork should

one

the

other

opposing forces

in

urges be

the two

case,

forks will

is,however, also easy be

may

related

so

to

them

backward.

so equal,particles

nor

If

of

another, to abolish

"(p. 256). It is singularthat the

arouse

attention

imperfectionsof

the

the

the intervals of the

the

forwards, and the aerial

Thus,

of

each

solicited will

the

that

to

shall

correspondsto silence, is is possible, by adding the sound

it

other,

the rarefactions

rest, which

to

his

requirea condensation the other requiresa rarefaction ; forward, urge the air-particles

backwards

neither

move

that

one

of the

with

one

If this be the

placewhere

whUe

an

ment, experi-

and

made,

condensations

of the

other.

that

at the

well-known

a

largely illustrated

...

other

at

It is easy to see,"says he, "that the forks vibrate that the condensations of the one

the rarefactions

see

bolding one

"

so may shall coincide

and

is

often

has

Tyndall

lectures.

of

manner

other.

which Professor

tbe

sounds

result.

of both

experiments. many Resultant had been tones

"

of silence did not

great acoustician

instrument

fork

one

with

which

to the

he

ducted con-

so

upon his

the

much

experimented

birth to England before Hehnholtz gave discovery, theory, and they led to the discovery,or rethat sounds might be too acute to affect in

human

Sir

ear.

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 two

minute

that

their

exceedinglyacute

sounds

were

250

HISTORY

THE

OF

MUSIC.

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., had two very minute pipes constructed;which open but of were equallyinaudible when blown separately,

inaudible

which

separately, yet

the

resultant

calculated

pitch

heard.

similar

A

when

sound,

of the

blown

lower

distinctly with equal

pipe, was tried

experiment was

by Mr. J. H. Griesbach, alreadyquoted,the above account success

whose

from

the;

below

Octaves

two

work,

of these

ments experi-

is derived. Instruments

have

limit of the

human

show

they

been ear

testingthe higher notes, and

invented the

to

as.

considerable

for

in

variations

difiPerent

individuals. waves exceedinglylow notes, the soundsucceed another too one slowlyto effect the continuityby which the auditory nerve necessary the impressionof be excited in order to convey must In

a

the

of

case

musical

sound

than

less in number

in

a

altogether. "The eleven or

Octaves, 7

available

a

second

of

in

embrace

transcends

of the best

range but an

music the

they

limits of 40 The

Tyndall'sLectures

on

Somid,

p.

about

a

of the

prised com-

second. ear

hardlyexceeds

84, 2nd

edit. 1869.

to

sounds

vibrations

Octave."" "

ceases

limited

4000

range

of the eye, which

exceed

covers

The

and

ear

tions calcula-

recent

ear

produced by

are

7 Octaves.

that

If

of sound

uncommon.

are

time, the

auditory range

is not

Octaves

between

They

in

16

If the vibrations

Helmholtz, the consciousness

of

6

brain.

only of separateshocks. second, accordingto the

is conscious

38,100

to the

far an

PYTHAGOKEAN

IDEAS

Experiments the

by

late

Donaldson the

by

of

E. A.

Hewitt,

Ouseley strained regulatedthe tension below

C

plucked aside, the note was half-length only to but

ears,

0

upon put iato

with

Donaldson

be

that

horns

of various

When the

even

few

favoured

sensible The

to

all when

experiments

of

character, and

same

Fifth

;

so

heard

be take

up

produce

whereas, if he

demonstrated

turned

to

became

It

kinds

Octave, and

that

length,he

been

might be made tube, straightor curved, that

Octave, and

within

would

the

enlargement of the class, subject to the cumbrous

a

manufactiurer.

by, at least,one

in the first Octave, and has

produce

to

feet, or the lowest

16

have investigations

recent

her fourth

whole

by

of the

length in the although no sound would length,the player might

the

as

staff

base

heard

were

of such

notes

so

feet

like result.

These

evident

of 64

wire

a

inaudible, and

was

quarter-lengthof a pianoforte,became vibration by a bow.

the

account

the

in

the

Professor

largest scale

Professor.

Gore

Octaves

Professor

late

the

on

exhibited

were

the

by

but

Edinburgh,

length,and

C, four

sounds

low

very

present Oxford

Sir in

upon D. C.

251

REALIZED.

the

have

obtained

but three

its entire

Nature's

sixteen

could

have

from

scale

at

eight Diatonic semitones sounded but

two

in the

notes

in the second.

This

of effecting a possibility great powers one

of instruments

great

drawback

of that of

their

size.

Pythagoreans, which was adopted by Cicero, Pliny, Boethius, and generallyin the middle unexpectedly verified by ages, has been Thus

modern

the

doctrine

science.

of the

252

CHAPTEE The

musical

instruments

of

subject.^Athenseus's General Organ names.

"

Eeed

or

Corno

Inglese.

Hautboy

Shawm, Python.

Pipes

at the end.

The

Flute.

The

"

Diapason.

and

Kalamaulos. Photinx

The

"

"

or

"

"

and

the

Many

"

from

and

Pipes proverbial. ^Egyptian "

Third

"

of

principle:

and

Pipe

Greek

and the

present Flute.

Egyptian horns

at

The

principle:

the

"

"

end.

the

Pipers.

the

Flageolet.

the

principle:

with

Fifth

Bagpipe.

The

"

"

muzzles free

Eeed

derived from China. Sixth principle: principle Horns Egyptian, Assyrian, Greek, Etruscan,

Harmonium

"

and

Trumpets

countries

"

Scytalia. Competitions "

from

Plagiaulos.

Berecynthian Pipes

their mouths.

Eeeds.

Fourth

Elymos. round

for

Egyptian

and

"

Box

The

Phrygian

Clarionet.

Apollo

English Flute

and

or

boy-player. Haut-

of

Bombyx.

"

-Comet,

game

old

The

"

names

of Arabian

Organ

Monaulos

The

"

their

Length notes.

many

Pipe blown "

Chorauli.

Pipes, and "

Pythian

^A

"

Double

Koman

"

principle:the SingleEeed

"

specialpurposes.

and

Bombos.'

the

Wind

"

The

"

Bassoon

The

"

Pythauli.

"

rials for

mat

Gingras.

Chalumeau.

or

The

Buxus.

"

Pandura.

"

"

Second

"

Sambuca.

of

Hydraulic

the

about

Pipe.

principle.

The

"

Pandean

DiflSeulties

"

account

^Magadis.

"

Syrinx,or

"

ancients.

the

incorrect

"

instruments.

X.

"

Eoman.

and

The

musical

been

found

several

diflScult

a

The

reasons.

number

of

of tJbe ancients

instruments

the

subjectto first

treat

is,because named

instruments

have

upon

;

only a by

always and

for

limited classical

thoroughlyidentified. This is partly owing to the absence of cotemporaxy representations when such are in sculptureor in paintings;and even much frequentl to be foxmd, too poeticallicense has not inbeen taken with their forms, and they are Such rarely accompanied by distinctive names. authors

allusions

can

to

be

them

as

are

to

be

found

in the

texts

CONTEADICTOEY

generallycasual

are

indefinite.

In

these

brief, and

and cases,

other

have

has

all this often

and

the

the

source

an

appearance

next

step

of this

it will

of

account

that

a

name

slight,and,

a

of

difference

be

must

pattern,

the instrument

wide

or

have

to

;

endeavour

to

has

to

trace

Sometimes

been

varied

on

perhaps, unimportant

in the

made.

very

they are to be compared. done, the descriptions of being contradictory,

seeming contradiction.

found

be

been

often

notices

far and sought for, sometimes then to be collected together,and

be

When

253

DESCRIPTIONS.

material

It is next

of which

impossible to distiaguiahsuch differences in sculpture,and a hardly less so in paintings,without previous minute is to be sought for. knowledge of what have suppliednames material Again, the same may instruments to widely differing some ; and, lastly, them, This whom

ancients, who

the

of

even

were

undertook

to

to

describe

for the task. musicallyqualified with the case Athenaeus, especially

not

was we

was

are,

other

nevertheless, more

indebted

writer, for having collected

to

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 descriptions.According inflated to Athenseus, the Hydraulic Organ was turned down into with water, and the pipes were Then the water the water. was strenuouslyagitated to

any

254

THE

HISTORY

liflJSIC.

OF

made to enpt ^by 3, youth, and thus thp pipes were an agreeable sound.* This is just such might have 9, descriptionas knew beqn given by any (?arelessobserver, who nothing of hydraulicsor pneumatics,and who did to enquire into jfcheprinciple not trouble himself 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

constructed

ever

although the attempt principle, in

made

The

beeU' of

"have

"such

as

very, different character. reader must not expect

the

that

musical

of JuUus

could

Greek

Latin

enumerated

are

of the

Latin

poetry and

therefpre, hardly

a

scale

a

"

lib. iv. caip.

See

ahisaa.

were

9, 66.

thus

Greek

Greek so

that

music Mode

a

and

and

a

a

considered

meaning,

"PlatoYero

Many

that of

the

of

"a

x"?^

same

^^

sound,"

" as

second -well

:

"a

as

in

the

etiaxn. multis chordis

cap.

"

9.) "

intended

as

perpetually string," prceditcmi recurring word, "tetrachord," he lib. altered his .(OnomO'StilfOii, would, perhaps, have words The translation to "multisonantem," or in italics

translates

nominavit." iv.

75.

translations,

It is, hymn. for surprisethat he played upon by strings,

matter

iv. cap. Deipno-sophists,)ih.

He

to

to

version knew

supposedflutes to have been of by iwind-" Translations instead "

help, as

in the

distinguishbetween

not

Nome,'' i.e.,between

"

jho-vm

Onomas^i^oji.

PoUux's

author

the

little about he

of old generality

instrument^

text, but

be

a

Again, the music, from

:has

will here

Hydrauhc Organ

true

a

certainlybeQn Athenseus's description-

of

consequence

such

upon

".

as

a

TroXvxopSovaTov. If

translation he

had

of but

"multis

sonis

prseditam."

MAGADIS

AND

description are by no would gladlysuppose, suffice for

255

SAMBITKA.

means

but

as

uncommon

manywill such, instance

so

one

present purpose.

General

create

names

greatestdifficulties

of the

one

the

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 ffictingdescriptionsare by Athenseus.

to

"

"

AU

reconcilable

are

that

the

"

name

stringedor in

wind

Octaves.

the

Magadis" name

foreigninstrument. which

Anacreon

transferable

was

instrument

The

that

was

to

any

be

played might originally given to a Lydian Magadis upon had twenty strings.*

was

It

it is understood

moment

a

played,that

scribed Again, the Sambuca, in Greek, Sambuke, is deby one as a small triangularharp with four make it to as strings,and of such high sounds 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 or Lyre.''In a fourth case, it is the large Greek Lyre. In a fifth case, it is a Magadis." In the middle others

ages, it

at

was

time

one

largePipe. In a Roman military engine, of character,for scalingwaU^.* at

a

*

"

S'

^oXXw

eiKOfft

a

seventh a

Dulcimer, and case,

light and

it

was

a

portable

AvSajv

'KopdaliTiv fjtayadiv ix^^j "

"Q AevKaajTi

(AthensBus, lib. xiv. cap. 37, p. 634, ""

ing ease.

4"om? of

has

sometimes

palm-nrood,

but

the not

mean-

in

this

"

c.

and

Bergk's Anacreon, frag.5.)

quoted Euphorion, lib. xiv. Athensens, cap. 36. * See index to Athenaeua, "

See

LiddeU

and

Scott's

Lexicon.

by and

256

THE

It is tbese

is

for

Greek

the

; but

of the

elder

MUSIC.

doubted

the

instrument

account

OF

be

scarcelyto

varieties

musical will

HISTORY

the

word

the

inherited

Romans

tree, in the

clue

form

word the

aU

to

The

Greek, originally of

root

tbe

"Elderwood."

not

was

that

which

being

not name

that

as

and

of Sambucus

of

Pythagorasand Euphorion speak of the Sambuca as played by the Parthians, and by nations borderingon the Red Sea.* Others again attribute Sabucus.

Elderwood, when

Phcenicia;ns.

the

it to

dried, is

light in point of weight ; and first, its and, secondly,its wide grain, would portability, it for sonority in recommended have stringed musical instruments. Again,the facihtywith which 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 very

in the

for exactitude

took

smooth, and made

There

are

so

"

some

specialuse, "

rum earum

vel

"

from and

is often kinds

it would

was

bear

enim

monumenta

diligentiusantiquoinspiciamua,tot diversi inferre

"

Jfrom their

some

differentias reperiemus quot inventores

used

for the

pipe.

of

so^e inventor an

Athenseus, lib. xiv., cap. 34. "Si

It

for general names derived from a particular

many

musical instruments

*

good polish,and

a

of this wood

name

nation

tubes.

Clarionets,flutes,and fifes are still usage. Both in Greek and in Latin of boxwood.

rough the

of their

bore

pos-

from

some

shape'' "

their

^that the

sint,vel regiones uTji vigebat vel

usus,

vel

materia, numenis, figura,et usus varii postulabant." Tihiis (Bartholinus De Veterum, sonus,

"

p.

6.3.)

THE

WINDS.

THE

practicable way

more

present time, seems involved instead

257

TEACHERS.

at the treatingthe subject, be accordingto the principles

of to

in their

FIRST

construction,and

thus

in

classes,

of

It wiU greatlyabbreviate individually. and the various properties of the instruments details, will be more readilyunderstood. To which class shaU priority be given to wind, ? It may justlybe argued that 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, "

ranked

be

the

as

first of

musical

instruments, as

Dr.

Bumey and others would have it, is another question. Upon such a theoryprecedencemust be given to hands and feet before all instruments,but where

is their

between

noise

sudden

musical and

music

sound

The

?

is,that

the

distinction first acts

uregular shocks, and the second rapidlysucceedingperiodicimpulses upon the ear. These impulsesgive the continuity of tone which is called "music." Rather, then, should the play of the wind with

and

by by

the

upon the

ends

first

of

broken

suggestionto

reeds man

of

be

credited musical

a

instrument.

piecesof reed so as to form whistles,was, in all probabOity, a thought which preceded that of boring holes into one reed, so as to make it emit several sounds. Prioritymay also be assignedto of blowing at an angle across this practice the ends To cut

of the of

reeds,in the

manner

of the

wind, before that

twistinga stringand

board, so

as

to

cause

over And, thirdly,

the

attachingit to a soundingit to produce a musical note. cuttingoff a part of the horn s

258

of

HISTORY

THE

OP

MUSIC.

objectof employing it instrument, by insertingthe smaller open animal, with

an

wind

tlie

as

a

end

into the mouth.

First

The

the hollow

zephyrs playing on

Fond

"

taught the

rustic how

to

his

use

is

of the Greeks

Syrinx

reeds

pipe.""

called

now

Pandean

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 Pan's

Pipe, or

the note. "

A

By

conjoined the

wax

well

as

the

that

pipes,and the

reeds

of

late

he

Pan

taught

a

This

only by

whom

"

zephyri cava Agreateis doouere

Nam

already Pandura, or

stringedinstrument.

Et

Fistula

tively compara-

It has

ancient

more

instead

Cassiodorus,

are

per

calamorum

sibila

cui semper

calamus

cera

primum

inflare cicutas."

oavas

Lucretius, Ub. ""

name,

join Syrinx

to

flax,the

of Seville."

the

that

how

world

it

civilized un-

In consequence inventor of such

and

wax

Isidore

was

"

the

to

common

the

was

vrriters,among

shown

"

are

assigned to

was

Hesychius,and Pandoura,

the less."b

called the Pandura.

Syrinx,

been

kind

together with

to be

came

lesseningheight,

civilized nations.

as

that

myth

of

greaterto

that

of

Instruments

of

of reeds

pipe composed

decrescit

arundinis

jungitur usque

v.

lines 1381-1382.

ordo

minor."

TibuUus,

lib. ii. 5, 31.

lib. iii.cap. 20.) Isidore (Origrme*, derived the quotation from Virgil's de quo Virgilius: Pan primus calaEclogues, ii. 32. mosceraconjungerepluresinstituit."

""PandoriusabinventoreTOoatua,

"

THE

SYEINX,

The

Syrinx was one of instruments,accordingto the Book

of

259

PIPE.

NebucliadnezzEir's the

Daniel, and it

in

PAN's

OR

was

musical

Septuagiatversion of 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

short

poem, under Syrinx."''It consists of twenty

"The

wrote

a

the

title of

Hues, in

ten

pairsof graduallydecreasinglength,like the pipes of the instrument. Each of the last pair is composed of a singleword of "four syllables.From the 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

date, seven

eight reeds

or

was

its

usual number.

more

The not

later

to

Syrinx is be

ancient

of

an

exceptionalcharacter.

It is

classed with

aU other any other,because the wind blown wholly or partially

pipeshad through them ; whereas,

in the

Syrinx, the

aperture. The

passes in and out of the same directed againstthe inner

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 "

Herodotus

""

Printed

apud Athenaeum, 627. by Bninek, in vol. i.

of

his

Analecta

Grceeorum.

8vo.

Poftarwm

veterum n.

d. s

2

260

HISTORY

THE

through at merely across

least

OF

MUSIC.

part of the pipe, instead of of it,as in the Syrinx. Out

some

the end

instruments been impartant modern evolved, as well as the admirably contrasted tones of their origin in shepherds' All four had organs. have

of these

made either out of a reed or of a pipes,and were 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 selves latitudes,but boys in country schools exercise themin the craft, and many of themoccasionally would be good teachers of the four different systems. instruction,and gained a Httle Having received some to practicalexperience,I wiU endeavour explain them. Two with a vibratingtongue of straw are or reed, which i^ to- be held in the mouth, and two are without The

it. First

Principle

Hautboy system. Take the pulpy

end

is o;^ the

of

of the snijaUestof reeds without

one

end

one

Eeed

of green

straw

a

Double

corn,

spht part

will act

of which

like the double

the ancient

Enghsh

or

knot, and

split split end

a

by squeezing it. Place the the lips, and blow through the straw.

between

or

reed

The

of the

boy, haut-

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 strengthof his blowing tin he finds the pitch of this tiny tube, or name

was

"

else it will not sound the

;

and

then he

by shorteningthe

note

straw

can or

raise

or

lower

by taking a

longer. The

modern

bassoon

has

a

double

reed

on

this

THE

same

of to

DOUBLE

EEED,

but it principle, the hautboy. Thus the hautboy. The

is

one

HAUTBOY

of

it forms

261

SYSTEM.

largersi^e than that the appropriatebase

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. And on

intermediate

OB

now

this double

to

instrument

trace

reed

back

was

instruments

constructed

principle.

In the

,

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 by the lips,this mouthpiece will leave but a tiny of the breath. The pipe space for the admission correspondsso preciselyto the descriptionsof the 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 GijDgrasin the British Museum the fingers. the Athenaeus," quoting Xenophon, says that Phcenicians used a kind of pipe,called the Gingras, of about a span in length,of very high pitch,and 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

for Adonis

"

"for

Gingres,as Democlides admittedly of Adonis-pipe was Adonis

"

Lib.

iv. 174 f, 175

you

teUs

Phoenicians

call

So

this

us."

Asiatic a.

origin,and

262

THE

Asia,

OF

likelycommon

most

was

HISTORY

well

as

the

to

of

nations

various

Egypt.

to

as

MUSIC.

signifiedboth 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. Bombos

Next, the

of the

Greeks

"

There

would

thin

be of

piece

vibrate, as

qualityof

the

tone

the

skin

or

would

these

of the

Bombos

of

the

was

a

bassoon,

is straight,

two, in order A

to

is this difference

breath.

The

which

the

end

face of the reed

in the

avoid

curved

from

playeraway

is inserted

into

the

Budid's

"Porro

Sectio

Ganonis,

p.

37,

Hist.

great

to necessary his returned

curved

alii

sunt

bomboai,

tibiarum habere

solent

end,

have

had

tradit

graviorem

Sympt. Cam., by Bartholiin his De Tibiis Veterum, p. nus, lib, iv., 278,) "Ideo Aristotelfis,

vol. iv., plates 81 and

"

See

Sir

CoUeetion, FoL

WOliam vol.

1791-95.)

very

great

qui

calido

emittere et

vo-

Lamenta-

inspirant

sonum

absimiles,quales qui Xumbauli, i.e.,Sitioines,appellantur." (Quoted from Galen, lib.

"

a

eos

qualem Sitioines

cem,

tibiis."

ii

reed

spiritu talem

trices

non

double

Anim.,

utuutur

latissimarum

De

of

in

is

bombis

iii.

folded

or

inconvenience

is therefore

edit. Meibom. ""

the

that, whereas

middle,

usuallymade of brass. Some Etruscan Pipes shew the to clearly."The Etruscans seem "

of the

tube long pipe,the wooden would be equally long if

back

length. keep the

that

nearlyrepresentedby

most

very which

curved

base,

side.

Greeks, and the Bombard

ages, are now bassoon. But there

kind,

in the the

at

to

fair inference

a

seems

weak

a

parody

to

so

flute of either

a

be pure, soft,and from the end or

middle

the

From

made

were

comb, and

a

it

reed, unless

a

parchment

with

reasons,

Bombos

without

its tone.

blown

For

buzz

paper

the

whether

no

Hamilton's

ii.,plate 41, 83.

and

(Naples.

THE

SINGLE

preferencefor

REED,

SYSTEM.

CLARIONET

OR

263

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 found

on

sucli

Etruscan

an

ia the

vase

British

Museum.*

the

holds Roman a followingrepresentation, conical the true two therefore are pipes, which The original of the Etruscan. hautboy, as are some of the pictureis in the British Museum, 67. case In

Ancient

The

Second

Clarionet

or

Take the "

At

a

Hautboys.

Roman

is that of the

Principle

SingleReed

systemi

straw

other.

To

about

an

with

a

knot

at

one

end

Professor

borrow

open at words :

TyndaU's knot, cut lightlywith

inch from

the

the

of about

depth

and

quarter of the straw's diameter. Then, turning the blade flat, the knot, and so raise pass it upwards towards a

penknife to

stripof strip wiU

the

a

be '

a

nearly an inch long." This reed or tongue, to be set in

straw, the

Amphora,

No.

1260, in First Vase

Room.

264

THE

HISTOKY

MUSIC.

OF

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 effect. The tongue of straw is so pliableas not to requirepressure from the Hp, as it would in the case

vibration

of

a

reed.

Such

the

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 Chaluwas

of

meau

few

a

in

centuries

improved

an

keys.

The

clarionet

form

well

as

as

sized

equal but

and

it is

The

the

reed, for the

tube, enlargingonly

notlung to hautboy has

now

represented clarionet with

the

by

differs from

in the

the bell adds

discarded.

ago, form

in

hautboy

clarionet the

is

an

bell

end, the tone, and might t"e been

at

alreadydescribed

conical.

as

In aU

where

cases

the

object most The pliableone. will be

louder

a

reed

desired

the

mouthpiece is required, by players is to obtain a

stiffer the tone

reed

produced.

the ancients in which among otherwise. rather desirable than case

the

a

harsher

There

was

stiffreed

That

was

and one

became in the

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; "

When

the

the

the ovation fifth,

v6ix.og TlvBucos,or Pythian Nome,

was^

to the sung.

god.

APOLLO

During Mm

the

AND

PYTHON.

THE

first movement

265

"

Apollo

looked

about

if the

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 impressivelygave the dragon's out shudders and When the fight was over, groans. the statelyspondaic movement. That was to came the ovation, represent Apollo'svictory. Last came 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 carelesslydancing 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 to

see

u

-

u

-

-

-

reeds, thus

to

-

uu

with

choruses

of

voices, and

called also Chorauloi"

have and

requiredthe

be principles may been general among by far the more with- the latter,who Romans, especially loudest pipes for the great dimensions

'Pythaules qui Pythia

"1

verat, septem voce

-

single and

Greeks

a

ou

also used

were

were

The said

"

habuit

cantaverunt',

double

canta-

paUiatos, qui unde

postea

reed

appellatnsest from

Hyginus Tibiis,p. SI.)

Choranles."

(Quoted by Bartholinns, De "

266

HISTORY

THE

"

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

The

notes.

drown

to

it.^ in

trumpet modem

of

clarionet

clarionet

class to another Whenever

power

of the

of

clarion

ordinary

a

was

and

one,

this way, the names transferred from one character.

ancient

an

the

suggested

a

widely different

read

box," in which

In

sometimes

of

we

of the

the

above

are

rather

for

;

is its diminutive.

of instruments

served

have

to

seems

octave

an

had

size,and

time

own

emulation

pipes

name

trumpet

of his

This

in

pipes,said he, accompanied

ancient

those

chorus, but

a

bore, slender

of small

were

playerwho had or tongue of his

kept the reed infer that he we pipe, (the glottaor glossa,)" may used double, or possibly,a single reed, because a 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 a

"

"

Tibia

he

ut

non

sed

^mula,

orichalco

vincta,tubseque tenuis,simplexque, foramine pauco nimc

"

Adspirare et adease choria erat utUis, atque Nondum apisaanimia complere sedHia flatu.'' {Ars Poetica,linea ^

CaUed

a

yXiDaaoKofmov,

"tongue,"'

'

or

translation

exact

glossa, than

inserted.

which

The

of

usual

the

is

the

of

one

reed

the waa

glotta is fully

plained by Porphyry

in

his

a

glotta,

is rather

"mouthpiece," which glottis,into

mentary where

yXiaaaoKOiiov. "Keed," or more

or

ex-

Com-

Claudiua

on

he

202

gives

to

205.)

Ptolemy,

directions

for

selectingone

of cloae grain,light, equal, and for moistening the zugoi of double pipes before playing, and

"

"Aci

Si

xal

tSiv

aiiXStv dvai

yXwrraf irviaid^xal Xuag "c."

(p.250, Wallis's

koX

tAq

ofiaX"g,

edit.)

PIPES

bassoon

playerwould

lie fixes ceased

his

be

like

Hydraulic Organ. reeds the

to

that

of

smaller

are

Heron's

the

throat, their

double

a

The

voice

;

but,

the

as

apertiu-eat the top of

the has

tone

had

explanation of the reed principleis

human

than

has

for dominos.

box

The

he

when

reed-box

ancient

in

box, into wMch

a

reeds

double

modem

a

is described

nearest

without

The

267

REEDS.

THEIR

delicate

play.

to

slidingtop, sHde

AND

qualitythat

of the

more

designateas

reedy. of the It is next to impossibleto 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 ; we

horns

pipes,and derived

metals

their

of

various from

names

which

they supplicationto to

for the

animals

of various

the

of certain Some

sorts.

devoted,

were

beU-ends

pipes

special purposes Spondauloi, for

as

panying gods ; Chorauloi, for accomchoruses; Chorikoi, for accompanying choral dancings; Dactylic pipes, for a kind of dancing

which name,

must

have

been

in

time, from

common

its

whose (- J);Hippophorboi,for horsekeepers, u

of the

made

pipes were for

the

and travellers,

Again, pipes country them, as

or

so

of the

laurel; others

on.

sometimes

were

nation

bark

from

which

named the

Greeks

after

the

denved

Alexandrian, Tuscan, Theban, Scythian,

268

HISTORY

THE

OB"

MUSIC.

wMcli

Phoenician, Lybian, Arabian,

very long

were

pipes; and Phyrgian, or Berecynthian. was

a

It Ik

flute,blown

true

made

was

of

lotus,and

a

fawn, and Arabian

of whose

tongue

called

an

Arabian

Lybian Plagiaulos.

a

distinct from

the

attributed

to

of

eagles or

vultures'

made

of the

thigh-bone

.with

seemed

be

to

The

metal."

and proverbial,

pipeswas there

;

also

was

covered

were

length of

side

was

so

horsekeepers'flute which Lybia. The Scythian were legs; and the Theban were of

the

at

The

man,

a

end,

no

was

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 The

"

Adrian Aristotle

Junius, to the

his

in

efiect that

"

Nomenclator, these

quotes

long,

pipeswere

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. blown wide pipes,and were through a reed mouthPliny,in describingthe reeds grown in lake

Orchomemis,

Boeotia, says, that

in

called pervious throughout was This reed, says he, \auleticon). years to grow, of the lake were

as

it

was

for that

on continually

flood lasted at the full for

Onomastikon, cap. 10. The iroKv(p96yyoidvXoe, Onomastikon, lib. iv. "Varjpsque "

'

"

a

which

one

the used

piper'sreed, take

to

period the

year, the reeds

Claudian.

.^gyptia

nine

waters

the increase.

modoa

was

If the were

ducit

cut

tibia."

"

THE

BOMBYX,

for double

reeds

and byciae,

not

were

269

PIPE.

SILKWORM

and pipes(zeugitoB),

the

sooner,

OR

subsided

if the waters

called Bom-

fine,were

so

singlepipes.* 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 representationof a large musical 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 each

used

were

of which

the

for

leaves

have

been

they give it

cut

away, sUkworm's

and

suggested

the appearance of the body, five raised circular apertm-es may have the idea of silkworms' legs. Perhaps,

also, the

reed

while

the

thus

flossy,and

was

had

a

sUky

appearance.

The

These

circular

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 more probablethan that they can have been intended 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 bear

any

resemblance

says account

on

"

have

of its

been

Pliny's NaiMral

rvi. cap.

66.

to

Pollux,

Julius

played without would

apertures were

a

the

silkworm. well

was

powerful tones." reed, the

soft and History,

lib.

The

fitted for If it had of the

tone

low

byx, Bom-

orgies, been notes

feeble, "" '

Vol.

i.

plate 6, No.

OnomastUcon,

3.

lib. iv. cap. 10.

270

HISTORY

THE

The

And, which

the

to the

either

of

of

the

and

side,

powerful.

two,

the

at

the

as

The

of

increase

the

quahty of the tone. Plagiaulos,or flute,blown

at

the

a

reed, and

of air within

the

On

hand, the flute

the

end

other

has

stiff

a

to

present time, is the more is, that the lip is made

reason

the piirpose

serve

are

side, without

the

at

or

call

we

which

Pipes

artificial reed

an

change

to

these

end

and

as

Principles,

Fourth

and

Flutes

the

at

intervention

power Of

Third

those

are

blown,

for

reeds, were now,

MUSIC.

mouthpieces,such, cut out of Bombyx.

singlereeds

clarionet

OF

into

pipe

the' column

it sets active

more

to

vibration.

pipe blown at the precludes the mouthpiece, which or

Hp, and the sounds are weaker, but with The tone nearer approach to perfectpurityof 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; that the old English flute,blown at the end, was of the

use

for sweetness,

remarkable

but

with

httle power. In it had three names

to Rousseau) France, (according douce, and FlAte-k-bec, Flute "

"

It has

terre." cut

short, and

the

kind

four

such

mouthpiece like

a

the

of tone.

second

name

Having

once

flutes,of difierent

FlAte

d'Angle-

the beak

of

a

bird

exactly describes possesseda set of sizes, I

may,

with

certainty,speak of the general quahty as and with little musical, but remarkably sweet and the diapason-pipe The of an flageolet power. more

organ carry

are-

out

constructed the

on

description.

this

same

system,

and

PIPES

For

WITHOUT

of exemplification

instruments which the

PLAYED

has

at

knot

at

a

other.

make

blown

the

Take

sUt

narrow

a

knot, almost

tHs

the

"

"

and

extreme,

knotty end through the

the outside

to

viz. principle, take a joint of reed

third

end

one

271

REEDS.

is open

at

for the

mouth, and

upper

part of the

of the

reed, so

as

to admit

the breath

only through that sHt ; then cut a sloping notch out of the body of the pipe,about an inch from the knot, so as to leave a sharpedge pointingtowards 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 principleof 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 will

pass

then

be

The

seen.

inside

of the

organ is not

long narrow aperture, but pipe has the same exposed to the eye. The mouthpiece of the flageolet for convenience

is added

sounded

pipe may

be

parts

the

are

end

the

at

For

has

1

The

part The

of

the

plate at old

English

the

flute

sharp edge

of

this

One

for

the the

If

reed.

a

p. 63.

was

notch.

for

back

name

The

it,that ii^j

look

may

it.

notch

of exemplification

ancients, we in the

no

intended

been

have

without

slit and

than

rather

this

Fipple.

notch

has

to

for two

the

a

principleamong the Egyptian

been

because

essential

pipe blown pipe can only

of them

also

The

use.

called

it is the

sound.

holds

the

the ladies

two

of

Plectrum,

exciting cause

of

272

THE

HISTORY

MUSIC.

OF

these

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

reeds, and

so

would

of the

Greeks.

shown

in this mural

The

notches

Kalamauloi

the

to

answer

in the

pipes are not the strings are

painting,neither 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 "

"

the invention the

singlepipe

Osiris very about

of which

about

was

made

class.

To

to

Osiris,was

attribute

it to

equivalentto sayingthat it was so ancient that the Egyptians knew nothing at all its origin. It had many notes ; was a shepherd's

pipe ;

was

this

of

attributed

was

of

sweetness

of

reed

its tone,

Athenseus

weddings.

;

and,

account

on

of the

especially employed

was

collected

notices

of

at

this instrument,

from Amerias and, among others, one the Macedonian, who calls it the shepherd'spipe,or derived from the was Tityrinus. This last name quotes from Tityri,or Satyrs. Again,.Athenseus took, and played a Alexandrides, I the Monaulos wedding song ;" and next, from Protagorides, Ite kind of instrument, but drew touched the every "

"

sweetest

from

music

Whenever

we

kinds

and

this, blown to

"

See

the

Fragments

227, quoted Athenaeus.

from

of his

at

a

flute

without-

the

it a.

TMmyris,

by

""

Lib.

was

of remarkably one

reed

end, would

description. Such Soptocles,No.

pipe

or

infer that

may

playedupon

two

answer

of

read

we

soft tone,

Monaulos." th^i^weet of the

mouthpiece, most closely pipes had not

iv. cap.

78.

ANCIENT

sufficient power

for

a

a

room.

charming in

were

is

softest

by

use.

The

when

Fourth

Flute, blown the

breath

they

the

The

have

side

passingdown

ampHtlieatre,but of all pipes tone

Roman

Principle at

273

FLUTES.

by

been

well

is that

of

the

the

help of

tube

at

a

moistened

our

present

the

lip,and rightangle,

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 was distinguishedin France and 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. Accordor

"

"

to

Athenaeus,* the

wood, and he adds

Photinx

was

made

that the lotus grows of such not 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 long as to reach to the ground, it would fatiguethe 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 "

Lib. iv. cap.

80.

274

THE

HISTORY

MUSIC.

OF

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

a

blow

at the

He

own.^

our

behind foot

him,

beyond

that

so

the lower in

of

case

being caught by

When

end may

a

as

same

of his flute rather

end

passer, the upper his face.

leg of

or

tvirns

side,is the

of the

extreme

very

the

be directed

of a man representation playinga flute of about foot in length,we one may say, at that man the is playing the treble,"because 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 we

a

see

"

blown

be

to

the

whether There all

ends, if

pipersare,

no

are

the

at

indications

the probability,

63 ;

but

them,

and

therefore,in

is of the soft

English flute Egyptian lady representedat

three

the

determine

not, using singlereeds.

are

of

music

kind, like that of the page

or

could

we

playingmusic

instrumentalists

in three

parts. The

are

doubtedly un-

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.

by ohUque

and

He

not

understood

supposed

the

JMte iraversih-e

two. different instruments

flCkle to

be

one.

So

Athenaeus.

he "

instead of

modestly corrects i. 285.) (Histoire,

PHOTINX

when

275

MONAULOS.

AND

reeds, like clarionets, they must

pipes have single still be playingin

harmony, but

There

they

another the

why

reason

playerswith

flute would

Octave

an

clarionet

the

is,however,

improbable that either of shorter pipesshould be employing it is

too weak

make a

lower.

it is

reeds,and

contrary, such

If the

used.

were

a

flute would

because, in that

case,

base for them. be

On

a

the

appropriate

quitean

base for the

Egyptian Monaulos, which was like the old EngHsh flute,or the flageolet. If the Egyptian pictureshave all been 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 of the Photinx

invention well

as

that

a

war

which

the

says that they had sort of meat, and

Each

Monaulos.

sizes and

of various of

of the

attributed

was

Osiris,as

to

kind

made

was

lengths. Poseidonius, speaking about to wage, Apameans were asses

by

the

laden

with

wine

side of them

and

every

packed

were

"little of

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,

and

on

the

other,that it

shape that togetherthree its

Photinx "

"

Ibant

nor

of

a

et dicati magno

aurem

familiarem

crooked

flute,and

there

He

mixed

Neither

instruments.

Monaulos

the

crooked, neither

were

Serapidi frequentabant." (Apuleius Meta-

tibioines,qui per obliquum caJamum, ad

a

bull's horn,""

different the

"

was

pertractum dexteram, templi,deique modiUum

"

xi.) Athenseua, lib. iv. cap. 78. Burney, vol. i. p. 202.

morp., * "

lib.

T

2

276

HISTORY

THE

either

"was

An

of them

shaped of

made

instrument

MUSIC.

OF

the

at

end

horn would

have

been

and

Monaulos

difference

was

blown

at

Photinx

the

the

Keraulos,

a

the

the

end, and

was,

that

second

at

two

side,

the

at

a

horn-pipe. The both straight, and

or

were

the

between

have

pipe with

a

a

horn.

a

would

bull's horn

a

"horn ;" and Keras, literally the at end, or a horn blown

been

like

the the

first

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

curved

horn "

of his fourth in

Fasti, lib. iv. line

Protinus

Athenseus

having

as

up

horn

others

and

with

smaller much

the

mouth

say, like horns.

bore

the

:

"

cornu

deep-tonedPhrygian pipe somewhat

than

like

Ovid, that the ends

Phrygian pipe,"says

"The

to

....

speaks of a

181

inflexoBerecynthia tibia

Flabit."

Ovid

Book, and

the

a

trumpet,*

were

turned

"is Porphyry,''

of

Greek, and, therefore, emits

sounds."

there

He

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 singlereed, and like clarionets, 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 "

graver The

Deipno -sophists,lib.

84, p.

185.

iv.

cap.

*

Comment,

217, WaUis's

on

edit.

Claud.

Ptol., p.

PHRYGIAN

wide

or

for width

narrow,

increase

BERBCYNTHIAN

AND

277

PIPES.

supposed only

was

to

loudness.

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 sensiblyflattens the pitch. If 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 propertiesof a account

stopped pipe, but

Twelfths,

two

are

breath

the

Harmonics

only

above

one

the

it

produces

other, and

produce a third Harmonic. Phrygian pipes are described by Aristides cannot

tilianus and

of

as

feminine

a

lamenting."*

some

the

playedwith pipes other

hautboy

double than

that it must

From

the

on

were

character, "for

reeds.

and

So

Berecynthian,and

certain, because

Aristides

contrasts

wailing

be inferred that

bassoon

there

Quin-

principle, Phrygian

were

it is the them

more

with

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 as equal,and at others as of pipes,and sometimes might be played upon unequal length. Octaves of two doubling the length of one pipes without

them, if

high

a

note

Double

low on

note

the

on

the

male

and

gamelion aulema, or Phiygian pipeswere 'Tqepov

Kai

one

and

a

other.

pipes of unequal length were as

"

taken

were

female, and

married much

often

their

"

piping as

piping. in request for

dfyrp/uSn" (Arist.Quint., p. 101.)

tinguished dis-

funerals

278

THE

and

lamentations.

HISTORY

and

AthenseUs it to the

be

anything

be

to

of

very

name

equal

which

understand

not

invention

an

also called have

may

arisen

Laconian

to

staves, or

to

in his

Phrygian, upon which skUful."" Again, Juba

Elymoi were that they were

Phrygians,and This (o-KuraXia?). resemblance

do

"we

the

but

are

the

pipe called Elymos, Tympanistai, upon

that

comments

that

a

his

in

Alexandrians

says

to

the bassoon

have

There, again,we

principle. Sophocles refers Niohe,

MUSIC.

OF

of

the

Scytaliae

from

their

snakes, said

circumference

throughout. J. C. a Scytaha was tiny pipe,

the says that like a small twig,and of very thin tone.*" It is to be regrettedthat he does not give his authority,

ScaHger

for

a

could

horn

not

be fixed

at

the

end

of

a

twig,

better to the Asiatic descriptionanswers Gingras than to the ordinaryPhrygian. Lastly,Juhus Pollux says that the Elymos was of the Phrygians,that it was double invention a an his

and

of

pipe, made

boxwood, with

a

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 tube, and

that

it

was

,

where "

^

et

he says,

"

That

which

Atjienseus, lib. iv. cap. 79.

Seytalia aurculi exigiii "

vero

now

call Psalterion

teuui, ac rei ipso reapondente." lib. i.) (Poetices, Onomastikon, lib. iv. cap. 10, 74. "

tibia, pusillafuit similis,sono

we

prae-

'

BANDAGES

is the but

wHch.

same

that

PrPBRS'

OVER

which

formerly called Magadis; be called Klepsiambos" (a

was

used

279

MOUTHS.

to

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 comparativedisuse."* Before partingwith the subjectof ancient pipes, there are of a few pointsconnected with the manner playingupon them, and with pipers,that should be of noted. In the first place,we see representations men

with

leathern

something heads.

The

cheek, and ends head

of the

of

a

halter

bands hole

pipesinto

seems

bands

the

intended

slippingbelow

the

kind

over

stretched

are

is cut

their

over

in the

mouths, and

their cheeks

tightlyover

leather

to

admit

mouth, while the loop over to

cheek.

prevent the This

and the the the

strap from of

bandaging called the Phorbeion was ; in Latin, Capistrum. It served to relieve the Hp from the weight of the pipes, but more especially, by its tightness,to diminish the exertion of contractingthe muscles 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 especialstudy 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 singer,who, in his endea"

AtlienEeus,lib.

sort

xiv. cap. 40.

280

MUSIC.

OF

HISTORY

THE

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. to

vour

from and

Harmonic

of the

Some

notes

pipesrequiregreat exertion, wiU even bring a flush into forehead, but

the face and

the fundamental

not

so

ordinarynotes of the pipes. The followingis a player,with a bandage of this of kind, copied from the Arch or

Piper, with a Phorbeion, or Capistrum.

Titus.

that the players had peculiaritywas sometimes plugs, or stopples,that passed quite through their pipes. The effect of such plugsmight Another

be to shorten

pitch of close the

the

of

instrument,

or,

tube

pipe. The puzzlethat continue

the column

to

do

so,

bagpipe

Askaulos, but

and,

the

to

other

raise the

hand,

to

to make a as effectually stopped of them are a capriciousforms of some has hitherto defied explanation, and may

until

had

it

some

ancient

treatise

on

be discovered.

Peculiar

The

on

so

so

pipe-playingshall

The

air,and

Plugs to Pipes.

at

was

sometimes

least

very

the

Greek

little used

name

by

of

Greeks.

it this Greek gave name, It is at others,called it the Tibia utricularis. Eomans

CHINESE

to be considered

FREE

rather

as

281

KEED.

than

Roman

a

Greek

a

as

instrument. Ancient

pipeswere

of

so

kinds, that

many

it has

requiredconsideration to place the subjecteven so far in a digested form the reader. Other before classes

of

instruments

do

present the

not

same

of

But, before partingwith the difficulty. should subjectof vibratingreeds,a Fifth Principle be mentioned, althoughwe yet lack evidence of any amount

very ancient use. In instruments

singlereed

a

the

sides

that

of

Beating

of

the

Fifth

vibrates

extends

know

we

we

have

considerable it is the

for all such

in modem

the

tone

touch is the

Hence

the

more

varied

metal

reeds

variation

Another

into

the

closeness Sixth

by

the

that

The

earhest

but

of these

StUl the

at

it is

a

present

harmoniums upon which indebted to the Chinese

are

The

free reed

is

also

now

Tongues of this kind organs. therefore produce musical sounds,

they be made tongue be large,so as to

organs,

specimens.

one

we

whether

even

Eeed

Free

interest

instruments.

vibrate,and

The

is called

touchingany thing.

constructed, and

employed

is the

reallyancient

no

time, because

and

have

we

flapsagainst,

That

of' it is in Chinese

principleof

from

kind

and

over,

mouthpiece.

Principle

without

use

will

clarionet

Eeed.

The

are

the

of wood to fit very

sides

of metal.

or

of its

and perhaps closely, fi:ame imperceptibly,

reedy than with qualitiesthat may made

of

is caused

If the

the

a

freer be

space.

produced material.

same

by superior hardness

of metal. Principle

"

that

mouth, using the

of

a

lip as

cup a

to

be blown

reed,

as

for

282

HISTORY

THE

Trumpets

and

MUSIC.

is the

instruments

lipto

of which

be curved be

or

whether

straight. They

subjectedto strong

-will often

be

seen

on

It

ever.

as

now

same

not, except for convenience,

matters

the

Horns,

OF

all

the

require

pressure, the marks the player'smouth.

It is the as

them sound, by its acting lipthat makes ITieir great power arises from vibratingreed.

a

the beU The

end. ancient

of the

Tuba

some

trumpets

to

seem

with

others,

curved

Tuscan

to

have

been

short.

Sir J.

says eighteeninches long. The only rather longerthan the Egyptian.

origin.

bronze, and

used

by Greeks Tyrrhenian,otherwise

trumpet

of attributed

was

but not always, ordinarily, were long. Egyptian very have been straight, and, in comparison

Wilkinson

Assyrian were The

Greeks, and

Romans,) was

straight,and

Gardner

the

trumpet, (Salpinxof

The

tubes

were

of

and

Romans

Etruscan,

or

metal, usuallyof

the

The curvature mouth-piecesof bone.* enabled the Tyrrhenians,who, according to Aristoxenus, were Greeks,''to, have more originally trumpets, without inordinate length. deeply-sounding earlier specimens of the of the Some straight cones trumpet, such as one kind of Assyrian,were of graduallyincreasingcircumference,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 of length,without bell ends, and speaking-trumpets and of largediameter." five feet in length,

"

and *

Onomastikon, other

lib.

iv.

cap.

authorities.

Athena3US, lib. xiv. cap. 31.

11,

"

Aht.

Lepaiua'sDerikmcihr, Dju. 2, Blatter,27 and

30.

4,

SHELLS

A

FOE

sliell of

horn

than

twisted

as

Romans.

HOENS

AND

form

The

Greek

used

rather

Greeks

and

was

trumpet, by

a

the

name

283

TEUMPETS.

as

the

by

Kerux, which

was

a

also

Herald and a a Crier, suggesting that it signifies was originally holding such offices. employed by men The

Latin

the

trumpet,

of the

name

shell

Buccinum, and

was

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 in war, When

well

as

the

been

for variovis other fell under

ancient

Greek

of the

the

purposes. dominion

Kerux,

name,

the Greeks

dropped,and

imitation

an

as

Greece

Romans, have

Buccina.

of

to

seems

to have

the

adopted

Latin, callingit Bukane.

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

We

may

'

frieze,in the

Triton

on

Palace

at Rome.'"'

Burney

a

made

this conch

court

"

of the

Santa

Croce

the very natural mistake of supposing Tromha Marina to have been named

by the Italians; but, oddly enough, they gave. that of triangularinstrument designationto a wooden six feet in height,with but one about string,and In fact,to a Monochord, having playedwith a bow. of the of the trumpet, or sea nothing whatever ~

about "

SBnea

quam

it.

"Figura Tritonia servo.

hse turbinatie

nostra

desumitur

ex

imagine antiquioperis, Frequentes occumint Tritonum

buccinse

in

anaglyphis,et "c. *

"

picturis vetemm,''

(p. 16, edit. 1742.)

History, vol.

i.

plate 6,

No.

6.

284

THE

It must

always

be

not

MUSIC.

OF

that

supposed

shell,or

a

even

transferred

was

name

HISTORY

to

of

imitation

an

short

any

Buccina

the

was

The

one.

straight trumpet

beU-shaped mouth, and so was opposed to the Salpinx as to size and length,and to end. the Lituus, as to the latter having a curved silver For instance,Josephus,in describingthe two 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 straighttrimnpet of Moses, to the short and of

metal, with

a

Bukane.

The

The said

to

Lituus have

Kerux,

curved

was

taken

its

or

Bucciha.

upward from

name

at the

the

end, and bent

form

is of

the

a augural staff. It was speciesof clarion,or Octave-trumpet,made of metal, and of shrill sound The Romans employed it for their cavalry,and the straight trumpet,for the foot.

"

Multos

castra

Permixtus Detestata."

The two

but

an

Roman in the

Lituus feet in ancient

juvant, et

sonitus, bellaquematribus "

(Horace,Ode

i. 1. 23-25.)

is

usuallyrepresented as not exceeding fit for cavalry; length,and such were instrument

in the antiquities,

was

bed

Lincolnshire, in 1761, and Lituus, but

lituo tubse

exceeded

found, among of the

river

this had

four feet in

the

other

Witham, form

length.

of The

THE

following,

is

History,

included then

Banks, and

and had

in

the

well

to

to

the

should

read

them

animals, metal.

than

the

Nature's

forms,

usually

curved

instead

of

of

ment instru-

Joseph

Sir thin

hrcuss,

of

mixture

copper

size.

large

to

have

that

for

seems

suspect

been "

only

these first but

at

were

known un-

brass"

we

when

at

the

end,

had

made

in

as

was

metal, entire the

about

horns

of

imitated every

their

throughout

said

first, Hterally,

they

readily

so

be

to

more

afterwards

were

case,

be

may

nothing

is

they

that

and

The

i.

"very

the

twisted,

and

there

that

In

I

Burney's

bronze."

"

that

imagined

of

brass,

straight

Horns,

As

Lituus

ancients,

vol.

of

was

gUt."

make

zinc,

of

4

from

it,

possession

says

A

and

plate

Bumey

been

of

copy

in

285

LITUUS.

reduced

a

was

ROMAN

Lituus.

in

variety they

of

were

length,

286

CHAPTEE

Dulcimers.

Krembala

or

Oxubaphoi.

"

or

Instruments

to

of

Krotala.

"

"

Percussion.

of

these, the Sistnun

Among

"

kinds

Three

"

Acetabula.

"

Drum.

"

Castanets.

as

now,

Tambourines. Lekidoi.

"

Sistrum.

Egyptian

The

"

Timbrels

"

Cymbals.

And

Percussion.

of

Instruments

XI.

has

claim

some

be

to

having been employed in Egyptian temples, and for religiouspurposes 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,

first named,

and

in these

bars, which

holes

bars

the

out

of their

at

or

shaken

be

loose

four at

the

places.

"

them

a

rattle.

of thin

ends, to It

metal

time, by

one

hand, and this made

like the stems

were

bent

they were

three

were

all to

were

lightjerk from The

of its

account

on

was

so

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

of

'

women

the service of the the

Amun,'

"

says,

who

devoted

were

deity."* The Egyptian

Jupiter Ammon

Gardner

and

The

of the Sistrum

Romans. was

the

Popular AcQOunt of

the Ancient

was

Again, sacred

excellence,and belonged as par the service of the temple,as the small ^

Amun

to

Egyptians, vol.

Sir

ment instru-

to peculiarly tinklingbeU i. p. 13.3.

THE

that of the Roman

287

SISTRUM.

EOYPTIAN

chapel. Some pretend it was used to frightenaway Typhon," [the Evil bars Being,]"and the rattlingnoise of its movable sometimes increased was by the addition of several loose rings. It had generallythree, rarelyfour,

td

bars

;

18

or

It

the

and

inches

Catholic

whole

instrument

length,entirelyof

in

inlaid

sometimes

was

otherwise

ornamented

;

shaken, the ringsmoving These

last

sacred

asp, or them.

secure

brass

or

8

to

16

bronze.

silver,or

with

and

from

was

being

held

gUt, or upright,was

fro upon the bars. imitate the to frequently made

were

to

and

simply bent

were

Plutarch

each

at

mentions

cat

a

end with

to a

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

face

the

on

on

the

the other," [signifying

beginning and

the

end.] "

The

British

Museum

possesses

an

excellent

specimen of the Sistrum, well preserved,and of the It is one foot four best period of Egyptian art. inches bars, which high, and had three movable been have unfortunatelylost. On the upper 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 scarcelytraced in appears to have "

The

handle

is

'

"

the remains "

of its feet."*

Popular AtxowrU

of the Ancient

Egyptians, vol.

i. p. 131.

288

THE

Dr. trum

from

HISTORY

exhibits

Bumey

Plutarch's

shows

supposed was

Osiris.

instrument

Isis

of

the

was

Typhon, and supposed judge of to

An

Egyptian

Sistrum.

"

Hkewise

Sistrum

to

Sistrum,

:

that

necessary

be

the

enemy the

"The

cease

of

onlyby married of the signification

emblem.

an

the dead

this

Sis

a

carried

and

Osiris

translation

Isis and

on

why

rehgionwas as

a

of

here

is

of the

account

in his treatise

women,

a

Paris,* which

reproduced. The followitig is

cat

MUSIC.

perfectspecimen witli tte cat upon it, copied vieve in the libraryof Geneone at

It

OF

beingsshould from

rest

and

excited

radicates

their

shaken

be

local

that

and agitated,

motion, but

it

IS

never

should

when

they become drowsy and languid. For they say that Typhon is deterred and repelledby the Sistra ; manifestingby this,that of things] as [thecourse corruptionbinds and stops", so again resolves nature, and excites it generation But, as the upper through motion. part of the the concavityof it compreSistnun is convex, so hends the four things that are agitated. For the is general and corruptibleportion of the world comprehended indeed by the lunar sphere; but all things are moved and changed in this spherethrough *'

the four And

on

elements summit

the

they carved under

a

of fire and of the

earth, water

concavityof

cat, having a human

face

the ;

and

and

air.

Sistrum, on

the

rods, they placed on part,below the rattling "

Bumey's History,vol.

i. plate5, No.

13.

PLUTAECH

side

one

the

ON

face

of

THE

289

SISHRUM.

Isis,and

the

on

other

that

of

Nephtys, obscurelysignifying by their faces and death (or corruption) ; for these

generation the are

mutations

But

the

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 cat

all, which

is the

number

of

illuminations

the

of

This, therefore,is perhaps more mythologiThe pupUs, however, in the eyes of caUy asserted. moon.

the

cat

when

are

the

seen

is

moon

become

fuU

full,and

to

to

deprived of lightdtuing the However of

the

debased

were

and be

dilated

diminished

decrease

and

of this star."*

of the

many

be

to

ancient

superstitions the supposed

Egyptians, as to emblems of their gods,there was some part of their in advance of other philosophyin which they were 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

the

moon

;

and

when

the

Manetho,

Egyptian priest,states their emblems, he adds, Statues and holy placesare prepared for them, but The world had the true form of God is unknown. a beginning,and is perishable it is in the shape of a "

"

"

The

translation

from

a

note

in

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

Roman that there over,

tion reverse.

authorities the

earth

were

plain,and that MoreAntipodes.

was

no

still maintained a

they prohibited of

all books

that

the

circula-

taught

the

290

HISTORY

THE

ball.

The

under

their influence.

stars

MUSIC.

eartMy things when is eclipsed

fire, and

are

the shadow

crosses

OF

The

of

moon

The passes into other bodies. change in the atmosphere."^

a

There

between pointsof resemblance many and Christians which might interest

are

Egyptians

curious,but they are work.

I will

have

to

is caused

rain

and

is included

one

that

noticed, and

seen

in

a

book

such

referring upon

which

to

by the

the

the scope of the present which I do not recollect

beyond

only name

it

endures,

soul

The

the earth.

are

one,

only because

it

few

would

of

It is

subject.

think

sprinkling those who the temples,to purify with water enter them. Vessels of water were kept at the entrances of Egyptian temples for that specialpurpose.''As to the Sistrum, according to Bruce, the Abyssinian Christians retain it in use in their worship,instead of triangularform, with of little bells ; and one been used in Italy to have ringson its bars, seems the

at

such

as

those

being straightand long shallow box

late

greater

ease

in the

held

Manetho's

instrument

an

of the

as

a

with

bars

of

Sistrum, but, instead

loose, they

fastened

were

sound-board,

Oompendiwm

of Na-

"tS"v ^vaueGiv Philosophy through Diogenes quoted iTriTojirj," "

i. p. 74.

and

trigonum

reumve

annuKsve

baciUo

tinnitum

edens,

edebant

olim

Laertius,by Bunsen, "i Heron of Alexandria, SpiritaMa,

Italia

No.

Junius's

31. "

sixteenth

of

into bent

a

to

heights,so that they might with be struck separately by a rod of metal This instrument righthand. approaches

twal

"

the

as

of different

curves

"

as

to

as

"

Assyrians had

The metal

of chUd-birth

time

century.

a

SiSTBUM

gilio.

Ovid, crotalum

Instrumentum

seneum

Virfar-

etiam

Higina, 1585.)

ferme, ferreo ad

complosis staticulos

quos

pueUse, qui num

durat."

Nomendator, p.

orbiculis

,350.

8vo.

"

mos

in

(Adrian

edit.

John

London,

ASSTRIAN

THE

the

to

more

Its

Assyrian

than

class of dulcimer name

is

291

DULCIMER.

to

and

unknown,

any

other.

although

a

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

The the

as

wires. the

Assyrian

Dulcimer

Player.

class Egyptianshad instruments of the same above, but they played them by pullingthe In

other

one

one

case

the

end

of the

two

ends wire

were

rods

Bepresentationswill be found in Wilkinson's Popular Account, vol. L These

instruments

must

have

been

fixed,and

left free.

was

Sir

in

J. Gardner

p. 120.

for the purpose

soimds from vibrating rods, obtainingHarmonic The exemplifiedin lectures on sound. just as now of

u

2

292

THE

OF

HISTORY

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

by

feet

two

broad, and

drum-sticks

dnom-heads

were

with

covered

of

skin

ends

at

leather

pads. The ingeniously

of leather

or

the

beaten

were

modern drums. tightened by strings,as in some 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

extremes, below

the

of the

tapped modern

hung

were

waist

Hindoos

the

in

the

at use

middle

from

the

neck

at

to

a

the little

veniently player,so as to be conends by the fingers. The

drum

a

than

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 sometimes were quadrilateraltambourines 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,

least,J^areekinds

at

First,the Kumbala, which appear largest,and of metal; next, the from

judging "

For

the

name

their

name,

Lehidoi,

see

Nioomachua, p. 1.3,and lamblichua' Life of Pythagoras, cap. 26. For an

example

sauce-boat

of

the

ovai

dish,

shaped cymbals,

or

with

were

to

of

have

cymbals. been

the

Lekidoi," which,

perhaps

the

oval

of ring handles, see plate 21 Herculanevm, by Thomas Martyn. For the round London, 1773. 4to.

shaped, see Bumey's plate 5, No. 7.

i.

History, vol.

CYMBALS

AND

CLAPPERS

dish-cover shaped metal which

kind

we

see

nymphs; and, The

last

and

saucers,

They

named

frames

of

Romans

had

their

with

handles, of

in the hands

therefore

were

293

KINDS.

of

dancing Oxubapha, or Oxubaphoi. the Greek after vinegar

so

perhaps

were

cymbals

many the thirdly,

were

VARIOUS

OF

such

as

timbrels

of

diminutive

size.

suspended

were

in the The

tambourines.

or

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, spring,midway between 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

Syrus, in on

account

Latinized his

Their on

the

Publius

Sententice,calls the stork: crotalistria, bones

two

have

nations

originhas one

Crotala.

name,

of the noise made

togetherthe All

Greek

been

hand, and "

Comment,

by

the bird in

striking

of its beak.

had

debated cockle cm

of

castanets

Psalm,

between

or

No.

nut

oyster shells 130.

kind.

some

shells on

the

294

other. had

of

thought

made

they They

has

them

little

science

of

be

else of

to

music,

able

to

They

note.

do,

either

and

the

recognise

gilt.

with

only them

percussion

of all

in

same

scarcely

is

and

metal,

and

ages,

difference

a

marked

Hermippus,

apud

Athensenm,

rhythm,

the

art

thing

now

imder

lib.

in

xiv.

or

but

with

required their

cap.

all

between

names.

*

rocks,

{icpen^aXi^ova-c.Y

instruments

the

there

worthy

had

ancient

entirely

that

districts,

of

made of

principle so

the

"

sometimes

been

the

Krembala.

from

limpets

any

for

was

castanets."

Uke

than

name

dancing the

country

either

Greek

accompany down

of

use

The

noise

a

were

The

to

to

beating

"And

the

the

of

character

invention.

used

castanets

with

do

to

more

the

and

Climate

MTJSIC.

OF

HISTORY

THE

39.

various

the is

295

CHAPTER

Stringed instruments.

The

XII.

grades of Lyre. Phorminx, Kithara, and Chelys. Polyphthongos, Polychordos,Barbitos, Asiatic Lyre. or Sambuca, or small Trigon. Etruscan Lyre. "

four

"

"

"

"

"

The

fabulous

The

Pektis.

Greeks

real

^Psalmos.

Harps.

"

"

Boethius

Pythagoras. Pandoora.

"

Lyre. No

class

a

instruments.

of

Harp

strings.'Epigoneion "

of

of blind

men.

various Roman

"

kinds. use

god.

Pelex.

"

Psaltery

"

iU-used

an

Skindapsos.

"

principles in

new

wire

indifferent

an

Apollo

"

Egyptian Harps

"

imagination. Bands "

of

Nabla.

"

of the

Appendages "

Tripod

originators of

no

Trigon.

"

"

Large

"

Simikion

and "

"

Etruscan

of four

strings.

music.

authorityupon

much has alreadybeen said stringedinstruments incidentally.As to the different sizes,and different kinds of Lyre, Aristides Quintilianus classifies them in the followingmanner First, the parent Lyre, : Op

"

as

the

most

masculine,

This was rough tones. Lyre, and probablywas agrees

with

that

of

a

therefore often fixed

the

on

a

star.

low

and

largestkind

stand, as its Next

to

of

name

it, the

and

rough, but not differingmateriallyfrom the Lyre. The Kithara was a portable instrument, and as the quality of yieldinglow sounds must depend mainly upon length rather less in size be ranked of string,it may as It is now than the Lyre proper. indistinguishable which also portable; but the Phorminx, from was 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,

as

a

little less

of its low

account

on

"

"

296

MUSIC.

OF

HISTORY

THE

Lyre. This is elsewhere termed the Polychordon,or and is equivalentto the Barbitos,* 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 to many stringsin his time. "

alludes devotes "

the Barbitos

to

it to the hands

If neither

flee away

Euterpe

withhold

instrument, and

Lesbian

Polyhymnia. (Ode i.)

of

to strain the Lesbian

Theocritus

a

as

"

her

pipe,nor

double

Polyhymnia

Barbiton."

describes the Barbiton

many-stringed,'' and for lyre. Euripides again makes it a synonyme Aristides describes the Polyphthongos as of a feminine to the largerLyre and to the character,in contrast It is hardly to be doubted Eathara, as masculine. that

the instrument

the

which

girl at

young music from

p.

scroll

a

or

is

as

in the

seen

118, where

she

book, is the

hands,

of

is

reading Polyphthongos

"feminine" as description means than the largerinstruthat it yieldedhigher sounds ments, had 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 The

Barbitos.

or

"

very "

Also

ton, and 1014,

for

little use

music, in

called Barbiton, BanimiBarmos

1016,

and

(Athenseua, iii.

"

Julius

Pollux's

OTwrnastihon, lib. iv.) Euphorion

speaks of the

Baromos

and

Barbitos

our

sense

of the word.

separately. (Athenaeus,lib. 80.) See also Strabo, lib. x. "

^

Idyllxvi.

"

Antichitd, di

p. 31.

iv. cap.

line 45.

Ercolano,

Naples, 1757-59.

vol.

Pol.

ii.

TERPSICHORE

WITH

29-7

LYRE.

HER

yy^^iuv'^i.-^

with Terpsichore,

The British

The

crumbling

Lyre.

Greek

and it is sycamore; Egyptian Lyre in the Berlin

Museum

that the the two

of the

wood

a

in the most

British

Museum,

feminine, or

accordingto Aristides,was "Arist.

are

Lyre in the is noteworthy Museum, and

of the

same

wood.

highest soundingof lyres, the

Sambuca.*

Quint., p. 101.

298

THE

HISTORY

OF

MUSIC.

is barbarian ;'^the says that tliis name Phoenicians, the Parthians, the Scythians;and the Strabo

"

cave-dwellers, have

Troglodytes or of the

credit

the

people to have when they had borders

made

their

such

of the

Red

Sea.

does

not

last

homes

country

a

Troglodyte instruments four strings.*We may been the little Trigon. Aristides

The

invention.

The

this

suppose the

name

inhabit

have kind

Phoinix

them

;

escape

sound-holes

and of the in

seven

are

must

tone.

The

number, but

had

wise

ground, the

as

and

the

had

but

to

have

nor

the

for strings, Aristotle refers to them as magadizing, or octaveplaying,instruments.'' Accordingto Semos of Delos, 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

a

were

Parthian to

had

turn

under

to

said

are

in

for

many

the

strings virtually

only four, because, while the base the others are stringis but single, 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.

"

Athenseus, lib. xiv. cap. 40.

xiv.

of Sect.

19.

^

109.

Etruscan

voL Antiquities,

Naples, 1666-67-

Fol.

i. p.

THE

a

bridgeto

holes to at

TRIPOD

299

PYTHAGORAS.

OF

the

lute on p. 62, and hieroglyphic of those in the frontispiece, and

one

sound-

again

p. 43.

Athenseus

quotes

Pythagorasonce tripod,such as and

vase,

another scale

that

story told by Artemon,* that

a

strung the three sides of was

used

he tuned

to the

to

support

So

ornamental

side to the Dorian

one

Phrygian,and

mode.

an

Delphian v

a

far, aU

scale,

the third to the

Lydian

it is possible ; but improbable that Pj^thagorasshould have attempted 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 he was about with such rapiditywhUe playing,that 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. or

admits

Artemon an

instrument

doubt

the

that ever

story was

was

it is uncertain

existed, and fabricated

by

whether

there some

such be

can

who

one

no

had

not That, indeed, would knowledge of music. precludea painterfrom depictingsuch a tripod,and the curious may the imaginary instrument so see copied into Dr. Burney's History of Music. (Vol. i. plate 5, No. 11.) no

"

"

Another

instrument, which

amount

of faith to beheve

ancient

vase

in the "

in

Munich

Athenseus,

demands

a

certain

it,is depictedupon No. 805. collection.

lib. xiv. cap. 41.

an

It

.

300

THE

HISTORY

is

supposed to be in perhaps as mythical The

tone.

such

There

form

many instruments

we

are

the invention

are

the

as

does

are

ancient

and

hands

Muse.

not

one, even

it is

Erato, and

of

No

sounding-

it could to

seem

have

no

admit

of

addition.

an

which

the

MUSIC,

shown, and, without

is

board

OF

more

for

indebted

to

of

painters of sculptors. Some made so heavy with that

ornament

produced by

any tone the strings

have

would

been

audible in-

at the distance

of

yards. Others without are soundingin boards. ApoUo was these respects a particuErato's Harp god. larly imfortimate had He a scarcelyever lyre that would few

a

'

on

worth

obolus

an

The

Pektisis

Etruscan

an

have

Vase.

been

for its music. almost

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

another nor

as

iastrument, and

Plato finger-board.

that

one

had

neither

supports the

neck

second

scription, de-

by referringto it as a Trigon, or harp, having many strings."Again,both Aristoxenus and the Pektis as a kind of Magadis, Mensechmos identify "

i"

Attenseus,

lib. iv. cap. 81.

Atbensens,

lib, xiv. cap. 38.

"

Plato, RepuUk,

lib. iii. cap.

10.

PEKTIS,

301

PANDOUE.A.

AND

NABLA,

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

the

between This

tliat it

was

and

Nabla

is, perhaps,only as

to

other

authors the

attribute alludes the

the

to

sounds

the

lotus

paintedupon

The

lotus

was

rounded

like

requireto Nabla

is

the

with

instrument

the

the emblem were

ribs

a

Sidonian

had,

m

It is two

the

he upon

Nabla.

emblem

of

ribs of the instrument.''

Egypt, and the carriers of Egypt. An all probability, back a

lute, for that

of the

hand

to

of Lower

corn

be ribbed. one

the

Slave, notices

Yet, Mustakos, in The

Phoenicians

the

Phoenicians, when

produced by of the neck, [tlie laryngophonos,) to

and

identify. Sopater appears

to

Nabla

the

Baromos

same

instruments, quotationsfrom

two

seem

Pandoura.

for, in the

name,

sentence, he joins together the

Barbitos," which

the

form

alone

probable,then,

kinds

of lute

would that the

exhibited

in

to this Egyptian paintings,as in the frontispiece Pandoura be the Greek book ; and, possibly, may

for the other.

name

subjectof the ribs of an instrument, which ribs would only be made for one at the back, there is an rounded antique pantheistic And

"

""

while

now,

on

the

Athenseus, lib. xiv. cap. 36. See

LiddeU

and

Scott's Lexicon-.

'

Athenaeus,

^

Athenseus,

lib. iv. cap. 80. lib. iv. cap. 77.

302

THE

HISTORY

OF

MUSIC.

of the second century, which gem the receding back and ribbed of

head

the

lute.

exhibits both

the

It

represents,perhaps,Osiris

as

Apollo, with the seven rays, the for the risingsun. On head are the wings of Hermes; under

and

chin, the

the at the

back

Apollo,the

of

and the

moon

of the

trident

;

head

of

tune, Nep-

lute, instead

a

lyre,for

Hermes.

of The

and is cut in chalcedony, gem the collection is here copied from of Gem/me

Antiche, by de la Chausse, Rome.

Causeus

earliest that

is the

recedinghead,

which

all the

With

word of every musical ancient and

one

have

I

that

yet observed be

can

but

are

little can

a

be

be said of the

with

This the

lute.

taken, and

descriptionhas

instnmients

of which

1700.

the distinguishes

care

the

4to.

been

after

studied,

difficult

subject, gleaned. What know only that

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 psaltery,accordingto Juhus also giiideto its probableform is that the name a helmet. signifies likelyto strike the 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^ can

seem

to

be

all Asiatic

or

African.

Even

the

word

'

GREEKS

"

lyre"

has

COMPARED

been

not

traced

303

EGYPTIANS.

TO

to

Greek

a

root, and

of many-stringedlyres in representations a nation. Egyptian paintingsbefore the Greeks were 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

have

"

musicians, ar^d cooks, succeed so

We

that

find

musician

a

to

is the

their

fathers' fessions, proof a musician.*

son

ments principlefor stringedinstrudiscovered 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 requiredto be able to appreciate different notes running together at one time, many with different qualities of tone. We read especially of we

can

such

no

with

see

no

combinations our

own

of concord limited

to

new

and

of instruments

as

tions eyes in Egypt; and Gre'ek definiof discord are almost invariably

simultaneous

two

in Greece

sounds.

On

a

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 acquaintancewill sustain. of the present state of If the followingaccount music in Japan, as given by a recent visitor,may be in the relied on, the Japanese are now very much "

Herodotus, Erato, vi.,53

and

60.

304

HISTORY

THE

condition

of the earliest

music, and

they,too,

music

have

had

Greeks

as

Hermes,

a

to

"

or

:

"

Japanese is worth extremely little. To accompany the singerson the stage, they 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. "

The

MUSIC.

Egyptians and

rnust

them

Apollo,among

an

OF

of the

'

of the instrument

consists of the shell of

in tiirtle,

a

the

cavity of which the sounds produced by the three stringsare re-echoed, the stringsbeing set in From this movement by a small rod, made of horn. wretched what

the

instrument, the reader others

must

be.

The

may

form

Japanese

an

idea

are

not

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 people are exceedinglynumerous the beggars who feign leave out of consideration we blindness. The bands which play at festivities and privatepartiesare composed of blind men."* have Here we actuallythe lyre of the Egyptian outer Hermes, with the two stringssounding an Octave stringa Fifth from apart, and the middle

the

lower, and

a

Foiuth

also the shell back horn

from

the upper. to the instrument, and

plectrum. Thus,

for the

its

we infancy, may again and again. "

Musical

encounter

World, Nov.

wherever

the

same

have

We a

pieceof

music kind

28, 1868, p. 817.

of

is in

story

PARTS

OF

THE

305

LYRE.

Before

ments, passing on to the many-stringedinstrusuch as harp and psaltery, somethingmay be said about the appendagesto the lyre. The added to some or bridge,which was magas, kinds of lyre,and which the Etruscan is shown on lyreat p. 298, was admittedlyof "barbarian" origin. translated Hypolyrios has been also occasionally to be "bridge,"but its more precisemeaning seems the

fixed cross-bar, to which cross-reed,"' or

ends

of the

and

the movable

not

passed in

order In

board

could

which

and strings,

so

in very earlylyres, which strings were

bridgeover

to raise them

instrument.

not

attached

stringswere

be

that

above there

cases

many

in the

which

the

body of the no sounding-

was

of

way

is

the lower

hand

a

the

on

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 misconceptionby adhering to the old "

*

^ 6 ^opfiuerdg 'AttoXXwv, IIpoff"7rt7-fip7rErai 8j/ dovaKOQj v-jroXvptov (Aristoph.Ranee, 231-233.) "'Ewdpov iv XiiivaigTpe(l)ut." "EvEKa

"

*

translation

This

has

passed

commentators

numerous

have

Pollux, who

made

The

the

passage. Sk Tiva Sovaxa

viroXvpiog lyramiait." So,althoiigha ijroXtljOio*' and it has been by the vitotlBshivov, supbe neither at the bottom posed to upon Julius

of

uncorrected

notes

Grreek

upon

is, "Kai

viroKvpiovoi Koj/uEoi

6}v6iwZ,ov,i"Q

TraKai

avri

Kipanyv "09"v Koi

toIq Xvpaig. inrorSiiJivov trov So^ofcXjjf EijDjjKsv, ^Y(lirjps67j Xvpag." (Lib. iv. KdXajuof,(iiTTrfpfi "

cap.

9, 62.)

The

Latin

translation

quandam given is, "Et arundinem comici nominanmt, Hypolyrium focoapquod olim lyris,cormmm uude

et Sophoclesdixit,

positasit

:

Sublatus

tibi est calamus

qui

at the

nor

lyre; and

top, but the

at the

has

been

this

as interpretation,

having

wipl.

translated

suit

he

had

is through KEpdrijiv by

dvri

loco, instead

cornmim

to

if

This

of

ami

nibus; and it has led into the evident misconception, that a and

brittle reed take

the

could

be

place

of

as

to

on

opposite sides of

a

a

Sophocles

mis-translated

iha

written

sides of

of oiairipei

cor-

very stiff

twisted

so

two

lyre.

circa X

horns

306

THE

HISTORY

OF

MUSIC.

rendering the prepositionanti by loco, althougli, just as in a case before cited,(p.53, note of in evident contradiction to the sense ",)it was of

manner

the whole The lower

or

passage. Greek lyreseems

end

to

have

Batera.''

The

rather

or

of the

the

,

The were

lower called

Pechees,

have

to

and strings," had

the

Echelon

been

tuned

at

the

that

strument part of the inof the Chordotonon,

name

the

was

sounding part of the parts of the curved Angkones, and above

sounding-board, body. sides of the lyre them

were

the

fore-arms, also called Ktenia, for which

or

Kerata, horns,

were

sometimes

substituted.

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,or were In some otherwise fastened. bar Egyptian lyresthis crosstimed by sliding the sloped,and the stringswere the tension. noose upwards, and so increasing An eighteen-stringed Egyptianlyrewill -be found preceding the pipes and harp,in the followingfrom Wilkinson's Egypt.

Singers,accompanied by Harp, "

Kurd)

',' 'YTTipSdeiKaary

Trpoaapfwaas

(Athenasus,lib. '"

is

irvxnv,

icai

xopioTOVia.'' "

xiv. cap. 41.)

Pythagoras, in said at length to

bis hare

experiments, transferred

Double

the

Pipes, and

Lyre.

rbv tov strings opydvov "tf o p jSarfipa, xopSoTOVov wvo/iaZt." (Nicomaohus, p. 13, lines 8, 9; and "

"

lamblichus' cap.

26.)

Life

of

Pythagoras,

ERATO'S

307

PSALTERY.

UPRIGHT

for several kinds of a Psalterywas generalname instruments. The Greek word, psalterion, stringed" is derived from jpsallein, to twang a stringwith the 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 triangularshape. Aristotle combines the two words, Psalterion and Trigon,in definingour harp.^ On the other hand, Psalteries not necessarily were Trigons,as will be seen firom the followingcopy of a paintingfoimd in Herculaneum.'' The is evidentlythe four-sided,or instrument opdiov).A second "Upright Psalteiy,"(^aXTriplov of one of the same is also description representation in the

included

Herculaneima

outline,and the

similar

collection. number

same

of

It has

a

strings ; but

who placed it in the hands of AchOles, painter, and representedhim 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

the

benefit

doubt, he

have may taking his music-

of the

as represent AchUles dumb lessons upon a instrument, in order

intended

to

might not the

In holds "

a

offend Chiron's

foKTrjrpiyiivoiE

cvfupuivovai did iraaiov." piotc No. xxiii. of Sect. 19.) (Prob. "" AntkliUa di Ercolano, vol. ii., f. p. 41, NapoU. 1757-59. "

"

"

.

he

ears."

the Muse Erato followingrepresentation ten-stringedpsaltery; and, happily,both

oi iv Toig

"'En

that

Burney has included a copy of this PsaJtery without sounding board, in his History,vol. i. plate "

v.,

Dr.

No.

12.

X

2

308

the

of tlie

name

which

she

remove

any

given

are

kind

to

an

distinction

Athenseus' lead

of the

that

the

at

instrument

foot,

so

as

to

doubt.

Erato, with

might

and

Muse,

holds,

MUSIC.

OF

HISTORY

THE

to

be used

the in

upright Psaltery.

of

inference a

"

an

that

horizontal

upright" psaltery there

was

position. In

another such

a

PSALTEBIES,

TRIANGULAR

AND

the

of

employment suspected,and that, ao

case

modern such

dulcimer thin wire has

purpose

known.

yet been

resemble

would

the

employment of requiredfor this

the

be

the ancients among such discovery has hitherto been made

We

have

traced

proof that

no

then

was

therefore

sign of

no

be

strings might

wire

far, it would

stringsas

least,no

or, at

but

;

309

QXTADBILATERAL.

the

luiderstood,and

;

of wiredrawing

art

Athenaeus

must

be

the supposed to distinguishbetween 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

lengths,fixed to

have

such

thin

firame

a

by

wires

a

The fixed

either referred

The

at

one

Greeks

a

but

found

pin or

made

both

at

;

in

these

no

case

could

as

be

a

peg. of metal rods,and

ends, have

already

to.

of psalteries

been

rod

yet been

or

of different

by bending, and

short

ancient

Greece

strung with wire, because have

of metal

bars

by turningthem round Egyptian instruments

tuned

been

into

struck

be

were

firm

were

played upon

no

with

tender

such

cannot

have

instruments

the hands.

been would

The

ancient

of their

be as fingers, may for a plectrumto touch even seen by their preference the finer catgut stringsof the lyre. Fingers were 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 of the many one strings,and that increase was importationsfi-om Asia, or from Egypt. Clemens were

Alexandrinus

very

says

applied generallyto

that such

Psalterion

was

a

name

stringedinstruments

as

310

THE

MUSIC.

0"

HISTORY

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

the next.

to

one

is another

Psalmos

only distinction two

is, that

our

word

that

for

name can

a

Psaltery,and

be drawn

now

the

between

the

Psalmos

made impUes an instrument expresslyfor accompanying the voice, and that the same designationincludes any song to be chanted such with or an accompaniment. Hence sung Psalm.

Whoever

the

primitive use chant or sing the version adopt the one to

The

metre.

Psalmos

of

may

wish

psalmody

to

return

should

fore there-

Psalms, whether

he

in

other

must

prose,

or

the

have

had

at

may in

least ten

if not more, because Plutarch strings, speaks of it as We an octave-playinginstrument.* might infer his descriptionthat the from number much was larger,if he had not coupled with it the Phorminx, 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. the other

On

hand,

have,

we

at

p. 306,

Egyptian lyre which eighteenstrings. of

We

an

now

arrive

at

a

Greek

has

a

tion representa-

seventeen

instrument

or

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

must

been

vepl )//aX/toijKal ipopiiiyyaQappovtc Si avn"l"ilivot sxn "

"'H

fxev

rb

aviitjiiiivov." (Plutarch De^mtcft. "

Multit., p. 96, f.)

THE

introduce of

it."

Jobas,

who

WITH

EPIGONEION,

adds, upon

been

educated

authority

King of Mauritania, Italy,)that Epigonus

in

brought the instrument he played it with upon instead

the

Juba,""(thelearned

or

had

Athenseus

311

STRINGS.

FORTY

from

Alexandria, and

the

fingersof

of the Greek

of but one usage plectrum with the other."

both

that

hands,

hand, and

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

for Athenseus

"

Julius

into

''

Juba

is

of the authors

descriptionsof

Greek

but

Juba

company,

Fetis

a

also

called

"

uses

a

lotus

flute

blown

Sambuoa

have

Jobas

instrument, is

quite

drawn

F^tis,to

have

between

the

Hebrew

Kinnor, because

de

name.

dente

par

Sioile."

est

I'autoriti But

de

auteurs,

est

Aristox6ne,

leur

erreur

a

an

nombre ont

says

and

the

"I'identite rendue

evi-

Diodore

de

the

only "Plu-

for Aristoxenus. castigation sieurs

ce

distinction

is not

this

"Us

fiance."

desquels

attribue

^t^ causae," "c.

.

Next,

Trust

placed

in

have

for far and

wide

about

1869.

it did

a

not

of

three

did

modem,

sought included

are

of F^tis's

de

Greek

a

Lexicon,

know

letters

the

to sufficiently

assumed yet, everybody, ancient

and

from

the number

second-hand

quotations, in

languages,

introduced

pages, pass

for

F^tis a

forms

from

superiorityover and

choice

been

pages

not

And

it.

paragon

hoped learning.

have

must

of

Athenseus, Ub. iv. 183 d.

^

Athenaeus, lib. xiv. 638

'

"IrdKTripiov op9iov." (Lib. "

cap. 81, p. 183, d.

42, p. 638, a.)

See

of

various

into

"

cap.

+0

la MasiquePages 383 to 386. largelibrary,but either

Greek

the

use

These

they

include

else he

con-

only

not

Ginirale

had

unspecified

must

"

fallible in-

Hebrew.

aucune

F^tis.

specimens within

him

writers

meritent

ne

Hebrew

required

to teach

other

to

or

Again,

wrong,

any

instruments

ces

the

may

Trigon

Greek

"

He

having

not

of the

meaning

F^tis

As

F^tis

errors

aussilenomdeLyrophcenix." Aristoxenus

"Asor."

8vo.

il lui donne

car

word

p. 285.)

I'egard de

"

trompe

se

dernier

the

Histoire

names

charged with

known

be called

second

a

the

at

not

neither

so

be

may

(Histoire,i.

Greeks,

allow

not

of

in all second

sees

and

s^vfere cir-

will

pjiotinxmust "

of the

' '

"a

plagiaulos

F^tis

excellent

une

he

flute made

A

in

rect; cor-

is

Josephus

struments in-

to

Aristoxenus

conspeotion," so that

musical

is

with

side. "

lib.

whose

undertakes

F^tis

others.

"

an

2.

one

theless, Never-

followed

not

Pollux, Onomastikon,

iv. cap. 9, Sect.

chorus.*

a

by the Greeks ; that the Epigoneion had been upright psaltery,although it

adds

transformed

instituted

his to

a.

iv.

also Ub. xiv.

312

THE

still retained

the

So

the

MUSIC.

OF

HISTORY

attributed inventor.

of the

name

word

the

ultimate

meaning of to be played upon of Epigonus. the manner Any portable instrument would necessarilybe made

with

was

an

"

strument in-

hands, after

two

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 the was progressive,and 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 people,to enable them to among taneous appreciatesuch harmony as arises from many simulsounds. 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

Greeks

had

Simikion,

the

but strings,"' All

which to

the

known

been

to

had

many of them

one

authors, or two

human

a

form,

Octaves

are

voice, so

kind

Simikon.

It

for its

reason

instruments the

of

the

in

find

works

"

harp,called

had

thirtv-five is unknown.

Egypt yet,

to

as

scarcelya of

have

must

those

reference

Greek

classical

their

sculptures. As

full average fifteen stringsseem

of the compass to have been

the

extent

rather

of

name

Greeks, and

we strings,

Simikion, and are

second

a

in representation

the maximum The

also

or

musical

the

Greeks.

ancient

to

of Greek the be

Onomastihon,

musical

Epigoneion classed

lib. iv. cap.

instruments. in

among

9, art. 2.

its

original

instruments

STATE

OF

known

once

tte

to

313

MUSIC.

OF

CULTIVATION

THE

Greeks, than

Greek

among

instruments. The '

Romans

tion of as

undoubtedly approved

it seems,

any more Greeks.

for their

decided

musical

when

ancient,

often

so

intestine

only inventions of

some

new

of peace

have

the

but

for the

Httle leisure

of art such

encouraged,at for

stages of

modem

perfectlynatural ; for with and especially war,

branches

missile

standard

the

by

of the

that

sink below

Romans

either

science.

The

times,,are

those

or

destruction, while

the

advance. away,, rather than make historyof music affords throughout the most

proofof

die

this

acknowledged

from

is

in

engaged

intellectual

more

This

could

wars,

and

of

or

than

harmony

compared

cultivation.

nations

for

Indeed, both Greeks

the average, of the most

loudness, than

increased

taste

rather,

in concert, but

instruments

numerous

combina-

the

arts

The

perfect

maxim.

of the absence of representations in In consequence the sculptures and paintingsof Greece and of Italy, we

must

revert

harps,and there to perfection. Gardner

to

Egypt

we "

indeed

forms

of ancient

find them

portrayed [Egyptian]harps,"says Sir the ground while "stood on

may Some

Wilkinson,

for the

played, having an even, broad base ; others were placed on a stool,or raised upon a stand, or hmb, attached used

to the

harps

of

lower the

Men

part. same

compass,

and

often

women

and

even

the

played by men ; but the largestwere 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

Harpers

HISTORY

painted

in the

OF

Tomb

MUSIC.

of Kameses

III.,

STAGES

OF

TRANSITION

known

FEOM

as

Bnice's, or

BOW-SHAPE

the

Harper's

TO

Tomb.

TRIANGLE.

315

316

HISTORY

THE

OF

MUSIC.

when

played,was frequentlyinclined towards the in the performer,who supported the instrument for most convenient position.""The Egyptian name the harp was Bouni, having usuallythe prefixof the article Ta, in the feminine gender for The." The preceding highly ornamented harps are III., copiedfrom paintingsin the Tomb of Rameses 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 a nearer degree of approach to the triangularform. "

When

Bruce,

James

the

celebrated

Eastern

the model of harps of traveller,first brought home this kind from Thebes, because they had no poles; which

arm judged necessary to support the forehis account againstthe tension of the strings, were

he

disbelieved,and

was

nick-named

was

the Theban

"Lyre." Brace's truthfulness has been vindicated by every succeedingtraveller,and in the most ample of, poles to Egyptian harps the want manner ; but in has nevertheless appeared as a singulardeficiency advanced

so a

a

stage of

proofthat satisfactory

upon formed originally

;

indeed,

those

the

hence

have

fourth

bow-shape did

The

"

of

to

we

Popular

instruments

may

been

not

Accoimt

admit of the

hand, it is

were bow-string

see

the

were

earliest

bow-shaped, as

dynasty, exhibited

the substitution

Wilkinaon's

and

these

,

Egyptian harps

the other

the bow

which

models

the

On

art.

of treble

at

p.

are

65.

and strings,

triangle.

of the Ancient

Egyptians, vol.

i. p. 111.

INNER

minor

Many in

LIFE

the

work

admirable

Account

of the is to

More

in

the

from

than

KoseUini, and

Wilkinson's

accessible to aU.

inner

life of

Wilkinson's

the

volumes

costlyand noble works of Lepsius, others put together. A great lesson the

to

as

rise

with

them.

In the

see

we

pages

fall of

and

literature,spring

art, science,and

decline

and

up

the

Sir J. Gardner

how

nations, and

a

are

about

derived

be

is also to

In

borrowed.

been

Egyptians is

learnt

Egyptians from

last two

limited to necessarily construction,and the Popular

Ancient

be

be found

the

whicb

from

splendid specimens have general history,extracts essential varieties

harp-form will

of

vaxieties

317

EGYPTIANS.

THE

OF

Sir

Gardner

character

of

the

their Egyptians"^a great and free people under own kings, learned, skilful,inventive, industrious, humane, because sportive,and mirthful ; also more

civilized, than

more

other

any

nation.

ancient

exhibitions of torturing no Egyptians make them and flaying alive,as do the Assyrians prisoners like the the Egyptianshad no gladiatorial fights,

The

"

Romans

"

sacrifices had

human

been

abolished

in the

the

Upper Egypt for ages before Moses was and Komans Dr. Burney says that the Greeks but that an objectof joy and festivity, religion Egyptians worshipped their gods with sorrow

and

tears.

empire bom. made

of

He

corrupt text the nation

made

this

of Ammianus

had

been

"

.^Sgyptii plerique

sunt, et atrati magis oris

"

not, atrati

be a

subfusculi

qimm

magisque

from

written Marcellitius,

crushed

slavery. It should suppliant,rather than and not, "they are even

of

deduction

erroneous

mcesti nues-

five hundred

by The

a

after years have a

Egyptians sad, expressionof face," "

:

more

sad."^ tiores."

"

How

(Ammianus

lib. xxii. cap.

16.)

different Marcellinna,

318

is sadness

to

exhibited

at

the song

ladies

to

cheerful.

So

MUSIC.

dance

Women,

Ptah,

to

more

are

but

men,

Vulcan,

or

know,

we

than

tears

the

even

happy-looking .and sufficiently

there

are

and

63.

p.

readily given

OiF

HISTOEY

THE

late

the

as

of the

end

first

centmy

Chrysostom speaks of the Egyptians cheerful and hilarious,althoughthey had a mortal as The men had also the objectionto paying tribute. 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 citizenshipby any of their conquerors. poUcy was often reversed in the case of smaller nations, of

era, Dion

our

"

like the

Jews, who have

may who

but

are

a

been

the

mixed

ever What-

less to be dreaded.

were

causes,

race,

seem

or

cause, to

now

the be

Gopts, the only

of the once mighty nation ot remaining descendants the Egyptians. Egyptian triangularharps,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 middle

in the

to

letter

ages

delta,A, and, therefore, as

Trinity. The same The Egyptians varieties

"

of form.

TiKoiovQ in tte

iKapoiQ at No.

.32.

in the form

as

the

end

form had The

is found

of the

emblematic

Greek of the

in Herculaneum. '

triangular harps in great followingis one of twenty-

exordium, and of his orstion,

i'

Diodorus

Siculus,lib.

i. cap.

80.

TBIGON,

and strings,

one

in the Paris

OR

the

TEIANGULAR

319

HAHP.

is -included

originalinstrument

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 sculpemployed their imaginationequallyupon musical 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

Museum, the '

is

now

in the British

has

forms Wilkinson's

of tlie Ancient

Susians, and which

indulged his fancy rather overmuch of the the harps which harpers Popular

Egyptians,

Account,

118, and

vol. i. p.

Hebrew

here, in the music.

in are

sequel, under

320

supposed

to

be The

celebration.

than

plajdng

in

instruments one

MUSIC.

OP

HISTORY

THE

the

open

have

no

bar, and

upper

air, at this other the

ing-boards sound-

lower

is

tension. They consist requisite fore horizontal and one of one nearlyvertical bar, thereapproachingto a rightangle,without support to the comer at which they are joined. If of metal, the harps would give no sound, and if of wood, the out stringscould not be ttmed to an audible pitchwithweak

too

to

bear the

breaking the similar

character

in

shorter.

stringsare

There

frame.

Egypt, We

must

instruments

are

but

the

suppose

bars

and

of

the

^at, in both

largeenough to be made hoUow, so as to assist the productionof tone. The following elegantlydesigned harp, in the

cases,

hands

of

Bliad

"

of the

one

a

men

Bruce's

men,

with

blind

bars

was

is of smaller

man,

playingin ceneert,

Tomb."

We

harp, double

on

Harp,

have

size than

Double

here

pipes,and

those

Pipes, and

a

band

lute,

in

Nefer.

of blind or

Nefer.

ROMAN

The

last named

god

of

or

and

it may be inherited this

ages.

In

sang

ballads

as

in concert

extremity; EngHsh cittern has

Music

been

of civilized countries

blind

England

at the

old

characteristic.

and

in aU

harpers,who

blind

Wales

a

their

blind

to

for prove a system of musical education in ancient Egypt. The precedingrepresentation is taken

has

Lepsius'sgreat work,"

and

in it, will be found The Popular Account, vol. i. p. 110.

Wilkinson's

harp

from much

second, very

a

the

a

as numerous once harps,were The frequentrepresenblind organists now. tations of Egyptian blind men playing or sin^ng

are

the

that

noted

head, either of

a

being,carved

for the

resource

has

mstrument

human

a

321

TRIGONS.

FOUR-STRINGED

not

like

there

cenWal figureis

and the quite so many strings, beatingtime, instead of playingon

the

pipes. Small Trigons, or

harps with only four strings, been used by Eoman to have seem singersfor the 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

in the

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 The

"

"

-

"

"

Band.

is of

the

vii. Abt.

twentieth

3, Blat. 236.

dynasty,

It and

from No.

Thebes"

a

tomb

at

Kouma,

18.

2

A

.

322

THE

HISTOKY

OP

MUSIC.

could not and by his own, by Ms father's friendship, in the were prevail .upon him to sing; but, if Tigellius 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

"

Voce, modo

hac

quae chordis

resonat

summa

quatuor ima,"

highestpitchof his voice,and at vibrates lowest in another, in that [pitch]which the four strings ;" or less Hterally, at the pitch of "

at

one

time

in the

"

the lowest A

of the four."

doubt

whether

has

voce"

"summa

"highest pitch"in the

Greek

I submit the

been

long

musical that the

our

felt

by

is to

be

sense,

learned

taken "lowest

or

of application evidence

the

the word

of Nicomachus

doubt, and that the former

I have

to

as

to

denote

pitch" in Hypate. clears up

is the true

rendering. treatise,(seep. 36,) a string,or strings,

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 "highest" by being the longestupon the lyre. So the sense of Wete and of Hypate was not changed in music.

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 notes

of Greek also that

music

had

been

fixed in my mind. I noted the forte of Boethius rests in arithmetic

of the oldest school of musical

and proportions,

that

THE

the

DEFICIENCIES

remainder

copiedfrom

of his treatise is but

Greek

of the write

to

music

upon

part, Institutione of

the

and

so

declares

of

the

as

be

mind

as

is to

"

limit

between

terms

of his

Boethius

science."'

to

the

See

strongly

to

as

liis ' '

this

point : upon servitio degit,""c. * Turning to p.

He

such

the

he

superior

Here

the

rationis

expers

down

to

magnarum excellentes aut

gravium, gravissimse

for

either

are

and strings, or

else

acute."

inter est

"The

"

largest of

is fine

hypates the large

gravest of

the grave, the smallest and most

so

identifies

himself

with

26, at p. 219.) page,

So here

name.

the

the

are

highest tetrachord,

reader

a

they are (He

cellentes

last

These

its Latin

under

ex-

hyperboleas, in cap. Next,

on

the

same

"Sed

quoniam 209, superias tetrachordum, quod line

17

passages quote the

is

make

below

paramese

hypate hypaton. Mese, and hypate hypaton ought to be the lowest in the scale. Again, tetrachordum

aut

"

hypate hypaton," ".C. ;

"et

inter

to

scale

Paramese

of Teubner's

of

paramese,'' "o. turned upside

est

scale

sunt, quasi maximae

choice

the

should

lines 24

or

Greek

only transfer

itifimum quod

209

the

ima, in refei-ence

claims

,

iyperboleon,

intervals,"

confusion

a

turns

so

translated,

acquaintancewith

edition, part of cap. 20 of lib. i. line 3, " hypate quidem hypaton vocatse

excellentium."

be

writes

Inst. Mus., i. 34.

definition

ratios of

note.'' It is strange that

a

"

should

and

Hypate and Nete, and upside down, that I can

De

the

makes

summa

his

cognitiorationis, superiorto the practical the body. This is only of practical knowledge,

apology for his want and his cognitiorationis acquiringa knowledge of is the

metical arith-

the

limits his

to

an

for that

been

sequel to

a

He

music

it to

to him

inducement

have

form

to

as

indiscriminately standing thoroughunder-

a

one

must

Arithmetica.

science

branch

writers,without

subject. The

323

BOETHIUS.

OP

and

25, "inter There

Mese.

are

He

has

sanction, in

are

from

suffice

probably Boethius

had

Yet,

Latin,

instead been

treatise

has

adopted

to teach

in

our

of

the

he in

the

A

that

Greek

wrote

in

Greek, his always music, even one

Universities.

2

will

imperfect

an

of

Greek

above

and

show

because

scale.

The

to

even

like

author, for

page,

but

understanding

nothing

kind.

small

est

Netes

no

Greek

any

of this one

mesen

still the scale is

topsy-turvy. There anything

hoc

inferius quod

et

netarum." below

is above

2

324

very

planets

His

discover

cause

that

generally

the

of

meaning

which for

strings

seven

the

treatise,

authority

to

has

many

subject

misunderstood.

MUSIC.

OF

now

been has

ages, of

ancient

the

comparing

Nicomaclius,

from

paragraph

seven

not

HISTORY

THE

of

the and

'Nete

and

lyre, of

regarded really music

Hypate.

as

the

been

has

yet

a

grand prime

been

so

325

ri

CHAPTER Organs

Why

:

the

date.

give The

Organ. "

"

Greek

A

the

water

in

theatres. Latin

use "

idioms.

of Theodosius.

Use

to

One

the

"

of

the

rim

kinds

"

bellows.

epigram,

Pneumatic

Heron's

paraphrased. Organs to

and

known

"

was

for bellows. "

vessels

and

water

extinguisher.

and

mentators. com-

applicationof

syringeused

represent organ

were

his

Hydraulic

the

Why

"

to

as

Burney

"

understand

use.

error

and

Organ.

organistsand

Ancient

Juhan's

of two

in

of hollow

"

Organs

to

Vitruvius

"

Organ, "

the

condensing

A

its raised

Verses

"

of

touch

longer

Competitions

the Pneumatic

was

"

Atheneeus's

"

"

"

b.o.

b.o.'

to lookers-on.

difficulties explained. An

boiling.

altar with

enigma

an

it." Vitruvius

attempt

no

descriptiontranslated. stops

century

light

supposed

to be

was

first describes

up

of

power

supposed

third

The

"

the

the

Heron

"

Hawkins

Hydraulic Organ

the

^Invented in

"

XIII.

reproduce

their medals.

of

tone "

8

in

Two

pipes. Antiquityof Organs on the Obelisk "

other

notices.

to

the

Organ," which

was

ancients. blown

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 bottom

of

an

open

vessel,and

the water

in

perpetualinterchangeof rise and fall,and of a They saw piston rollingor tumbling about. working in a cylinder,and at every stroke of the Hence pistonthe water rose higherin the vessel they concluded, naturallyenough, that it was water which was undergoingthe process of injectioninto the

326

HISTORY

THE

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

of this

him

to

of the several

one

fixed

be

may

within

PhUadelphus, or between The questionmay B.C. all these he

was

but

the medium

science to the

attributed

reign of Ptolemy

the

the

and 284 246 years day arise as to whether

one

the inventions

were

inventions

of

of

Ctesibius,or whether

communicating Egyptian

Greeks.

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 The

event

of five hundred

Athenseus

was

Ptolemy Philadelphus,but

succeeded of the two

before his own time, years liable to such slips. Euergetes L

be

must

organ

referred

to

the

the

earlier of the

reigns. An epigram, by Hedylus, fixes the and a copy of this epigram is

Athenseus's

when

forgottenit therein

book.*

own

he

alludes to

must

date

clusively, con-

included

therefore

in

have

Euergetes II. Hedylus temple of Arsinoe, to the

wrote

the

Organ, and Hydraulic, "

He

invention

to

Ctesibius

Deipno-SopMats,lib. li.

cap.

as

its inventor.

97, p. 497.

VARIOUS

This

MEANINGS

Hedylus librarian

to

author, there

can

was

II. that

date

the

was

327

OP

ORGAN.

of

Callimachus, who

rival

Ptolemy Philadelphus,or Ptolemy Upon the authorityof Hedylus, or even upon of the epigram alone, without of its the name be

of Ctesibius.

homage

the

to

after her

No

would

one

deceased

as

found

be

Arsinoe,

brother-husband's

There

doubt

reasonable

no

to

as

to

the

to

pay

divinity,

a

death.

to the precisemeanas ing, difficulty of the word "organ" in Greek and in Latin, when it is unaccompanied by further explanation. Any or invention, musical otherwise, simple mechanical was an Ordinarily,the best translation is organ. the first of those given by LiddeU and Scott, an instrument;" for it might be a surgicalinstrument; 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

is often

a

"

distinction

between

and

organ

requiresthe

machine

a

an

labour

machine,

a

of several

as

that or

persons,

of power by one than is required for an organ ; whereas all the powers of an organ may be exhibited, without any especialexertion, by one

greater exertion

a

alone.*

It is not,

been

some

a

or

by

Latin

chinse

et

effectua

quod mavi majore,

ant

habere

id

;

uti

balis-

tsB, torculariommque prela. Organa antem

uniua

operas

mean necessarily

that

might organa

discrimen,

pluribnaopens,

Greek

a

be

organon, a

musical

manufactured every included under the

organon,

macliinaa

esse

eoguntur

rather

but

instrument

"Inter

videtur

must

organum,

of designation "

writers,that

musical

instrument; musical

therefore,to be inferred,as it has

prudenti

perjiciuntquod propositum

tactu

est ; nti

sen scorpionis,

sationes.

aniaocyolornm ver-

Ergo

machinanim

neeessaria, sine potest

esse

viua, lib.

et

ratio

non x.

cap.

ad

organa usum

et sunt

qnibua nulla res impedita." (Vitru"

1.)

328

The is

HISTORY

THE

first full

by

descriptionof

of

Heron

the

Alexandria, who

inventor, Ctesibius.

its

MUSIC.

OF

Ctesibius

Hydraulic Organ was a pupU of seems

to

have

only some fiftyyears 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 under Egyptian masters. to placethemselves 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, call hydrauHs;"and he adds, that the kind which we the pnigeus,or air-condenser, of bellows, by which flourished

filled with

was

made

air,was than

fact,nothing more

a

just the opposite of exhausting syringe;for

is

"

second

the

receiver, and

of

copper." It

was,

in

condensing syringe,which the modem air-pump,or the

first pumps air into a withdraws the air. The

Egyptianshad for ages before employed smaU syringes for injecting embalming fluids into the bodies of the dead.

second full

The is

by

Yitruvius

between

""Kai

Kpov/isvrie

yAp rdic

B.C. kiri Trjs X'P"'"!

the

Hydraulic Organ

PoUio, in his discursive treatise upon The

Architecture. be

of description

20

date and

of this treatise is stated 11.

Although there

have

aipiyyoQ Trjs ivrijiiSan m/iyia vapamjiirovaa ^'' ^6yo/i"j/ xaXiaj."^ Vetera Mathematka,

ri" Trvev/ia ri (jivaaif iSpaiXriv,

eiQ

rbv

77. )

to

^v p.

MISTAKE

A

been

mimberless

Heron

and

of

BY

329

ATHEN^US.

commentators

upon

the

works

of

Vitruvius, tlie Hydraulic Organ has

been

sufficiently explained,and does not seem to be fullyunderstood. 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 not

"

'

..

understood such

a

its

construction,he would

have

ridiculed

discussion. Sir John

Neither

Hawkins

nor

Dr.

Burney,

our

recognisedmusical historians,has rendered any of Athenaeus assistance towards correctingthe error 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

two

"

of exponents of the musical instruments of such a class,some In a work the ancients. special the

latest

study of but

Herr

the

subjectmight reasonablybe expected,

Volkmann

informs

his readers

that

"

the

filled with air through the pipes of the organ were compressionof water enclosed in a bronze receiver, which water Also, that stirringabout." boys were and "the was played upon with difficulty, organ ^

Lib.

iv. cap.

75.

330

THE

HISTORY

vsdtli considerable of

have

to

the

As

the

to

instrument, Herr

mistaken

for those

blower

MUSIC.

exertion."*

performing upon

seems

OF

the

of the

difficulty Volkmann

of the

labours

organist. The

itself organ of filling it

of very lighttouch, and the labour with air fell upon the As attendants.

was

bellows-

"the

to

be compressionof water," the learned writer must "understood to mean compressionof air by water," which is not over-clearly expressed. The boys did "

but

in

pump

air; and

the

which

water

receiver, into

instrument

the

evidence

of lightness In

of

had

Claudian

who, sending forth cause by his lighttouch, can "

as

imder

a

free

the touch.

of his poems,

one

enclosed

was

ingress and is practically incompressible. of occasion to explain the principle hereafter,and will now only adduce Claudian, as an eye-witnessto the

Water egress. I shall have the

air

He

lauds

the

organist powerful rollingsounds the

countless

tones,

springfrom the graduated multitude of bronze pipes,to resound to his wandering finger; and who, 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

"

"Etsi

Tirimn

BBgre

intentione

flyingfingers,as they lightsomebound, tubes

brazen

et

he

tangebatur.

the

pealingsound.

{De Organia,

cum

magna

draws

Com-

inclusae, pressioneaquse arose senese aliqiii pueri organariimovequam inflabantur." fiatnlse aere bant,

Epvmetrrmn,

rum

to

sive Instrumentis

Plutarchi

Teubner.

de

p.

vete-

150, appended

Musica.

Leipzig,

1856.)

"

^

"Bt

qui

levi detrudens

magna

Innumeras

vocea

Intonet

erranti

Veote,

laborantes

"{De

murmura taotu, eegetiamodulatus ahense, digito; penitusque,trabaJi

in carmina

Consulatu

concitet

Fl. MaUii

undas."

Theodori, lines 316-319.)

LIGHT

TOUCH

Unnumber'd

swell tlie thunder,

The

beamy

And

liquidlapsesliquidmusic

datingfrom and

the

not

those

before

centuries The

pipesof reeds,just as time, and

to

it description,

the

Roman

indeed, there is

organs

era.

of

large

at the

present But, from

the

touch

of

equally light; and,

was

it should

key-actionof

equallywell

three

that

made

that

appears

organs of our

or

of

bronze.

that

reason

no

otherwise, for the

for the

the

one

have

been

must

have

other.

of the ablest commentators

One

two

organs were of the Chinese

Claudian's

answered

existed

first, of

at

not,

large

century

commencement

those

!

largeRoman

the earhest are

wake

make."'

the fourth

which

the

plies:

! the waters

of the

one

second

to

his art he

as

bar is heaved

refers to

surprise,

captiveear

And

Claudian

era,

the

notes

331

ORGAN.

THE

OP

the

Hydraulic times, Vossius,''in 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 partialdescription of the quotationswhich have since suppHes many been of later constantlyreappearing in the works commentators. During the eighteenth century, perhaps the ablest treatise on the subjectwas that It is mainly copied of Albert Meister, in 1771." "

Busby

Dr.

220.

p.

History of Musk,

General

heaves,''which

I have

to "is

heaved."

change ^

Isaac

have and of

been to his

bom

have

at

he

of

to

Castle

recorded

to

De

wrote

to

in

in 1618,

latter

passed England.

an

"

Windsor,

He

part was

honorary degree

1670, and, about

at

three

vetervm

mentarii

dying

Ludov.

and

et seq.

at

Frid.

Hydrcmlo Sac.

a

Canon

Windsor

Gotha

Meister,

in Novi

Reg. ScierUiarum Printed

tingensis.1771. gen

made

in 1688.

'Albert

Leyden the

afterwards,was

years

ventured

life in

admitted Oxford

is

Vossius

vol. i.

upon is Isaac

in

ComGot-

at Gottin-

1772, 4to, p. 158,

332

THE

from

HISTORY

Yossius.

edition

of

towards

a

OF

Gottlob

MUSIC.

Schneider, in tis

Vitruvius, suppliedmucli that correct

careful desired

was

of his author, but

text

he

does

of explainthe principle

not

The

the organ. of Vossius, of Albert

comments

Meister, and

others, were published before the many of Bumey and of Hawkins. Dr. Burney, upon the

them, says,

"But

neither in

Hydraulic Organ the

it into

And

imperfectlyhas understand

his

vexation

and

the

Sir

Hawkins

has a

many

jectures con-

have

put

given

learned

its

struction."* con-

says, "So it, that to

described

meaning

the

of

manner

John

Vitruvius

to

nor

either to imitate

modems

conceive

perfectlyto

or

the

commentators,

of the

power

remarking descriptionof

Vitruvius,

of his innumerable

Histories

infinite trouble commentator.'""

again, after

of text publishing the Latin collated, Vitruvius, from a copy not over-carefully Hawkins adds, "This descriptionto every modem "" reader must unintelligible. appear And

admit

I cannot

the

difi"culties. as

but

I found

when

it suflSiced for me,

existence

of any

such

The

are descriptions that of scrutinizing

after

some

ordinary extra-

some, troubleHeron

;

to make reflection,

experimentalHydraulic Organ, and it answers wanted than more perfectly.That which is now translation is an explanationof the principle new a an

of the

instrumen,t,and

I do

not

doubt

but

that

I

henceforth who to every one intelligible it. A mass of indulge a wish to understand may learninghas hitherto been expended upon it without result. any very adequate can

make

"

Bumey's

""

Hawkins'

69, 8vo.

it

History, vol. i. p. 491. History, vol. i. p.

'

70,

Hawkins' 8vo.

History,

vol.

i.

p.

PRINCIPLE

If

only

OF

be,

not

333

ORGAN.

translation

thoroughly good

a

wanted, there could

were

HYDRAULIC

the;

far

so

as

of I

Heron able

am

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 Manuscripts must carefullycollated for

to

the text

of that

edition.

principleof the Hydraulic Organ is both simple and ingenious,but it is one no longerin use. To this fact we reason trace, at least,one why may it has not hitherto been generallyunderstood. I have alreadysaid that the name hydraulicis,at The

least in the

modern

"water-pipe"in

one

Greeks

The

There

view, incorrect. the instrument

is not all for

they are

"

in

science

The public gave it this name. is in a Greek work Pneumatics. on description The was ingenious applicationof water of over-blowing the prevent the possibility

earHest

air.

not

were

far advanced

the

when

and which

the

thus

to

Pneumatic

it from

save

Organ

the

but

to

ment, instru-

destruction

to

always hable from improvement was, for the superior

was

Such an particularcause. doubt, the principal reason no the Pneumatic popularityof the Hydraulic over A second advantage in Organ for many centuries. that the the condensing Hydraulic Organ was, air took up less space than the syringefor injecting trodden bellows,which were by the Egyptian-shaped Organs feet, and which the sculptured Pneumatic that

on

Obelisk

the

in

continued

century The

of

our

of Theodosius

by

use

the

Romans

prove down

to to

have

been

the fourth

era.

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. It injectedair very spasmodiwind, 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

the

acted

bronze

which

receiver, from

had

it

been

previouslyexpelledby the air. The receiver was opeii at the bottom, and, accordingto Vitruvius, its edges were supported by wedges. Thus the water fact had free ingressand egress. It is a well-known that

the

pressure it must

that

so

of water

is alike in aU

equally weU

act

directions,

upwards

or

downwards. law is that

liquidstransmit

equally in all directions,and the pressure they produce by their own to the depth." weight is proportionate And for exemphfication, take a glassfunnel, now, The

and

the

turn

Put

water.

"

end

broad

under

cork

a

downwards the

to

it,you

down

the

will

see

Jf you with

the

cork

of the

When pan. will have been

bottom

in

funnel,and

the surface of the water. upon the smaller end' of the funnel blow

pressure

of pan it will float a

then

your sink

cover

lips and gradually

it has

arrived

there, all the water expelled from the funnel, and, instead of water, it will be under filled which and

the

breath

you have raise the

around to

by

the

from

driven

height

out

your will

of the

breath

will

only

The

water

mix with, necessarily

outer

funnel, in the pan.

blow, your

mouth.

water, which

is

If you then continue rise in bubbles from

A

the

bottom

The

the water. pan to the surface of of the increased quantity of air

of the

elastic force

within

the

funnel

335

EXPLANATION.

FULL

has

become

too

be further

great to

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

your

it fit into the

mouth

is

through

the

air, the

water

the funnel that

has

to

been

its

up

pipe just as

if it

were

level,it will drive

a

continuous

up

sound

from

blown

will of the water pressure its level within found as

the

from hole

a

the

air

enclosed, through the pipe. In doing

keep

and

pressure there is

permits the escape of the return, and in returning under

this it will

exercises

the

which

will seek

As

withdrawn, and

now

pipe

neck.

from

the

continue

lips.

untU

without.

the The

it has

The

water

of its weight upon the air, pressure in the pan, the greater higher the water the

will be that

There

is

hardly a limit to the the to elasticityof air, (as 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

solid

open

receiver.

It

powerfulagent than if the were equallydistributed as

thus

becomes

same

amount

a

weight upon

a

more

of water

the top

336

THE

of

HISTORY

OP

MUSIC.

drum-shaped receiver having elastic sides, because the water expelledfrom the pnigeuswill raise the height of that in the outer or vessel, and pan "the weight of water is proportionate to its depth." But the pnigeus,or air-coinpresser of the organ, had two of the pipesat the top instead of the one funnel,and beingmade of bronze instead of glass, -it was impossibleto see into it, as through the glass of the funnel. Suppose, then, that instead of a fiumel, you use as an air-condenser a large pewter a

basin, inverted

there

upright,let

were

tube

air is to second

with

communicate

to

be

holes

two

be

hole

the

is for

a

somewhat

basin

of

the if it

opposite a pliable

which

the

condenser, and

the

syringeby

this

injectedinto

to

near

on

first hole is for the insertion

The

sides.

pan of water, and, would support the

a

rim, which

circular

smaller

tube, to carry

this condenser

into the organ. If the wind injectedinto the condenser, it cannot escape

air from be then

through has

in

the

second

tube

put down,

been

to

untU allow

a

key

it to

of the pass,

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.

pressure

the bottom Then

of the water

as

of the pan to the surface much air is inclosed as the

will retain.

If

ness greater loud-

requiredfrom the pipes,it is only necessary receiver,and to add more in water to take a 'deeper, 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 be

the bubbles

rise outwards.

If the pewter basin

were

deeper,and

it

were

made

THE

CALDEON

of copper used was

AND

bronze, as

or

for

caldron,and

this

pnigeuswhich

the Greek

was

337

EXTINGUISHER.

THE

it would

purpose,

resemble

a

bubbling up of the water from the bottom would, to a superficial observer, strengthen the idea that it was reallya caldron,and that the water was boihng. To name

the

that

attribute the Latia we appearance may of cortina (thecaldron), given to the Hydraulic

Organ as, for instance,in the poem of JEtna, of which has recentlybeen 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;

of

even

one,

late

as

a

date

century, in the writingsof William It

should

be

added

that

the

as

of

twelfth

Malmesbury,

this

pnigeus, or pedestal,made

air-

in placed within a the form of a small altar,being either rounded and 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,

"

was

"Nam

veluti sonat

Pellit opus

hora

collectus

duci

aquae

Tritone

oanoro,

viotusque movere

Spiritus,et longas emugit bucina voces, Cannmeque irriguomagnia cortina theatris modia canit, arte regentis. Imparibus numeroaa 3.TiiTn3.ni Quae tenuem aubremigat unda : impellena Haud

aliter summota

Pugnat

in

auguato, et

furens magnum

torrentibus

aura

j^tna."

commurmurat

"(Lines

293 to 300.)

2

B

338

at

every

tube a

HISTORY

THE

key.

of the

and

This water"

MUSIC.

througlithe smaller the organisttouched organ, whenever and labouring for the "toiling accounts often referred,to, as by Tertullian so of that

emission

int,othe

OF

air

others.

foregoingfull explanationof the air-condenser, manded, or air-compresser, pnigeus, has perhaps been deThe

because is

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 presentingto 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 found in manuscripts,or in earlyprinted copies are no

of -Heron's Pneumatika. An

objectionmay

be raised

to

the

one

m-

Vetera

Mathematica, and in other editions of Heron's work, the followinggrounds. Either the artist,or the on has

engraver, the mouths

so

rounded

off the

ends

of

tubes, and

in order to improve the cylinders, pictureaccordingto his ideas of the beautiful,and yet, so little in accordance with the descriptionin of

SELECTION

the text, to

that,instead

the

organ presser, and size

intermittent

requirea which

had

was

therefore

of

the

channel

double

gave and

slide in

a

of

it

a

tube

times

four

practice,the would condensing-syringe yet,

in

the size of the second continuous

a

convey

organ pipe,instead least the merit of to

he

other;

of air into the organ. shde battledore-shaped

was

339

DESIGN.

of

action of the

to

A

they only tend elucidating, that saw subject. The worthy man infinitely largerthan the air-com-

mystify the

the

OF

Again, he under

has

the

tube,

and

equal flow given a pretty

mouth

of

the

It has at straightone. being largeenough, but how it be a mystery must narrow groove a

aU

enquirers. for each artist has had his Choice is embarrassing, specialprochvities.I have adopted the diagram in 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 artist has suppliedthe stand, but the reader must 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 syringe,or wind pinnp, must be understood as being detached from the organ; for,in this design,it looks to

2

B

2

340

very

much

as

OF

HISTORY

THE

if it

the

it ; moreover,

under

were

MUSIC.

densing con-

syringe,or wind-pump, as here represented, is of most grandeur for so small an airunnecessary or pnigeus. compresser,

"KEY

BOARD

JAj

The

Instead one

have

Hydraulic Organ

of the tedious

for every

angle

substituted

sufficient for

an

of Ctesibiua.

series of three

of each

the names,

part

to

which

reader. intelligent

four

or

be

seem

letters,

I described, to be quite The lever by

ACTION

which

OF

THE

the

ORGAN

KEY.

341

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" .

valve, and looked

of the like

dolphin sporting. Thus, too, the popular a

idea water

was

And

of agency further moted. pro-

the

of

now

to

as

the

key-actionof the organ. The diagram is here enlarged in order

show

to

more

plainlythe

key

with

three

"

little bent

(the ayKwvla-Koi It will be seen TpiKoiXoi). arms,"

342

THE

that,

when

the

the

thus

box

the

The

so

on,

as

of the

have

been

The

box

of

should as

the

sHde

to

shallower

the

as

in

slide is the

alone

spoken

of

by

iacluded

organ

take a

box, the

The

of the

it, and

close

the

in

admit

air to

inverted, the the

the

action

lid it.

mouth

slide should

then

have

also

only to

speak. is

its upper lid the

act

could

seen.

shallow, so lid

above, but

cause

hole

pipe,and

ought to have been pipe fitted into it,and

below, instead

at

to

little round

box

of the

not

pressed down finger,it will

the

mouth

MUSIC.

OF

is

slide

to

bring

to

under

key the

extremity by of

HISTORY

one

in box

been

exceedingly

hautboy reeds,

and

for

The

dominos.

the pipe quicker woxdd important part, and that

later writers. an

The

air-channel

wind-chest under

these

sHdes. "Wlien

the

raised from the key, there fingerwas was a piece of string,like the tape in a modern 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 key turns upon a centre-piQ,like very simple. The two spokes of a wheel upon its axle. had no It has been argued that the Greeks keys such a word their organs, because as would or express the key to a fastening

to

named But

in

connection

it should

be

with

remembered

musical that

Tdeis,which

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 we

REASONS

clams

aa

for

lock

up The

bear the

FOB,

a

the

A

FREE

in the

key

resemblance

of the

to

does

the

objectof

organs The ancient.

following is described by Heron translation, because used

For

the

only to

invention

of

diminish

it

will

different

give

trouble

save

word

a

I

like

it is

a

part

which upon of the case

the

Any straight

senses.

its

precisename gathering from the

at

once

of

is there

hanon aU

of

summing meaning. Heron's

up

of

or an

reprinted in therefore, that

Greek

one

;

;

descriptionwhat The

author's

or

for

to

find

Spintalia, has

part of the

kind

descriptionsis

words

the

trouble

tiresome

most

last

two

which

work

out

not

of

part the his

been

centuries, contains

Hydrauhc Organ is now freed from abbreviations, and subjoined in modem types. The only exceptionis,as to the three letters, are stigma, which only here koppa, sampi, and employed to denote parts of the instrument, and therefore do not give any trouble : the

descriptionof

the

time

thirdly, fourthly, To give

organ. reader the

the

technical

Pneumatiha,

works

Tcanon,

a

the

saves

intended.

indefinite

lever

within

all

is here

hanon

pole, or rule of any kind is besides its other meanings. Here, it is at of a lever a piston-rod; next, the beam fulcrum

as

free

a

to

rod, beam,

the

the

Ctesibius,

of Alexandria.

instance,

half-a-dozen

in

is

not

touch.

The

readers.

to

were

of modern

present hydraulic action

weight

if it

literal sense,

instrument.

hydraulic action

any

343

TRANSLATION.

"

344

THE

"THE

"

HISTORY

OF

CONSTBTTCTION

Let

there

OF

be

ORGAN.*

HYDRAULIC

THE

altar-like pedestal of

smaE.

a

MUSIC.

let In the water water. (a^yS),containihg there be a convex hemisphere, called a pnigeua retaininga free passage for water underneath {e^vO), it. From and through the top of this pnigeus,let tubes be carried above the pedestal;one of them two 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 fitted into this box, or piston (per)be weU 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 "{ijcj)), (atv),and work lever upon an as a upright fulcrum {^x)" 'v^hich be firmlyset. must bronze

the

"Into' described its and air

inverted

insert

another

bottom

of

box

of small

the

box

above

size

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

irpbgifipoXsaairBifiyaviiivriv. "'""ICSpavXucov'OpyavovKaraaicsvii. Tavry Pio/uaKOQxdXicEofo (ajiyd),

Si

^fijioXeiig o ian" {pa),Hare apuoaroe koTXov iv If 'iSmptOTiti Mpa /oj irapairviXv;Tif Si l^/3oXc( 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

'

iv Si Tif vSan

o

'

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 TOV jiipos, avvnTprj/iivoe w9fisva 'irepoviw^iStov rb (w), avfl3(i)fiiaK0v '

.

TTv^iSi Ty

(rSoTr),Kario

to

aTOfia

dp9i)v ixoiuy, Kai r^v Ivroe iTrupapeiav

TiTprtfikvov avTy, sk

twv

avia

Kal

immTraipaaiJiivov

xai fiepiiv,

ixov

rpvTnjfm,

HERON^S DESCRIPTION hole let there

be

OP

THE

345

ORGAN.

thin

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 (\'^),[includedin the wind-chest transverse of the organ]. Into this transverse channel the ends of the organ pipes(aaa)are inserted,and have a

,

their

extremities

made

enclosed

in

Httle

boxes, such

hold

hautboy reeds. The left open within are pipes (j8/3;8)

are

organ The "

to

hds

of these

orifices of the made

in

organ

them,

boxes

pipes,and they that

when

orifices of the them. slide

to

are

as

have

must

the

over

holes

the

slidinglids are pushed home, the holes in them correspond may with the orifices of the organ pipes; but when the slidinglids are drawn back, they will pass over these orifices and close the pipes. Now, if the lever b6 depressed at its extremity (ip)the piston will be raised, and thus expel the is enclosed in the box of the cylinder, air which and so

"

the force of that above

box SI

ou

*T7r6

0

^pacuov

avTOf

close the

ligrfivirv^iSa.

XsttISiov ?otw, Kai

sttl-

dvexof^^vov did

Tivutv VTTO TTEpovituv K"fpa\dg Tpr][j,aTitiiv XeiriSiov' iKTriTTTEivt6 "(rTi] IxoVTttiv p.ij irXarvapdrtov. 'Airii SI 0 SyjKoKuTai

auiKriv 6 (?";)'inpoQ dvaTtivina cripif)auX^i (??), awTCTpripsvog vXay'uf Tifi (1^1),iv if emKCurOoxrav airif,ol (a),Bat 01 avXol (ivvTiTpr]jxivoi roS

hole

it,through its action upon

irjpdacXivatrai

Si rpVTnjfia

air wUl

ra

aro/iaTa

Am

Se rdv

rpq^ara

in the the

avtiDyora

Httle

aforesaid

iarii) ri

(/3/3;8) "

CTOfiaTtjiV ra TrojfiaTa Suoadu Sum eiffayofikvwv exovra,

rd ivauTOig rpiifiara irojfidrbjv yiyv"a6curoXg run/ aiAuiv Si irapdkdfraeiv i^ayopkvutv Tprjfiaai

piv

twv

KUTdWrjXa '

kui

roig aiXovg. diro(ppdaaaai

ovv

6

Kaviiv TrXdyiog

'Edv

miXujveiriTm Sid

6 (po)l/i/SoXfif rov(0)ci'erAKarw/ilpof, iv ry UBXi^u /KTeuipiZopivogtov KaOdirep [v^oir) irv^iSt dkpa, og dTrOKXeltrei iXOVTSg,tK Ttuv xdria fispSiv avVT"7pijpkvaairoig, b)V yXuitjaoKOfia fuv to sv Ttp (w) irv^iStiit rpvirrijia Sid

346

THE

The

valve. the

first

of

the

air

the

into

so

of the

only through, pnigeus ; again,out out

second

tube, into

lastly,out of organ; into the pipes,if the

of the

organ pipes'and the that

MtTSIC.

pass the

the

pnigeus, along

and

"

OF

then

can.

tube, and

wind-chest chest

HISTORY

holes

is,when

in the

the

lids,or

of

some

"

be

shut,

we we

wish

[The Action

of

as

the

coincide

them,

wish

are

any

of

be open, and may to cease, these orifices may

them

do

may

we

wind-

orifices in

slidinglids

pushed home. Therefore,in order that, when the pipes to sound, their orifices that,when

the

the

foUows

:

"

Key.]

" "

Suppose one

of the

(7^) to be separated from the rest, the S pipe open part of its slidingHd being ; the organ 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/"'f/.^), {^9) 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

reed-boxes

e

"

irXarvaiiariov "

Tov

TrpoEipriiiivov

Xiopriaet Sk Sia

tig rbv

irviysa. tov

")(fj)ar\anEig ltd iX^lt))

TOV

auiXrjvos (/iXio;)

tov

'Ek

de

irviyidig

tov

TrKdytovffwX^va

(t?)awXrivoe

'

i/cIs

tov

eaBai, diroKXsitiTai, KaTatrKevaaojisv rdSe. "'SosiaBu)

1v

"fkiaaaoKojuav eyKsi^Evovx^P^-Q ^^ (y^))ou rA OTOfia larui tI" {S) 6 Si mvTiTpiliikvoQ rovTif tUv

"

tov

Toiig avXoig avKbg o (t),n-u/ia Bi i"Tu) apfiouTbv "'? "TfXaylovOiMjvoe ri (?p),Tpfijjui KoraXXijXa Eiy Ksi/ievn aiiTif TraprjKtxn"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, tivA. aiiT"v. ffroivavTO, 'ri TTii/iaTa, aiXwv Iva oiv,'orav Trpomp"!"iJ,i9a Tuiv

rd

TWO,

rd ctvoiyriTai "j)9'syyiadai

TptifiaTa'

'6Tav

Si

Ibkwwv

^ovXiiiieBairai-

o5 rb

(J9)kSiXov m)ji^lg fiivIdTio Tif (^?) Trtiftan irpbg Si T"f {/i^)mpl Trcpovtjv Kivtia9"i"idmjv rrjv [ii').'Eav '

oiv

{fi^) KaTa^wiievTyx^^piTi axpov

tov

heron's we ("5),

shall

reached

the

push end

of the

correspondwith "

In order

the slide

inwards, and when

the orifice of the

that, when

we

also be withdrawn may close the communication with Rather

level

it has

box, the hole in the lid will

sHde

"

347

continued.

description

lower

than

the

organ pipe. the hand, the withdraw and thus mechanically, the pipe, do as follows : "

reed-boxes, but

at

the

parallelto, the wind-chest, let a rod be carried along,and to this rod fix slipsof (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 pushed in the oppositedirection,the stringmay be tightened. Then, if we depressthe upper part of the key at its extremity(m^),we drive home the Ud of after it the end of the the box, and the stringdraws pieceof horn, so as to straightenit by this traction. from the key, the hand is withdrawn But when the horn, by returning to its originalform, draws of, and

"

"

from the mouth of its box, so slide away the end of the to overlapand cover up the hole in the

back as

organ

pipe.

(J) aro/uov row rb Trujua eif irapiiaoiiev yXwffffOKOjttou, Iffoi fikpoQ wffT", 'oTav lfjt7ri(7y sis TO ayKioviaxovmi

tov

'

rb ivrbs jitepof,tote

KaTaXKrjKov Tif 'Iva

oiv

'oTav

to

tov

iv avTif av\ov

Tprj/ia yiveoBai.

aijiiKmiuvtt/v x^'P^j icai iruj/iai^iKicvaOy,

Kei/tevovKara 'Ek

Si

tov

to

axpav

{Sy) yXiDcrffdeo/xoi/. vivpa

avrov

airo-

SsQsiua dnodsSiiiaQd} oiffre l^u)

irtplrb {0) iiKpov, tov irapiaaBevros TriijiaTOS

TtTCUsBai rnv

vsvpav.

iavTSg Tb (/i")axpov

'Edi/ tov

ovv

(cara-

ayioiiviaicov

wapdiaofuv Tb vtjfia eii;to tad) fispog, ri vevpd kiriaTTMSSTai rb airaQiov,oJffre 'jrapcO^d^yTbv avkbv, EffTai tclSe. "tTTOKtiaBd) vwb TCt yXdjaaoKO/ia Kavwv avopQCJaat rfiv Kafnrriv aiiTOV pif JffoeT"fili^)ffwX^vi,Koi TrapnXXijXof "Otuv Si a^"jiiv,iraXiv Tb mradlov dg t/jv s5 dpxnQ raXiv Kafivroiievov, aiiTifKeifKvoso {fi*fi^)Iv Si TOVTiit aiiTOfUiTOVTb

'

"

airadia ifiininiykadiit Siv Kai smxEKaiiijiva,

KspciTiva

rfrova

'iv laTui Tb

{/i^)

i^fKuvau

rb iriuiia tov

to "jrapdhXd^ai Tprt/ia.

OTOiiaTOQ,

oiffre

348

THE

A

"

box

of this

contrivance each

under

OP

HISTORY

of the

MUSIC.

kind

the

being appliedto

pipes,when

wish

we

of

some

the

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 which

from

the

slides

drawn

are

will

away

to

cease

sound.

[The Principle is

into

poured

air of the stand the

"

of

the I

raises cylinder, may

"

them

When

that

within have

the

abundant superdriven out

which, when

height of

the

be retained

to

in order

that

pipes shall always

enable

"

stand

mean

"Water

Instrument.]

the

a

the water

in the

the

pnigeus,so that supply in readiness to

be sounded.

piston(pa)is raised,it drives the air of the cylinder, out as alreadyexplained,into the pnigeus; and when the piston is depressed,it opens 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 (tu)should work round a centre-piaat t [where it joins the lever], and this by means of a ring in the bottom of the .piston-rod, through which the centre-pia[formed "

the

"

a9ai, Trpof rJ aei txuv roie cdiXois yXwaao^ovKii/ieBd ^9eyyea9ai, y"vt]9sVT0)v, orav KOftov "'0 dk [ptj] avK"v RfifSoXsig ^9sYy"a9aiyKUTd^ofiEV TivaQ'TtiiV liraxpoiiwoQ jjhf iiri rb dvdi,big dpriTcu, t" SaKTvXotg Ikuvovq kut toXq ISuSeT rbv iv Si /joikbti^9kyyta9ai Trv^iSi aipa i'lQ rbv Trviyka KaraayKwvitncm orav ry Sk iaKTvXovq, yo/icvos j3ov\"iii"9a, iTrapovfiEv tovq dvoiyu rh iv T"i"Thj^ilitf ' '

oiv

TovT(DV

Kciff fxaarov

'

Kal

vaitsovrai

TOTt

'

"Tb

Si

Xsrai,evsKa

iriiinantv

Tifmiiyii,Xiyu ?")rbv ix r^g irv^iSog to i-iraipovra avvix^i"9oviavov, ^liSutp iv

TrXaTva/idnov St

17 Trwfif dipoe irXripovToi Hart trdXiv rbv iv T(f^(DjiiUKifi iSoipifl/SdX- l/ujSoXIa dvaj9ovp,tvov iK9XiPcivavrirv rbv rbv dkpa rov Trvtyia, eig Tripwasvovra tuiv

iXKva9'tvrit"v.

"

f Swdev

' '

BiXnov

ov

"

Si ian

Tripivtpovriv

mi

rb rbv

Kivtir!9m

{ni)Kcaiiava vpbi rif (r)

FROM

the

by that

end

of the

piston may fall vertically."

there

the age

of Heron

perhaps Hydraulic Organ which

that

and

of

throw

order

rise and

Vitruvius, of

notice

extant

any wiU

its construction. upon is ample for those who

being

in

pass, twisted, but

be

not

is not

of the

349

VITRUVIUS.

lever-rod]must

the

Between

TO

HEEON

additional

the

light

The

of Vitruvius description have ledge some previous know-

instrument

;

but

it has

fault

of

be

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

Newton

too

brieflyexpressed to

the

Gwilt.

and

they stand meanings may writes

the

"little

cistern

machine," instead

of the

head

and

organ,

the

hard

words

original, trustingthat discovered by the reader.

be

of the

leaves

the

in

as

Newton

of

"

brass

their He

which

supports the

of the

wind-chest

buckets

with

of

movable

learned Joseph Gwilt, who was of the Madrigalian era, has nevertheless in music translates the Hydrauhc Organ. He misconceived iron finger-boards," manuhreis ferreis"with (instead iron handles,") of "with although,in the next line,

pistons."The

these For

handles these

late

are

to be tiumed

reasons,

the

tov Ttf TniBjikvi di ^s Ssfiaa apjioaBtiaiTOi, ijiPoXiioQ

ovar]Q SiTOpfiiag

TTEpOVTiV

Iv

SL(o6sltT9al, TTpOQ

TO

TOV

round.

first

object of

a

new

akX 6pBbv l^jSoXca;ii}SuxuTB^iaOai, icai KaTayeadai." avuBeiaQai "

350

THE

attempt

should

HISTOEY

MUSIC.

OF

be to write

so

as explicitly

make

to

it

understand. I possiblethat every one may therefore amplifythe description of Yitruvius, and tion appeal rather to his words, to justifythe construcI

have

put

literal translation one,

The

sentences

interwoven, and Further

parts.

as

of one,

plural number. ;

but

and

as

offer

hereafter

may

I have

be

such

a

made

than

this

describes He

the two

them

into

having

two

therefore divided

condensing syringes,or instead

than

by the assistance of the paraphrase. of Vitruvius are exceedinglylong and

with

any

them,

upon

thus are

"

Yitruvius

wiad-pimips,to each

part

his

of them

organ in the

complicateshis explanations ahke, it suffices to describe

pluralsfor parts of that one. 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,

to

reserve

ROMAN

made

work

to

because of

ex

HYDEAULIC

the text

cymbals ;

but

the addition

therefore

of

ex

understood

by

tbe

bead,

cere, instead

ex

those

words

to the

invariablyof metal, have been superfluous.

were

would

csre

of

had

referred

cymbals

as

Isaac Vossius

tail instead

that he followed

He

ore.

the

by

351

ORGAN.

the

instrument, but

he

as

plete treatingupon another subject,he did not comhis explanation. Again, he wrote in Latin, technical difficulties Vitruvius, and so he left some which neither Dr. Sir John Burney nor

was

like

Hawkins*

could

master.

ORGAN

HYDRAULIC

THE

De

DESCRIBED

But

hydraulicisautem habent

quas

ratiocina-

proximeque attingerepotero, et scriptura consequi non prsetermittero.

omit

not

to

brieflyas possible, the plan of upon Hydraulic Organ, and

the

as

to express,

in

VITRUVIUS.

I will

touch,

brevissime

tiones, quam

BY

as

weU

I

as

can

writing,the principle

of its construction. materia

De

basi,

in

ara

sere

ex

ea,

Supra basim regulse dextra in

Sir

ancient not

times

Vossius

one

of the

would

were

I do

either

that

passages

the

organist.

not

that

upon

justify of

of

organistsand doubt

that

right in his correction

was

of

that

utricidarii

bagpipers.

Sir John

faith

no

-wrote

and

ascaules

the

he

because

Vossius,

sinis-

had

Hawkins

John

He

spoken of, as

is the

point. I have

names

more

sldUed

set

a

upon

Upon this same straightbars

No

are

or

the

word

animals,) for of

the

to

bellows

the

quotation about

of

Organ

reverently musician.

the

uses

but

;

artist

the of

instead

to

The

hautboy,

accompanying

or

musician

sentence.

same

from

follow

In tonius, Sue-

HydrauHo first,and the bagpipe

Nero,

is named

last.

an

wood,

(literally,hides

in the (technites) the

of

organist being aslcaules,he V^iTn

terms

basis

Theodoret

master.

askoi,

seen

application

the

above

altar-shaped

pedestal is

eriguntur ac

bronze

basis of timber.

fabricata,coUocatxir.

"

A

compacta

the

bagpipe or

other

choruses.

follows

pipe

after for

352

HISTOEY

THE

tra, scalari

forma

com-

MUSIC.

OF

shaped

like the

ladders, and

pactse,

sides

erected

of

both

right and on the left of the pedestal. The quibus includuntiir 8erei bronze cylindersof two modioli, (one condensingsyringes, each side,)are tained mainon in an erect tion posiby these bars. Each of these cylindershas a 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 the

on

in medio

ferreos ancones,

fixed

into lower

the

vertical

et verticulis

vectibus

CLim

arm

its centre

of this elbow

by

rod; and

the

by

a

The

end].

is formed

conjunctos, arm

[at

the

piston-

horizontal

lever, the

end

of which

passes through the handle of the piston-

rod, and the

or

lanatis

ia-

plan-

summa

circiter

itia, foramina

digitorum bus in

covered

with

which raised It

is

unshorn

sheepskin [to prevent noisy action].

volutos.

Item, in

becomes

centre-pinby piston-rodis depressed.

the

pellibusque

thus

verticulis

the

top of each

of

.

the

is cylinders

a

circular

qui- hole, of about the si^e to proxime, admit three fingers;and this coUocati, immediately above

ternum,

foramioibus

In

353

VITE.UVIUS.

Eerei

hole

dolphini,

is

which

bronze

a

dolphin,

is balanced

upon

centre-pin passing The through its middle. dolphinholds ia its mouth a

pendentia

habentes

ca-

tenis

Uttle

a

chain, which

attached

cymbala ex

modiolo-

celata.*

rum

smaU

a

vex con-

metal

ore,

foramina

infra

to

is

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

below

will

cause

stop the hole].

it to And

now,

the

to

as

altar-shaped pedestal.In loci

Intra

aram,

aqua

sustinetur,

pnigeusuti

quo

iaest

infundibuluni

the

upper water is the

part, where maintained,- is

air-condenser,called

pnigneus,which

inversum.

is of

form, like

convex

alti

taxUli

Quern subter circiter

"

In

and

the

10th

changed

attempts and

to

to make

"word I

right

colcota, and

into

These

cWata.

into

next

do word.

not

and

is calata, in after

word

3859), this times

9th

manuscripta of the centuries {Hart. 2767

correct, but

good

sense

doubt As

for

its

were

only celata,

the is

being

the

verted in-

an

funnel.

a.

Under

the

pnigeus are wedges, which, in height, are, the about equal to XoXaw, cymbal down

to loosen, was

too

; it could

let

or

large only end

down, to

be

be

drawn

the let up

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

chalata, from

2 C

354

THE

HISTORY

OF

MUSIC.

subdigitorum ternum positi, librant spatium

breadth

imuin,

space

and

of three

tbey maintain

passage inter labra

et

a

below,

for

of the

water

the

pnigeos

fundum.

arae

fingers, tbe

lower

tween be-

edges

of the

pnigeus

bottom

of the vessel.

Above

free

and

the neck

the

cervicuSupra autem 1am ejus coagmentata arcula sustinet caput

pnigeus is the wind-chest for all the pipes,which

machiiiEe,

sustains

the

part upper The wind-

of the organ. chest

graec^

quae Kavicv

appellatur.

fxova-iKos

"

is called

The

canales

fiunt

est ,

quatuor; si hexachordos, sex;

canaliSingulisautem bus singula epistomia

inclusa, manubriis collocata.

ferreis manubria

tur,

Quae

torquen-

cum

running airlongitudinally ; four channels

if for four

six

six

for

organ. Each

stops ;

stops ; and

of these

tudinal longi-

air-channels shut in is

by

worked

handle.

its

is

stop,which

by

iron

an

When

one

of

handles is turned patefaciunt the canales. round, it admits air from the

wind-chest

channel Ex

are

area

ex

in

nares

wind-chest

eightfor an eight-stopped

octocbordos, octo.

sunt

the

air-channels

;

si tetrachordos

si

In

cujus longitudine

in Greek

regulatorof the (Canon musicus).

music" In

of the

canaHbus

autem

canon

habet

ordinata

verso

foramina, respon-

or

into

groove. air-channels have

in trans-

holes in open

into

that These

verse trans-

them, which

corresponding

355

VITRUVIUS.

dentia in

naribua

tabula

tabula

quae

summa

;

aunt

boles above

quae

board,

in tbe

table-

sound-board

or

wHcb

the grsec^TrtVa^dicitur.

organ, in Greek

of

is called

The

Eegistertable" {pinax). Inter tabulam et canona Sliders are interposed this between regulsesunt interpositse, registerthe

table and and ad eundem

modumforatae,

"

wind-chest;

these

sliders

are

pierced through with holes which correspond in

with

size

the

verse trans-

holes above-named. oleo

et

liter

impeUantur

et

sus,

subactse,ut

rursus

faci-

intror-

reducantur.

The

sHders

oUed, in

are

that

order

easilybe

they pushed in

may and

withdrawn.

Quae obturant

ea

These

amina, for-

plinthidesqueappellantur.

forms

alias

et

reditus

Plinths,"

rea cum

regulaehabent

choragiafixa pinnis;

kind

of basement

out

will

the open, and will close the have

Hae

a

et

fer-

juncta

each

as

an

obturat, alias aperit and

terebrationes.

for

organ pipe. (Plinthides.) Their slidingin

to

itus

are

stopping the holes, and called they are technically "The

Quarum

sliders

been

way

other holes

bored

passages. shders These conductors

one

for air-

have

fixed to

and

connected

keys

of the

2

iron

them,

with

organ. 2c

way that

the

Then,

356

THE

piimarum

quarum motiones

efficit

HISTORY

OF

tactus

the

regula-

MTTSIC.

toucbing of a key cause a ing correspond-

will

of

movement

rum.

its

slider. Contmentur bulam

ta-

supra

foramina, quae

canalibus

habent

ex

egres-

side

upper the before-named table

are

which

spiritus.

sum

the

On

of

registerholes through

the

the air must

make

its egress from the airchannels into the pipes.

[lis]

anuli

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

And

to

now,

revert

the E

modiolis

cylinderof the syringe. cylinderhas a tube

autem

fistulse sunt continenter

from

conjunctse

it with

pnigei;

which

it to

the

que

short

arcula sunt

ibi

ex

;

Each ning run-

connect

the

air

is

out

densed, con-

of

the

pertingentes- pnigeusthrough its neck, (which is formed by a

cervicibus

nares

densing con-

pnigeus, in

and

ad

to

quae in

quibus

tomo

collocati.

in

sunt

asses

subacti,et

Qui

cum

tube,)up

orifice of the which

over

tumed When

the

wind-chest,

orifice

valve

to

is

weU-

a

placed.

the wind-chest

has

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

357

VITRUVIUS.

Ita, cum

When

lever.

vectes

de-

the handle

is

raised, it

is

set

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,

ancones

clusi, ctalantes

in

os

cymbala,

replent spatia

rum. modiolo-

pin, which

hangs

mouth,

and

the

lentes

extol-

ancones,

fundos

iatra

cymbal from

thus

cylinderwith

On

Atque

centre-

a upon lowers the

when

its refills

air.

the

other

hand,

the

lever

raises

the

piston-rod,and the 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, pressionibuscothe enclosed air is driven, of the actum, in fistulas cogitur. by the pressure Per quas in pnigea conpiston, into the tube. currit,et per ejuscervices Through the tube the mo-

air

passes pnigeus, and

in

arcam.

vectium

Motione

vero

vebementiore,

spiritus frequenscompressus,

into

the

from

the

pnigeus, through

the

second

the

tube, into

wind-chest.

By

vigorousmovement lever, the

air

continued of the

being fi:equently compressed, it

358

THE

HISTORY

OF

MUSIC.

flows

tbe' tures aperleft open by the refills stops, and

througb

epistoiniorum aperttiris influit,et replet aninda organ the

eainales.

air-channels

included chest

Itaque ctim tactse,pinnae,manibus propellunt et reductint continenter regulas,

the

in

with

of

are

wind-

air.

Therefore,

keys

that

the

touched

when

the

are organ the hands,

by they continually propel and the bring back shdeifs, alternatelyclosand opening the iQg holes. Thus, by the art of music, these pipes ,

alteniis

foramina^altef-

Obturando

aperiundo,ex musicis artibns,multiplicibus nis

varietatibus, send

modulorum

excitant

sonantes

forth their resounding

tones, with

voces.

manifold

of

varieties

tions. modula-

I have endeavoTired,to pbtui niti,Tit 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

facilis

est

non

ratio.

is

not

matter. easy will this explanation

an

Neqile omnibus expedita Neither ad intelligendum prseter be intelligible to who eos qui in bis generibus aU, beyond those habent

si parum

Quod rint i-em

exeroitationem. iatellexe-

cum scriptis, ipsam profecto coglioscent,

e

inveniertt

curiose

tiliter omnia

et

sub-

ordinata.

"

have in But

had

things of if they but

practice

some

this can

kind. stand under-

little from

this

description,yet, when the they know thing

THIN

(Lib. X. cap. 13.)

METAL

8 ;

cap.

VESSELS

FOK

olim, itself, they will certainly find be

From

the above

different

quaUties of

curiouslyand arranged.

close

so

or

open of the

them, and

The

when

so

much

the

that

they

reed in

were

before

consequence,

tone.

ously ingeni-

that there

eight stops

fullyunderstood, and its application to the organ doubted. Organ pipes must was

of it to

part

every

it will be evident

with four, six, and organs birth of Christ; and, as a had

359

SOUND.

principle

favour, that

reasonably be

cannot

have

had

there

was

sUders any

to

music

these shders could only have worthy name, been managed by the fingers actingupon keys. Before partingwith Vitruvius, a few words may the

be said about

metal

vessels fixed in open spaces otherwise to the audience, near

the seats, or among in Greek theatres,which

vessels he

describes

in his

fifth book.-

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 and in precisetune pianoforteare in the same room, together,a chord struck upon the pianofortewiU produce a correspondingchord fi-om the harp. The has set into vibration that the pianoforte sound-waves the stringsof the harp,and they have reached

have with

sounds in unison sujBScient power to excite new them, from the tightlydrawn strings of the

harp.

efiect will be the

The if

the

instruments.

same

dampers are up, This principlewas

with and well

two

fortes piano-

with

other

understood

360

THE

HISTORY

the ancients.

by and

which

is but

main

body

of sound

angle at

The

be

returned

from as

a

Aristotle

echo,

billiard

The

ball,and

deflected

vessels in theatres

accordingto object.

were

power.

the

by

sound.

one

a

it strikes the

utilizingthis waste that were acting upon at the

of

or

of

both

from It differs,

travels like

which

Greek

to

Quintilianus. reverberation

a

it will either the

It is referred

Aristides

by

MUSIC.

OF

for the purpose The sound-waves

of the

ear

listener

were

instant

of sound waves excitingnew another body, by settingit also into vibration sound-board, when they would otherwise have same

deflected,or had travelled away.

been The

vessels

else

edge or hp, or producedfrom reed,

as

phial,or

in

have

must

had

hole

a

air set

in them.

in vibration

pandaean pipe ;

a

the

from

either

hole

in

a

flute

Sound

by

;

but

may

be

the

edge of the lip of

from

or

contracted

a

no

sound

a

a

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 from

ensue

into vibration. vessels thus

The

set round

of

the different notes

to

because

each

the theatre

scales,even

vessel could

to

produce but

were

tuned

quarter-tones, one

note.

It

strange that this scientific contrivance should not have been utilized in any way by the moderns, with is

the

before

fact

of the

harp and pianoforte them. tion, Surely it is preferableto reverberaits adding power, and from both from its

well-known

simultaneousness. About

eighty,years were

after

made,

or

Vitriivius wrote,

attempted,

in

provements imthe

KOMAN

CONTESTS

ON

361

OKGAN.

THE

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 of the day in exhibitingand 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 danger then threateninghim, he would appear upon 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

as

and

actor

an

lost to

the

as

dancer.''

a

Romans

his

by

suicide.

There

medals

the

of

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 medal, of the

such

One

extant

are

Museum', and

British

with

the

Emperor, Caesar Aug. P.

it has the

Max."

have

dioem

Maximus."

ratione

diffioultate

ac

jam

se

prola-

affirmavit, si per Vinliceat." (Suetonius, Nero,

omnia

"

C.

marching

Julius with

an

Nero

"

"

cujusque disserens,

41.)

of

letters are, as usual, in them. between If in faU, it

Tranaaotaque raptim consultatione, reliquam diei partem per et ignoti tydraulica novi organa circumduxit generis ; ostendensque

turum

head

inscription, Imp.

He

Vindex army

was

then

againstNero.

indeed

was

''

"

singula, de

side the

one

stops been, Imperator Nero, Caesar Augustus,

Pontifex

"

on

Nero, is in the

The

without capitals, would

of

time

"Subexitu

strange

a

quidem

vite

voverat, si sibi incolumis manaisset, proditurum victorise ludis, etiam

choraulam,

tonius, defines cum

per-

pairte hydraulaan, et se

pro

ntricularium

;

ac,

die, histrionem, saltato-

novissimo remque

et

palam

status

Virgilii tumum." Nero, 54.) Virgiliitwrmam

saltare.

"

"

(Sue-

Macrobius as

"canti-

362

HISTORY

THE

specimen for

OP

MUSIC.

of the high priest. On the reverse medal is the portraitof 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

"

Laurel

is upon the front of the the on organ, and side from the organistalso are two branches,

further where

of the

condensing syringes should be. The limit of space did not permit the introduction of either of the condensingsyringesinto 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 one

Placeas

"

Petri."

In that

we

have

a

side view

of the

organistwho is seated, and of two organ blowers who are on one working at the condensingsyringes, each

of the

side

A

organ.

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 has

Sabatier

mistaken

the

laurel

of the

victor

for

flaheUum. In spite of these medals being contorniate,""or by the lathe, and having an outer rim turned raised to protect them," they are much and worn, consequentlyindistinct. They are all seemingly of a,

"

"

vimi, Tictory.

"Greek, says

which

Dr.

W.

each

encouraged "

Smith,

party

"aery in

its favourite

(Latin Diet,

sub

"Nica,"

the

with circus

combatant."

nicd).

*

Paris, 4to.

1860.

"Italian,oontorno. tour,

plate x. French,

oon-

PORTEAIT

OF

copper,

which

reason,

I select

It

is

CoEection, and be

softer than

this

For

bronze.

example from an antique gem. intaglio,formerly in the Hertz

an

in the

now

minute

too

363

ORGAJSTIST.

VICTORIOITS

is much

cornelian

a

would

A

to

British

if exhibited

distinct

be

As

Museum.

it in

the gem size of the original, it has been enlarged by artist. He could not determine the character of our the

the pedestalof the upon of the British Musemn,

ornament

Mr.

Murray, kindly informed and

should

that

me

have

it is

carried

been

organ, but has since

wreath

a

round

the

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 organistby the side of

their

exhibited that

are

state,

not

to

his ribs and

than The

one

down and

a

two

the ; so

his collar

bone,

bust.

mere

organ

blowers

to

diminish

the

spasmodic of the air. The injection of

the

before-named

victor, Laurentius, seen

have,

the other lever up and thus to work alternately,

portrait in

be

have

to

has

been

regretted eminent

deciphered.

peculiarin exhibitingthe victor but it has this advantage,that we

good-humoured face. So great a celebritydeserves something more

his indispensable

were

he

Dr.

William

be may Smith's

as

of

admit

of this

name

finger-

a

is

admire

now

the

intended

It is to be

it.

his initials

even

medal

nude

fame,

ascertain

cannot

we

blowers organ and therefore

in ftdl face above

artist,but The

if the

of

centre

the

organ, share of

laurel,

of

well

in

a

may his as

364

THE

HISTORY

OP

MUSIC.

Antiquities, (under Dictionaryof Greek and Roman but oiie lookingmore Hyd/raula). A third organist, like

of

coin a

than

woman

a

a

and

Nero,

of the

The

horn

largest si^e"

is curved

made

TertuUian, of the

instrument.

the

A

horn, and

it

spear crosses is seemingly

the purpose of steadyingthe horn.* Fathers the most ancient of the Latin

Church, and

of the second the

who

flourished

As

after the

in and

the soul of

century, compares

Hydraulic Organ. body, and acts in

human

portentous and

of

of different

union

between rows

I

"

such

time,

pipes;yet

aU

the

mean

of that

body,

channels

for

changes sounds, such inter-

mode, and

and

measure,

does

"

bequest of Archimedes Hydraulic Organ. So many members so so parts,so many joints, many many

munificent

utterance,

the

part of it,so

every

fillsthe organ. highly says he, "the

"Behold,"

man

the soul animates

which

the wind

many

is organ of metal,

shoulder, and player's

to his mouth.

by

that

base

very

another

on

placedfor

there

to

horn

a

the

over

of

side

cun^ed

a

passes under his arm, the circle described

end

the

by

horn-blower, with

and

is exhibited

man,

togetherform

but

so one

huge pUe ! So the breath, which there pants by the tossingabout of the water, will not be separatedinto through parts ; it parts, because it is administered entire in essence remains though divided in its working.'"" "

This

Koner'a

Das

Romer,

8vo.

^

copied

ia

Leben

into

Guhl

der Griechen

1164.

and

oommeroia

tmd

arum,

munificientiam

hydraulioum partes, tot vocum,

tot

;

orgauum

dico ; tot membra,

compagines, tot compendia

aonorum,

moles

una

Sie et

p. 241.

"Specta pdrtentoaisaimam Ar-

chimedis

et

modorum,

tot

itinera tot

tot acies erunt

tibi-

omnia.

spixituaqui 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.) "

.

MUSICAL

Tertullian

365

IDIOMS.

full of

his

main

subjectto think twice he was to whether as ascribingthe invention of the Hydraulic Organ to the right He stands alone in attributingit to person. Archimedes. Not only his cotemporary, Athenaeus,* but also Vitruvius'' before,and Pliny"after his time, unite in ascribingit to Ctesibius, as do aU earher too

was

writers. Three

names

given

were

to

the

sliders

of

the

describes them Hydraulic Organ. First, Heron as "plinths"to the pipes;next, Vitruvius, as "straight and Pubhlius pieces of wood" {regulce); Optatianus Porphyrins,a Roman 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

notice

again speak

two

Latin

of the

plectrum,it

idioms, intus

canere,

is

and

touching the lyre with the plectrum, the hand was projected outwards, and so The from the lyre. That was foris canere. away behind the stringsof fingersof the left hand were used in playing,the the lyre,and when 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

foris canere.

-

174

Athenteua,

lib.

iv.

eap.

75,

p.

* '

c.

Vitruvius, lib. ix. cap. I'l"y" lib. Tii cap. 37.

9.

366

THE

HISTORY

MUSIC.

OF

glutton. Again, thieves were, hinted at as Aspendii Citharistce, for a like reason, famous because a performer on the Aspendius was lyre and cithara,who rejectedthe use of a plectrum, and played upon all the stringsof the cithara with his performances were his left hand. Therefore Cicero comclass. pares altogetherof the intus canere Yerres of his orations," to Aspendius in one also for

sometimes

Asconius

and

the upon modern reader

comments

that

desirable

a

the

but

passage;

it is the

know

should

positionof the hands upon the cithara in. order to appreciatethe two allusions. The Hydraulic Organ forms the subjectof one of the poems of the before-najneid PubUlius Optatianus. For

some

reason

from

banished

unknown,

now

Rome

;

and, in order

he"

had be

to

been

allowed

panegyric in the form of I. to the Emperor Constantine set of short poems a stantine This flatterywas acceptable to Consufl"ciently to accomplishthe objectof the poet ; and, 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. is intended The last is a fanciful composition,which return, he addressed

to

a

"

"

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

omnia Verrem

intus i,

oanere

20,

citharistam dioebant." edit.

quern "

{In

Amsterdam,

1724. fol.,vol. i. p. 290.)

"

"

reddere

Augusto vota."

viotore

juvat

rata

POEMS

surface sLx

of which

hexameter

each

ON

the lines

hexameter

367

OKGAN.

THE

placed.

pipes are represent

a

row

The

of

twenty-

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 have been pipes the body of the listener,there must of at least 16 feet in length,but probablylonger. increases

the

to a tower, and organ precedingquotationfrom Tertullian represents

Cassiodorus the

compares

grand pile (riioles). Optatian speaks of organ-blowersonly in the plural number, without the precisenumber. specifying the tone and Roman So many Emperors admired that of the organ the power consideringfirst the 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 sound could be of the largestpipesfrom which use

it

as

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

Ammianus

HISTORY

OF

MUSIC.

Marcellinus,written

about

the

year 380, in cbapterxxxi., lie says :

quoted by Gibbon of the theatre, flutes, But the costlyinstruments and enormous lyres and Hydraulic Organs are constructed for their use and the harmony of ; vocal and iastrumental music is incessantly repeated is in the palacesof Rome. In these palacessound preferredto sense, and the care of the body to that and

"

"

of the mind."*

Having his

poem,

to

enlarged upon descriptionof note."

a

the

pith organ

order

to

of

Optatian's

may observe

be

ferred trans-

his

self-

making each succeeding line to consist of exactlyone letter more than the former, to have been driven into writing Optatian seems quis for queis,and into spellingrythmus instead of 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

imposed

task

In

the

MarceUinus,

aAmmianus ^

of

cap.

vi,,edit.

Gronoviua.

Leyden.

1693.

eiit in varios

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,

"Hsec

modes

'

quibus

unda

latens

properantibus iucita ventia, sibi disoors juvenum labor baud bine Hinc animaBque agitant,augetque reluctans, atque propriumque ad cannina Compositum ad numeros prsestat,

Sub

Quos vicibus

crebris

ad motum intremefacta frequenter Quodque queat minimum Plectra adaperta aequi, aut placidoa bene olaudere cantus, et metro rythmis prseatringerequid quid ubique est." Jamque "

(Wernsdorf'sPoetcB

latini minores,

Archdologiquespar

Didron

vol. ii. p. 406 : or Annates ain^, vol. iii., 1845, p. 272.)

INVERTED

of the

REPRESENTATIONS

musical

the

Annales

not

so.

instrum^its

369

ORGANS.

OF

Middle

of the

ia

Ages

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 is;and an

On

the two

the other

organ

is not.

player,but his eye

accustom

medals

to

a

the

facing the organist,and pipes on the right. The "wandering finger" were

of Nero's

An

engraver who spectator, would he

view

engraver of indifference which he

have

may

design from to

a

may view

had

would

so

far

taken

when

long

and

the

ployed probably emquickly-speaking

more

thought it a

matter

he

gave of the organ, or invert the whole of the

forgottento right to left for

a

transfer to

a

seal

or

in

or

die.

of Optatian may poems before the year 324, because, in

be

The

Crispus,the

lauds son

not

perhaps

touch"

more

have

one

was

place the

"hght

the smaUet and upon pipesthan upon the largeones.

Again, an

date the

of

brave

Constantine, who

and was

dated of the

one

accompHshed put

to

death

set, he eldest

by

his

jealousfather in that year. from ancient .Among the remaining passages authors which might be quoted as referringto the Hydraulic Organ, I do not observe one which will the construction the further light upon or throw 2

D

370

THE

chaTacter of the

HISTORY

OF

MUSIC.

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 are feature,it may be well to show first how In

these

ancient

of the tombs

bellows

worked.

were

paintingof an the smith is heatinga rod of iron, Egyptian smithy;'' his two and assistants are blowing the bellows. These are, in every sense, pairs of bellows, for the one

blower

has

weight of

at

under

one

Kouma

each

is

a

foot.

He

throws

the

his

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

An

Egyptian Smithy

with

the

ancient

Pairs

of Bellows.

that in ancient times bellows proves furnished with valves, like those of the present

action

for, if otherwise, the have

thus drawn

It is included

"

of

been

in the

Champollion, plate of Rosellini,and

that

exhausted up

great work

165

by

bellows

the hand.

The

Popular Account

son's

; also in in Wilkin-

could

Egyptians, vol.

were

day not

weight

of the Ancient

ii.,p. 316.

;

ANCIENT

SKILL

of

and depressing, been equal. If

we

tlie

turn

now

wotJd weight of raising,

Herodotus,

to

which throughan interpretation the

Oracle,that

the

ancient

most

primitiveof Greeks, employed

same

character.

in

Lacedaemonians

had

been

find,

Lacedaemonians

to

The

have

shall

we

gave

an

371

OEACLES.

WOBKING

IN

Arcadians, the of the

bellows

overcome repeatedly

the

Tegeans, and therefore sent to the Oracle at Delphi to enquirewhich 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 by

war

Lacedaemonians

Tegeans."

should

It would

become

have

victorious

been

unsafe

of the Oracle that it should

date, lest the Tegeans should

the

over

for the

tation repu-

predicta particular

still be too

strong ; so When added,

Pythian was reportedto have they had brought back the bones of Orestes, the son indeed a safe prophecy, That was of Agamemnon." knew for the Lacedaemonians absolutelyless about the

the

"

bones

of Orestes

Moses.

They

Orestes

had

could died.

than

we

not

even

do about

the

tell in what

If, then, the

bones

of

countiy

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 was altogetheron the true, and that the error was part of the Lacedaemonians, in having brought home should

of the wrong person. to further advantage was

the bones A

be

gained by 2d

2

the

372

THE

HISTORY

of the

charming vagueness

of

consultation

second brief

likely

was

OF

reply.

the

be

to

MUSIC.

Oracle

It must

and

;

endorsed

with

entail then

a

the

liberal

a

fee, consideringthe

weight of the the promise of success already made, and cause, the god through his of propitiating the desirability consultation

ministers. All went

second

a

The

to

priestsstill took for they alone instructed

They the

bones Seek

This

of

for them

Stroke

to

time

ever

the

lucid

could

iii the winds

two

to

search

enemy's country ;

with strong compulsion are woe

upon

woe

ever

considerable

smith, (whether

a

for to

blowing,

growing.

occupation

brains,but luckilythere was Lichas. them, named among

from

whitesmith

information.

have

Lacedsemonians

expositiongave

sagaciousfellow heard

further

hole, plenty of loopinterpretthe Pythian.

to

answering stroke,and

Lacedaemonian

had

entreat care

Orestes where

Lacedaemonians

The

wisely judged.

was

one

He

blacksmith

or

expressed,)that being about to 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

in

them the

the

two

winds, and

stroke

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

and

hammer

1

Herodotus, Glio,cap. 67, 68.

ORGANS

THE

ON

having fulfilled

OBELISK

OF

373

THEODOSIUS.

fully prophecy,that they were they coxild then beat the Tegeans, and so

convinced

the

did.

they And We

now

to

as

the

descend

may

Christian

the

to

and

era,

Eoman

yet

we

method fourth find

of inflation. of

century the

the

bellows

same

employed for Pneumatic Organs, according to the This sculptures upon the Obelisk of Theodosius. stantinople erected in the Obelisk was Hippodrome at Conand

its white

on

pipers playing and

upon Pneumatic

two

the

than

curious Didron

three

are

dancers, pipes, seven Organs, one having largerpipes

other.

width

the

exceed

base

double

the

representationof

A

marble

may for

of

the

it in the

see

1845

entire

present

Annates

(p.277).

subject would page,

and

the

ArcMologiques of

It is included

in

one

of

musical articles upon instruments, more those of the Middle Ages, by M. de Cousseespecially

the

learned

The

maker. even

in

the

quarto

page

of

Didron;

and, since

one

required,I have availed myself of larger size from The following woodcut

of the organs of the

is necessarily minute representation

is alone

374

THE

the

History of and

Mr.

These their

Cocks

two

or

and

to

bellows.

AU

that

sculptor has

the

MUSIC.

that

Dr.

Rimbault

kindness

of

Co.

"

men,

hands,

OF

Organ by my friends J. Hopkins, by tbe

E. E.

Messrs.

HISTORY

boys,ougbt to be standing

can

be said not

as

bave

stringsin

different upon to this deficiency is,

descended

to

minutise.

The

boys could be of no possibleuse as they are representedin the engraving. In point of date the Pneumatic system for the is probably long anterior to the Hydraulic. organ Heron's work was evidentlyintended to describe only such

inventions

as

theji recent,

were

or

which

had

For pecuHaritiesnot generallyunderstood. that reason, probably, the only representationof 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 directlyinto the wind-chest 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 some

wind. The casual Roman

main

in identifying the difiiculty

notices

of musical

writers

of organon have

and been

rests

instruments

upon

organum.

intended,

the The even

wide organ when

organ among by Greek or

significations may the

times some-

word

syrinx is used; for Philon explainsan 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 "

"

A

had

they

for the the

GREEK.

mouth, and

into

before

the

carried

in

about

for the organ of of harmony, and

look back

cannot

have

concert, must have

would

organ

large

too

were

be

A love age. in instruments

hearing several arisen

which

long to

375

ORGAN.

THE

reeds

too

Still,we

barbarous

any

UPON

utilised

not

hands.

to

EPiaEAM

brought

been

ordinaryuse.

The

word

musical

of the fathers St.

called

of all

its wide

that

says

organa

Church.

"aU

For

musical

also every kind of instrument be played, or which be may

used

iQstance,

which

for

is of

bellows,but

which

upon

times

instruments

organ is blown by

which

and

largedimensions,

to the

merely the

not

"

to application

classes,down

of the Christian

Augustine

are

retained

organ instruments

a

tune

can

accompanying

the voice."* The

Julian

ipmperor Pneumatic

the

wrote

pipes and to epigram is written

which

in

Organ,

epigram

an

upon alludes to

he

its metal

its leathern

bellows.

the

in the

of

it "

less

is

Non

musioorum.

menta

et inflatur

quod grande est foUibus, sed etiam quid-

qui canat, on

No.

Dr.

translates

and

thus

brazen

agitated by blast

"

that

"I

soil ; our

rushes

robust

mortal, running with

see

reeds

are

but

winds, from

of

a,

of another as

a

the

makes

them,

dance,

emit

to

not

by

leathern

a

they

of

rude

instrument

of

had

new

keys, smoothly "a

taU

"alluding

says,

climisy carillon

kind

a

swift

sounds."

ayifmxoQ

necessary

while

;

melodious

force

the

roots

concordant as

translates

Dr.

vasorum

such

their

fingers over

to

beat

keys

that

of this

invention." read

Bumey Heron, expressed his inabilityto under-

and

species,the growth a

on

[History, ii., 65,)

:

beneath

{Comthe

an

cavern

sturdy fellow," and

"c.

Burney

Dr.

He

Organum

"

enigma, Dr. Biurney,''

utitur "

coromentary eat omnium

"

musioorum,

cor-

Augustine

56. )

Psalm, beginning,

generalenomen

new

dicitur."

organum

Psalm,

similar

a

150th

et

instrumento

est, quo

poreum

""

cantilenam

ad

quid aptatur

has

iUud

solum

dioitur

organum

ment.

instru-

omnia

dicuntur

Organa

"

translate.

to

easy

form

As

stand know

Vitruvius, therefore but

little

Greek

or

he

derived

his idea

mediaeval

about

Roman

of

from

not

he the

organs, of carillon

writers,

could

keys and

keys

376

THE

HISTORY

MUSIC.

OF

it by passingover Busby,"and others,accomplislied of tbe

some

words, I

tberefore

attempt

literal

more

a

version. "

I

reeds, or pipes,of a different kind : I from another, a metallic soU, they have

see

that

ween

"

perchance rather sprung up. wildly,and not by our breath within

from

the hollow

below

of

These ;

but

bull's

a

a

agitated blast,rushing are

hide,passes

the foundation

of the

several

in the

neath, under-

well-pierced pipes, skilled artist,possessed of nimble and a fingers, regulatesby his wandering touch the connecting rods of the pipes,and these rods, softlyspringing to his touch, express [squeeze out]the song.'"" There

are

For

donax instance,

the

wind," and

is not reed

"

a

sense,

Orations a

enigma. reed shaken 'by also

Dr. Busby gives a metrical "

Reeds

I

Reeds

of

That From While O'er

not

translation

novel

heaven's

lungs that a

"

in

the

third

skilled

:

of his

labour

It is

"

: "

or

bronze when

"

rigidspoil, growth, and brazen soil ! wind, biit blasts mechanic

.

at their

artist's nimble

dancing keys, and

E(f opjavov

last

the

roots

beneath

breathe, ;

fingerbounds

wakes "

"i

a

bellows,and which,

behold, of earth a

metal

"

he says consists of copper

musical

will

an

Providence, where

on

organ which pipes,inflated by leather *

"

only a pipe,"but

which

form

calamus uses pipe." Theodoret in the in a comparisonincluded

organ

Hke

above

constructions,and thus may

bear two

Ten

words

celestial sounds.''

i. p: 26.3.) {Historyof Music,lYol.

fiovaiKov,

'AXKoitiv ^jrou cltt oXXj/e fvmv opoii)SovaKW "Kahciiriq fiaXkovdvejSKdaTriaap raxa apovprig. if'r/fi^TSpot^fSovkovrca, AyputijovS* dvsfioniLV 'AW airb T(wpur\e vpoBopiirv amiKvyyoQ aiims inrb piZ,av icdKdfiuiv TikpBtvIvTplynyv bSwu, Kai Tig dvripAyepuixog, IxiavBod SdicrvKa xetpAf, '

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

377

LEARNING..

OF

played upon by the fingersof a skilled musician, of sound."* reverberation produces that enharmonic Cassiodorus,who retired of his

in the

latter

works, certain he

like

of the

150th

organ

of his

secured

blowing ;

great

a

day

" "

The

derived

measure,

In his

Augustine.

:

other

Psalms, which

Psalm, Cassiodorus

made

tower,

a

the

by

of St.

the

514,

monastery

a

wrote, among

on

be, in

to

the comments

the

there

Commentaries

acknowledged

from

He

in

Rome

part of his life to

founding.

own

of

Consul

was

thus

tion exposi-

describes

therefore, is

organ,

pipes,from which, most copioussound is

of different

of

bellows,

and, in order

regulate the may certain tongues of

a

that

suitable

a

modulation

sounds, it is constructed wood

from

with

interior,which

the

fingersof the masters, duly pressing(or forcing and most sweet song.'"" back),elicit a ftdl-sounding there is sGme doubt whether In this last quotation, he may not mean an organ with sliders only; for the word reprimenteswould apply equallyto pressing slider which down" a a forcingback key and to last is the effect produced by pressinga key. We have in this case a Roman, instead of a Greek, writer the

"

"

"

"

'

before

us

weire

once

dark

as

disuse

and

;

"

The

music.

in Rome

construction "

the Dark

termed to

whose

one

ydp 'Opyaj/^)

;

date

faUs

within

Ages. They

organ

then

was

soon

loocev

carb

afterwards xoXicuiv

into falling art

of its

lost.

diversis

fistnlis

foUimn

KaKdniov,Koi. inr' daKuiv mjyKafiivtp

flatu

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,

tinaturj et,ut

-

indeed

were

and, consequently,the

was

what

fabricata, quibus copiosissima dee-

tox earn

modulatio

decora

componat, linguisqnibusdam ligneis ab interiore parte construitur,quas diaciplinabUitermagiatrorum digiti reprimentes, grandisonani efficiimt "

et siiayissimam

cantilenam.

378

THE

HISTORY

01"

MTJSIC.

.

It

is from

of this

passages

indefinite

class,and

from

instruments of rudely constructed descriptions of later date, that the employment of keys in ancient has doubted. been Cassiodorus speaks of organs would, indeed, organistsin the pluralnumber ; two be requiredif the organ had but sliders. On the other hand, he refers to playing it with the fingers, and to

be

the

assumed

command

the

instrument

last

thumb

provided with sliders,and no keys

the

entire

hand

be

used, and

not

or

the

merely

quotation fi-om Cassiodorus is, that the sounds produced by the organistsare not termed harmony {concentum),but simply an air (cantilenam). This may be because he

sums

be

taken

notable

would

it is stUl

was

organ had

them, either

and forefinger the fingers. The

hand, therefore

entire

that

If the

keys. to

with

not

point

the ""whole

up

in

efiect

the

as

one

;

but, if

to

how the of art literally, greatly must organ-playinghave declined in the earlypart of the sixth century, supposingtwo been to have persons requiredto play the treble and base of an air ! The doubts

of

Boman

organs to be accounted Pneumatika John

earlier

our

of

historians

to

as

Greek

and

having been furnished with keys are the for by their not having known Neither Sir Heron. Dr. Burney nor

Hawkins

refers to Heron's

work

tories, in their His-

they expect to find a description of the Hydraulic Organ in a work professedlyon Pneumatics. Each, therefore,requiredbetter data to enable him to form a sound judgment. of the organ Having now brought down an account nor

from

would

its earliest known

future

historywill

date pass

to the

through

sixth the

century,its ordeal

of

a

GREEK

second that

WORDS

infancyof music,

noble

instrument

379

MISAPPLIED.

in the

can

Ages, before

Middle

in its fuU

emerge

powers.

The

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.

Neither

the

in those after times

nor

do

find

we

knowledge Greeks. a

in

which

of

that

be vain

to

Romans. "

the

disturbed

a

After

they

embellished

had

their

of Greek

part of

mind."

Boman

of the

search or

for even

Bunsen

has

thirst for

divine

a

desire

earnest

characteristic

was

"virtue,"

luxury and self-indulgence,

sake, or for truth from

own

of Boman

Aristotle,a Didymus,

Ptolemy, among that severely, its

of

symptoms

It would

Plato, an

times

for

ancient

Socrates,

a a

Claudius

said,rather

knowledge

love of

for

truth, never

[Egypt,i- 166.)

"

conquered the Greeks, the Bomans own language by so largean importation

words,

form

no

inconsiderable

dictionary ; but partlyfrom inattention,-and partlyfrom insufficient knowledge 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 This

a

modern

to

as

was

the especially of Greek

greatestof the as was some

arts.

case

applicatio music, but the mis-

extended

terms

Even

in

in

far

beyond

architecture,upon

that

which

especially prided themselves, indifference of right meanings of words the preservation Yitruvius comments equally manifest. upon in his book of these misapplied terms upon

Bomans to

Latin

380

THE

HISTORY

MUSIC.

OF

,

Architecture desire

to

;* but, like them

see

a

Roman,

true

restored

from

not

any

their

places, proper for the benefit of

to

simply to explain the words philologists.'* Unhappily,there was no Vitruvius to explainto us in music, and, the misappropriation of Greek terms consequently,they have remained, to this time, the appreciation great stumbling-blockto an intelligent but

.ofthe Greek Further

system. than this. Western

Europe

taught

was

that there are but three through the Latin medium cussions accents (prosodiai)in the Greek language." Dishave consequentlybeen carried on for more than

century, and

a

have

Europe Greek

have

accents

of the

part in them,

taken

that

the

characterizes

many

ablest

scholars

decide

to

quantity in

in

whether

them

which

of, modern

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 accents

"

"

5.

Inter

itinera

sunt

duo

peristylia

autem mesaulcB

quse

diouutur,

quod inter duaa aulas media sunt inandronas eas terposita; nostri autem appellant. Sed hoc valde est miraudum,

enim

neo

potest dronas

quod

esse,

mones, xustos

enim

per

ambulationes

sunt

si q^ua

diaiJmra.

aut figura signa mutulos coronas sustiaent, nostri telamones appeUamt; cujus rationea, quid ita aut dicuntur, ex historiis nou quare inveniimtur.

*

7. Nee

"

Greek

dicunt.

then

grseoe

dicuntur, quse

sunt

vi.

ego

ut

tamen

7,

cap.

I

ea

to

taught

aut

ignota phijudicavi. (Tbid.) "

so

in

the

of 1819, from

le^n. Greek

ser-

sint

non

remained Chammar

began

mutetur

nominationum

sed ut

;

It

tempora exerhypaethras xysta appellant, quas Item

cUla/n-

eas

{Lib.

lologisexponenda

hibema

autem

"

vero

vulgo 10.)

monis

qua

Grseoi

vocitant."

tas

appeUatione est

latitudine,in

grawe

6. Item

viriK

graeoa

paradromi^as

prothyra

res

dicuntur

consuetudo

Nostri

centur.

muUeres

autem

nonnulla

porticus ampla afhleiae

an-

convivia

januas vestibula; nos appellamus prothyra quae

prothyrwm, telaalia ejusmodi;

similes, uti xystm, et

eo

Iteiii alise

aocedunt.

GrsBci

enim

appellant oecos, ubi

Tirilia Solent non

Grseoi

convenire.

latine

neo

graece

ante

All

Eton which

boys

through

were

Latin.

GREEK

ACCENTS

while

the acute

stress

nor

Greek

FOR

and

the grave

there

quantity. Again, therefore claimed

it involves

one

the

authorities

the

;

first,for the

and

has

and

;

the

breathing of vowels which for pitch are are

the

circumflex

identical with

accents

those

accents

pitch of

been

which

;

the

three

of

as

sound

the

;

third, for the hard

and

soft

three

which

stress

define

second, for its duration or

by any ancient prosodiaiwhich have for hard breathing,

for them.

Ancient kinds

is

neither

them

other

are

have

accents

quantityassignedto

author, there

381

PURPOSES.

VARIOUS

The

consonants.

the

acute,* the grave,

the

two

for time

still used

are

in

are

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

to

mark

of the

in

but

on

up the

becomes

accent

syllable.

second

the

be

is to

voice

the av9pii"Trov,

easily exercised

mark, very long vowels,

upon

Mr.

in the

care

more

ranks

Hullah

and

0,

as

descending. from from

the lowest be

of

ascent

with

I,

E,

High the

back, and

the front sounds

elongated.

perispotnene, is

A,

vowels

require the The

lipsto

circumflex,

the on

the ;

or

necessarily long.

ry

sometimes

'lariov Kai Effrt

part to

on

4, 6,

edit.

accentuation

into the

positionsof

referred

ing stand-

Alypius, pages

with

last

sometimes

following is the whole It relating to prosodia.

mouth the

included

are

signs,

See

commences

low

of the mouth

The

passage

duced pro-

the

Iv ir^ptKKaffiv

8, 56, "c., in Meibom's '

are

a

letters,and

over

7,

in

as

musical

alone.

our

0, U,

voice, something form. Dionysiua of twisting round

accents

grave

ones.

pronunciation, sound the open ing, E, I, in ascend-

U, 0, A,

as

and

vowels

the

short

of it

rise

a

The accent wepiffTTbifi^vy. grave signiflesonly the equalization or levellingof tone, Kara bfiaXiafiov iv ry ^aptig.. Both the acute and

continental

vowels, if with of

of

case

the

both

voice, fi kutA

among

requii-ing

but

the

the

ciation pronun-

a

fall in

a

speaks

genitive

the

it commands

like its semicircular

to superfluous

be

to

moderns;

Thus

and

It

all.

at

accent

no

then

seem

case,

the

it has

fore accent, it is there-

acute

were

thrown

because

a

pronounced naturally,as

to be if there

the

and

highest vowel,

ia the

may

dvBpiairot.The

the word

Take

"

of

in

TpiX'"S

flute ; and

the

but

only paragraph is

accents

the

by next

text

;

above:

"

XlycraijjirpoaifSia

(7"p)i)TTfljOa Tolg fiovaucoigjtovtTO OT"iia Kai 17 iKfittvrjaig tuiv

382

THE

tliree

the

to

more

the

hyphen,

but

no

the

words,

HISTORY

above the

and

OF

viz.,the apostrophe,

seven,

short

marks, which

MXTSIC.

were

stop called hypodiastole, the

on

level

same

under

or

generallyadmitted among prosodiai. tion were signs to guide the voice in recitaand out of those accents kinds_, grew the are

Prosodiai of aU

systems of ecclesiastical notation, called pneumata called guides for the management of the breath, now "

These

neumes.

of the

Churches

;

Eastern, and the

but

exhibited

abundantly

are

of the

divisions

two

in

scripts manu-

early Western,

worked

their

out

did not differently. Neumes originally designateany definite notes or pitch,because musical* intervals were not If any required in recitation. had been designed,letters over fixed musical sounds the words would have been employed, as necessarily

systems

music, instead

in Greek the

In

attached

each

These

chants, and voice.

of the

afterwards

two

the

as

as

to the

degreesof

had spaces time, notes, to mark

lines and

to

are

a

red and

"

startingnotes ascent

present musical its

lines

plummet, through them,

lines lines

scribes

faint

with

guide the

drew

neumes

to

Thus

of the

Church

painted coloured

and

were

indefinite marks.

some after-ages,

Western

row

others

first one,

the

the

to

through while

of

course

of such

sa"on. of the

descent

or

notation

origin. Square

and

for

by

round

of later date.

koI ^ Iv ry koX tovoi aiXSiv,\iyCTatirpoaifSia' /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 mpvairaaOai Koi aiiTOQ 6 x^P'""'')? '/'iXq."ETrrd ovv etaiv,' SsSeucrai, ms ai TrpoaipSlcu. tS"v Toviav, Kai tS"v yjpoviav, Kai rSyv (Immanuel Bekter's oXov bliia,PapeXa, iripiaAnecdota TTvevudToiv, Orceca, p. 706. See also "

'

"

'larsov /liviv rovTOig. Toie TTpoaifSUusrpia hriv

iru/ievT]. Tavra

Sk

on

Ev

e'iSritan "

yilprovoe,

XP"""?!

TrvcvjM.'

p. 674

the

2;^o\i'atig ttjv Aiovimov and ypaii/iaTudiv, Porphyrius Ilepi jrpoaifidiae.)

THE

The is

word

ORIGIN

of ad

compounded

of the Greek

therefore the

as

quiteas

word

and

pros much

elevation

Latin

from

accentus,

we

ode.

derive

accent,

is

tion transla-

which

part of accent,

like the

Greek

a

syllableis or prosodia,

of

Length

depressionof

or

cantus,

wMcli cantus,

a

383

ACCENTS.

OF

the

The

voice.

all

ode, includes

recitation as

of verse, and all irregular chanting,as well that which is governed by strictly musical intervals.

It

is

commonly reputed that Aristophanes of Byzantium invented" the marks for Greek accents. This rests upon the supposedauthorityof Arcadius of "

Antioch, who

is said to have

date

completion of the second as Aristophanesflourished

our

after the But

era.

lived at

uncertain

some

century of in the third

century before JJhrist,the uncorroborated of Arcadius

is insufficient to establish

years before his own irreconcilable with the have

a).

works

of

time.

Moreover, his

referringto accents passages ancient authors, such as the one

in

from

Aristoxenus

flourished

Byzantium.

century

a

are

date of said

Terpander ; to

have

{p.89, before

I

note

tophanes Aris-

Again, recitation of the an especialsubject for

had been poems competitionin the publicgames Homeric

poems until

500

is

Aristoxenus

far earher

event

an

account

alreadyquoted of

evidence

and

been

of Greece

from

the

the

copiesof these irregularin metre

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, the most

are

The

ancient

passage

Greek

to

probably the Arcadius of

edition

the

first the

employment

of

three

is

kinds

Aristophanes of Byzantium is more later commentator productionof some of Antioch. Judging by the Leipzig included

the acknowledged

in

of upon the subject accents the sole authorityfor attributing it to him seems

and

be

a

of Arcadius

very

indifferent

collection

same

the

manuscript in

National, Libraryin Paris.

or

literature.

of

accents

1820,* it is not

work

to

which

prosodiaior

attributed

than

in

of all Greek

includes

''

this

in the Grammar

;

Imperial,

coc?ea;in the

Another

tophanes Aris-

panegyric upon

of Alexandria

of Theodosius

himself of the commentators one (who was upon Dionysius of Thrace); while the best of aU the which is manuscripts,the one of highest authority, 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

Tovuiv,

De

which

edited ifiSiMv),

Accentibus

includes

by

Edmund

{irepi

vepl irpoaHenry

8vo. Leipzig. 1820. ' AnstopTicmis Byzantii OramAkxandrini matici Fragmenta, by 1848. Nauok (Halis, 8vo), Augustus ait Arcadii, cui "Num p. 12: Barker.

"

vulgo tribuitur, fateor etenim

Arcadio

in

me

aolo

dubitare adhceret

;

codice

(Paris,No. 2, 102),libro

simo.

Codex

expositionem matica

No.

2, 603

in Theodoaiana

exhibet

vilia-

eandem gram-

omnino

igaoratliber Havniensis, longe prsestantissimus."

Again,

at

carminibus dam

p.

:

16

jam

:

"

signia uaum

prseter alioa, Gram. Iliados, p. iii."

"In

Homericia

Zenodotum fuiase

Bekk.

quibustestatur, Schol.

greee:

385*

ehapsodists.

of

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,as being mere ism mechaninstead of art,is it probablethat the declamation of the Homeric and others,the staplemusic poems for the lyresof few strings, have been altogether can without

its kindred

Aristoxenus

notation

refer when

he

what

To

?

writes

other

of the

can

prosodiai

which

diction ? accompany Upon this pointit may be broadlystated that aU the reciters of epic poetry, and all those who used

lyresof four, five,and

six

were strings,

rhap-

mere

sodists,or chanters ;* and that Greek 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

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 so widely,would of ouri'-northern extraction. appear energeticto men It was probably not greater than a Fifth in those carried on at ancient recitations, althoughthey were the conversational tone of voice, a higherpitchthan for the sake of superior audibility. was

fixed

It appears that when rhapsodists -without chants their holding made *

musical

in their

iostniments

took

hands,

of laurel while

branch

they and of Homer, recitingthe poems of myrtle when recitingfrom one lines Scholiast on See jEschylus. Nubes 1364-5 (Dindorf'sedit. ) of the of

a

Aristophanes:

"

"iX\d

AIitxvXovXe^ai Commentary of

XafiovTa tZv See

also the

thins

on

""On

the Hiad, Book Si Kai

i.,

ri /wi. Eusta-

beginning:

rhv pd^Sov, ri 6, pa^ifSiaAprirai (p. Leipzigedit., wapa "

1827.) "" De

CompositioneVerhorwm,

Taudmitz's

edit,

laippivti" 2

E

p. 34,

386*

THE

HISTORY

the indifference shown upon whether they did or did not

commented

Having

to as by the Romans words, it misapply Greek the moderns, there among

like indifference

a

Cicero

his

had

editors

been

that,

instances

of Roman

of

authors,

example,we the

to careful treatment

strong claims but

;

their

form

added

be

lessness rhythmicalarts. Not a little carehas exhibited where been it occasionally be least expected. A writer so pre-eminent

would as

have

the texts

to

as

should

the

least,upon

at

MUSIC.

OP

his

even

full meed

have

works

of attention.

take Cicero's Treatises

second

volume

of his

from tained yet ob-

not

Suppose, for Oratory,which

on

works,

as

re-edited

whose edition has been scholar,one by an eminent recentlystereotyped.*Cicero is still misrepresented 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 "

into three

divided

parts 1 editors

antecedent

question to himself, he consider

to

the

If any one of the numerous would but have put that

surelyhave

would

conjkext, in

order

he meaning. Then unequivocalproof that Cicero foot in rhythm is divisible a

would

author's

M.

"

it may

be

Tullii Ciceronis

Opera

that

but

.

.

iterum

Aug.

Nobbe,

nasii

Nicol.

stereotypa

edidit

Prof.

Omnia

Car.

Frid.

et

Gym-

Lips,

Hector.

divided

Nova

0. Tauohniaua,

editio Tom.

2.

impressio. Lipsise,1867. ad "" "Pes enim qui adhibetnr partiturin tria" [instead numeros Nova

of

"in

tria,"it should

be

"trilus

to

did

not

"into

"in

three

been

arrive have assert

at

led the

found that

three

parts," ways." 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 sequalisdacesse majorem. tylus, duplex iambus, sesquiplex paeon." (Cicero,11 OroiM',cap. 56, No. 188.) "

"

"

ERRORS

IN

THE

PRINTED

the

ensuing lines exemplified. Either

(1), "

(2),

It must

"

The

"

is

are

equal

length of

the

other

;

in the

proportionof

three

the

first.

The

word

second second "

"

plus

omitted, and thus the firstand second is,

"

one

is said

the

the

possiblyconfused by a old text, although this

were

representedas

second

be

must

of the other."

quiteas palpableas

division

as

be

must

one

editors

has been

are

ways

; or,

be double

in the incorrect

error

part of the foot

one

other

to two

The

three

the

text

387*

CICERO.

OF

else,

or

(3),

of the

the

to the

TEXT

other

identical.

For

part equal

in the

text

to

to

;" instead of

ways the first mode of

"

as

the other

be,

"one

;" and

part

much

as

the much

than

the

necessary

to

more

other." In doubtful refer to are

cases

it would

manuscripts,but

self-evident.

by examples which

Cicero

have

been

corrections continues

such the

as

these

illustration

familiar to aU.

are

equal division of parts, the first syllableis he cites the dactyl,of which 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 and this is of two principalkinds. followed vsdth a long syllable, by three commences For

short second

the first mode,

ones,

kind

as

or

the

destnUe, Incipite, comprimite; commences

with

the

three 2

and

the

short,and E

2

388

THE

ends

with

the

HISTORY

music,

in

as

or sesquialteral,

The

parts.

poetry, and

MUSIC.

dSmUerdnt, and as long syllable,

one

sdnlpMes." One long is equal to well

OP

breves, in syllablesas

two

that

so

either

kind

of

is paeon proportionof 3 to 2 in its

in the

unsuitable

Cicero, is

paeon, says is therefore

the

better

oratory, since oratory ought

not

Nevertheless,there

be

should

for

adapted

sound

to

for

*"

like

verse.

perceptible rhythm in all oratory,"as in good prose-writing.In these the rhythm is constituted mixture cases by a judiciousinterof short with and of short long syllables, with long words, so that each sentence to seem may flow from

by by

the tongue.

the rise and

Now,

as

fall of the

Cicero.

quotation from in

Its divisions

then

are

music, and

marked

voice, by emphasis,and

punctuation. which to the word sesqui,

or

pause

a

in the

occurs

It is of constant

ment employ-

have

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

some

for the

cases,

hold

good when greater than '2.

generallyin

*

Cicero,9 No.

adversum;

Oratore,lib. iii., cap.

"

above

musical

the ratio of the

the

as

its

panying accom-

consonances

unit above "

number

Ergo

in

esae

;

are

and

sesqui

orations

numerum

quemdamuonestdifficilecoguoscere;

autem

minime

est

aptuS

quolibentiuseumreoipit Orator,

(11 Effugimua tamen poematia aimilitudinem. cap, 59, No. 201.) 194.)

Our

183.

Paeon

oratio.

De

will not

sesqui is prefixedto any Its quantity diminishes

number.

47,

"half"

rises,for it is but the unit

number

"

translation

cap.

57,

No.

in Oratione

(11 Orator,

judicat enim

sensus

versibua

est

res

tor, cap. 55, No. ''That

changeof

will

.

sed in

.

.

apertior. (11 Ora183.) "

not

que into

account

qid,

for

a

THE

is used

and

MEANING

OF

"SBSQIH."

LATIN

THE

designatethem accordiagto their Thus the sesquialter proportionis of to

it

represents the musical

interval

of

a

389*

tions. propor3 to

2,

Fifth

;

is the sesquitertius proportionof 4 to 3, and therefore equal to the musical interval of a Fourth while the sesquioctavais the proportionwhich

is

bears

of

a

8, and

to

represents the musical

so

interval

;

.

9

major tone. The

Octave, being

2

duplex. Therefore the and largestproportions,

1, is

not

of lowest

a

numbers, is

3

a

of to

Perhaps, for this reason, have been adopted as the meaning of the 3 to 2 may when word coupled with quantity,instead of with number in this way only can the proportions ; and the sesquicyathus be con. of the sesquilihraand 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 another such part,the quantitybeconaes a pound and 2,

a

the

but sesqui, principalsesqui,the one to

or

unit

above

2.

half

Orientalist may yet inform us from what language sesquiis derived ; but, in the meantime, it Some

be observed that, in music, it is equivalentto may it is prefixed to which the Greek epi if the number be

higher

than

2, and

Latin

word

For super. transonly be lated

can epitritos and or supertertius, into Latin by sesquitertius, be rendered, "the proportionof Englishit must

instance, the Greek

in

the

to

4 to

In

3,

or

the

the interval

of

a

Fourth."

opening chapter

of

this

volume

it

was

390*

HISTORY

THE

MUSIC.

OF

frequentlyparaphrasedAristotle, 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 that

stated

wiU

be

and

the

found third ''

facilitate

Aristotle's

in

order

two

Treatise

is in

Rhetoric,''

on

QuuitUian's work

on

subjoinedin foot-notes,to

are

comparison. Quintilian affords, unluckily,

from

extract

other

two

in

The

Oratory. The

Cicero

of

cases

editorial

remissness

but

;

the

scriber's originalfault is probablychargeableupon 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

occurred.

have

two

manuscripts as copyist probably

in

tailed

for

q

mistook

"EffTi Ik

iaHv,

tv,

Sk

o

0

the

watav,

tiptinivuvTpia

fievoQ tUv Mo

tpiTog

tKUViiiv

Bk

6

Ttaiav.

koi

yap

fikvtv

I^oirpbg irpbg

irpiig'iv ixiraiIk rwv riiu6\lofovTog S'lafiv (AristotleDc Rhtlorica,

lio

lib

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, *

"

"

"

"

the

authority whoin Cioero, from

on

''

"

of Aristotle

writing of plicem would

letter

XoyoivToiriiiv 6 o

the

Then

cu."

"

abbreviated, after "

letter q is often used abbreviation for qui,and the

an

The

and

of

Quintilian

is

I, and

short-

a

also

the

be

copyist,

"

ut paeon, sit ex copying] qumn Longa et trilDns Brevibns, quiqne ei contrarius,ex tribns Brevibus et

Lohga

;

vel

tempota

plum

alio qnoque

tria !ad

faciunt

:"

duo

modo

relata

[read

ut

sescu-

"

sesquipUfor cem faciunt," "seacuplus" gives sense a wrong viz., "sixfold," instead of "three to two"] "aut duplex, ut iambus (nam est ex Brevi "

et

Longa), qiiiqueest

[meaaiug

a

ei contrarius

"

trochee]. (Quintilian, "

Inst. Orator., lib. 9, 4,

47.)

EREOES

IN

THE

FEINTED

TEXT

understandingneither

391*

QUINTILIAN.

OF

abbreviations

the

subject df the book, converted plicem into plum. This to be the seems only reasonable explanationof his having changed the proportionof "three to two" into

"sixfold."*

establish A

words

nimciation

texts

of

the

authors

three

another.

one

few

The

nor

be added to the EngUsh proas may Latin than in singing. More two

of

hundred

wrote, in his Tractate on years ago MUton Latin with an English to smatter Education, that "

mouth

is

as

ill

hearing as ample time

had

therefore

beginning to

are

done

before

so

is this

to think

The

act.

French."

Law

about

We

it,and

for not

excuse

have we

having

: "

pronunciationof Latin va. the English fashion not was only allowed, but encouraged, after the in bred test a scholar Reformation ; for by that up England could be distinguishedfrom one educated became at a foreignuniversity. It thus a trap to The

catch

Jesuit.

a

extended the

No more

i and there rules

"

The

all

toleration

creeds by religious

the

has

good

been of

sense

for mispronouncing English Government, the motive Latin has passed away. of speaking the language could be manner devoid of authoritythan the English. In our

native upon take

to

since

But

tongue the

wheel

we

twisted

have until

we

have

the made

vowels the

round

soft

a

to

placeof e, our e to take the placeof i,and sound. To this commonly the same y to have exceptions,as there are to all are, of course, in the Enghsh language ; but of pronunciation

the

progressionis duplus, tri-

sescupl^ls,quadruplus, (piincuplus, for instance. plus, septvplus,"c. See,

Soethins

on

23, lines 23

Arithmetic, lib. 1.,cap. et seq.

392*

THE

sucli has

HISTORY

the

been

our

neither

speaking Latin

the

that of the middle

much

referred

ages, there described

to, and

is

historyto

turn

instrument

one

mentators by earlyLatin comthe Psalms, and although its name is on derivation,it does not correspondwith the

of Greek

instrument.

Greek

psalteryhas alreadybeen

Greek

A

p. 308, the name

where

it is in the hands the

of

and

of

are

inscribed

the

pedestal of It is there

exhibited,at

of Erato

;

and

both

muse

instrument the

on

the of

statUe.

teral quadrila-

form, whereas

the

psalteriesdescribed Cassiodorus others and

are

by and by triangular,

therefore

must

be

nearlyrepresented

more

by

the Greek

and

can Etrus-

Trigons,or by the The Assynan Harp. had the last especially sounding body above of

instead

the

below

strings.The accompanying figureis copiedfrom of the one sculptured 11

of

own.

"Before quittingthe field of ancient to

warranty

of Northern language, English, Irish,nor of any European tongue, except

Scotch, of

of

has

It

of

ancient

more

own

MUSIC,

general system

by Englishmen. our

OF

marble

11

slabs

1

"

which

Assyrian from

1

were

Harper, a

sculpture in Museum.

the

British

ONE

KIND

OF

PSALTERY

from

LIKE

AN

ASSYRIAN

393

HARP.

the

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

Susiahs, and

the

which

Here, too, the

Museum.

the instrument

also

are

bow

the

in

of the

shape

British back

of

is well defined.

Cassiodorus

the

describes

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 friend of Pope Gregory Isidore of Seville,the young the Great, describes the Psaltery as in the form of the

in 601, and

Bishop

make

would

Delta, A.

letter

Greek

but

died

in 636.

of

a

Assjrrian harp

Delta,

its want

made

was

The

indifferent

an

back, and

its rounded

Isidore

a

on

of

account

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 four-cornered

a

"

PaaJterium

eitharse enim in

quasdam capite

chordarum

:

ubi sonos

positio. imo

in altnm

Tatissima, quantum

Buocas

ligni geatat

sonoras

ab

Thus

modum

in

est

vero

conversa

shield.

venientes

rapit,et

dicitur,modu-

it

latione

respondet.

ligniquodam tuto,

a

the form

resinnes

sununo

ventre

Cithara inferius

chordamm

of enim

consti-

filia veni-

recipit, atque in nnam gratiam juounditatis T"iittit. (In Psal. 150.) entibus

sonos

394*

THE

the

Greek

model.

The

therefore

were

ages

HISTORY

only in being of

OF

MUSIC.

psalteriesof

of different

the

kinds, and

the

middle

agreed finger

harp class. They had no boards to press the stringsagainst, and so to make one stringproduce 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

Alcibiades

drove

it out

of

fashion,because

the beauty of his thought it disfigured raised was found too once objection to the "

This

quoted from

account

the 29th

of

Alcibiadea Aulus

by Commentary

in extenso

of

continuance

GeUius of Pam-

is

its

use

mouth.* serious

by

phila. See Noctes cap. 17, 1.

any

he

That an

stacle obother

Atticae,lib. xv.,

FLUTES

AND

FOfi,

PITCHPIPES

395*

ORATORS.

Athenian of fashion. In the example before young itself is removed from immediate us, the instrument with

the

mouthpiece, and thus the entire face of the flute playeris rendered visible. The positionof the hands is admirably suggestiveof the act of playing. The original is a marble terminal the statue from

contact

Civit^

Lavinia, the ancient

guessed to Roman

be

a

orations.

had

sometimes

to

give them

them

least,one

At

by Cicero, by Plutarch, the celebrated and

such and

in Home.

Licinius, who

public;

stood

and

at

flute

player or pitchfor their

a

the

is mentioned

instance

It is of

by Quintihan. Gracchus, whose

orator, Caius

him

It has been

Comus.

persuasive"eloquencefor

before

in

Lanuvium.

of representation

orators

piper behind

aU

the

lips,by

had

He his

this Licinius

a

long time a

being,as

carried

servant, named

when

back

did splen-

"

Caius

spoke

Plutarch

says,

the brator was judged when straininghis voice to too high a pitch,and would 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

"

a

order

to

man,"

indicate

that

he

should

raise his voice

to

of

pitch. The pitchpipe,accordingto Cicero,was ivory; and, as Quintihan givesit the Greek name

of

tonarion,we

that

kind

to

have

It cannot amount

and

them

instruments suppose may been used by Greeks. be doubted

that

orators

of the

used

a

same

certain

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

tent

this

which

to

HISTORY

but

it is evident

the

admirable

kind

from

MUSIC.

OP

of

carried

sing-songwas

the books

;

oratory,including of Dionysius of Halicamassus,

work

on

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

De

music, in

our

of the word.

sense

Melodia, in Greek, and

in

cantus,

Latin, apply

indeed,

inflexions of the voice in prose and in verse is sometimes cantus employed when neither

musical

intervals

equallyto

in the

as

a

the ancient cock to have suppose melodious voice than his descendants. to

are

more

Cantus,

The

sounds were intended, agreeable or galli, crowing of the cock ; unless, nor

cantus

indeed, we had

or

Chanting

ages, between the practice

of

differences

of the Christian

in different

its variations

and

;

branches

of the

Church,

Church,

well

as

the

as

and

Eastern

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 Western

are

"

"

Alexandria

seems

have

to

been

identical with

Greek

rhapsodizing. for the

Materials

historyof

abxuidant, but

means

from

an

incidental

this notice

those

times

inference in

may

are

be

by

no

drawn

St.

fessions. Augustine's ConIt is, however, necessary to prefacethe of his own in preferences, by his account

passage order to show

the force of the

context.

Augustine expresses his delightin hearing Psalms 'chanted accordingto musical modes, or

St. the ""

valuable

This

furnish

point.

many It

to cite one

treatise

quotations

would to

the

is,perhaps, sufficient here line : fiovaiK^ y"p ng ijv "

xai ij "c.

"

rmv

^p.

TroXirocwx 34.

vol. v., cap.

"

\6yiiivhinaTriiui, (Tauchnitz's edition,

11.)

WORDS

MORE

FORCIBLY

EXPRESSED

BY

scales,having the

accompaniment of a regulateand to guide the

to

strument,

experiencehad a

far

means,

"hidden

explainthe The

music

with

traced he had his

cultivate

the

at

upon He had

the forcibly of music

little

That

cultivation

difiSculty. advantageof opportunities

ears.

words

by

Augustine

learnt

are

mere

any tells us

that

how

practicethat

St.

of

have

not

in churches

use

Psalms

siuB et

cantarentur

;

et

habere

quam

sui

cantu, quorum familiaritate

excitentur.

"

Ita

lib. x., cap. fluctuo

inter

diversitate,

in

propriosmodes

non

ita

adfectus

nescio

siomim,

si

omnes

spiritus nostri,pro

ani-

pietatis

flammam

in

ita cantantur

cimi

moveri

voceatque

qua "

occulta

(Con/cs-

33.)

periculum vo-

tatis. '

of

Bishop

of the PsaJma

experimentmu

salubri-

.

.

.

tutiusque

videtnr, quod de Alexandrino

episcopo

Athanasio

turn

commemini,

flexu

vocis

psalmi, esset

according to

(Lib. 10, cap. 33.)

"

Aliquando

mihi

Ub.

own

often heard.

sung

religio- luptatis et

dictis

sentio

ardentius

nostros

mos

"

ipsisSanctis

his

nearly to speaking not

were

aid

inflexions of the

moderate

it

If,then, the

with

the readers

approached more singing.""

voice, that

Dum

such

"

to

more

deriving music ;''

his sacred

Athanasius, when

directed

St. Athanasius

been

precepts he had

Alexandria, of whose

upon stiU.

hesitated

he

moods, he contrasted

of those

was

expressedwith the reading or recitation.

something of earthlypleasurefrom one

much

sometimes

whether, after all,he might

St.

from

very

taken

therefore

sacred

than

to

time

by his writing a treatise rhythm, in six books, which are

extant.

than

His

evinced

and

and, in

voice.

cause."*

Augustine,may be It was simply that afterwards

ia-

thus

Psalms

although hidden

cause,

to

that

musical

sung had effect upon his own than by any mind although he felt at the time unable to

greater

other

him

told

397*

MUSIC.

faciebat

ut

quam x.,

cap.

ssepe

qui

mihi

tarn

sonare

dic-

modico lectorem

pronuntianti vicinior canenti."(Con/e"sioM"m, 33.)

398*

musical

THE

HISTORY

or

scales

modes

OP

in

MUSIC.

Alexandria

of Athanasius, there pontificate than by those indefinite way Greeks

termed and

natural

which

music

last

kind, I

of forcibly about

the

remained

which

rhapsodizing, employs while

now

saying of

that

say

the

unrestricted

indulged with

but

can

the

other

no

sounds

Eastern

an

readingthe Koran. Having recentlybeen this

or

during

C. Caesar

a

hearing of

it reminded

the Roman

me

orator,

If you are singing,you skig years B.C., badly; and if you are reading,you sing."* This kind of chanting appeared to me like a series of "

80

musical

attempts

at

was

out

sung Before

reader

wish

may

to

history to The

of the

branch

know

notice has been taken music."

of which

one

of tune.

closingthis

the

down

intervals,every

the

subject,some why, after having brought of St. Augustide,no age

of what

is termed

is,that Ambrosian

answer

".Ambrosian music

is not

The two earlya time. systems, Ambrosian exist at the dates of their and Gregorian,did not 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. of

so

"

"

"

"

"

"

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.

"

cantaa

De (Quintilian,

; si

legis,

Instil- Ora-

ioria,lib. i.,cap. 8, art. 2.)

EGYPTIAN

CARICATURE

OE

A

QUARTET

CONCERT.

399

400*

THE

HISTORY

OP

royal lion playing upon satirized

is

second

as

the

mule, with the

upon

thus

not through our clearlyintended drawing in the

A

short

the

for

to

ymte

with

more

to

A

the

degrees origin

of

account

its and

tendency, spiritsof at

Music

have

a

art so

learnt

a

Meyaq

have

wide

theme guage. its lan-

ing accord-

cultivated

music,

to

it and

and

know

did

cheered

wearied

a

a

cultivated so

operation it

Justly

great

has

relieved

mind

leaves

Greek

anything -TraiSivBtXal

about

t"

"

aU

author

lasting pleasure

lirnKal ^iydp flijiroupoff toTq fiaOovat JSaiog ii flovtnKrj uTraai "

times some-

all nations, have

when

even

science

or

beneficial

distance. is

a

attributed

been

required

it, on

its universally beneficial originality,

and to

amount

it in all ages,

they

its innocence,

man

As

music.

in which

has

the

universalityof by

like

game

in science, and

feelingsof

and

other

No

excess.

the

is

above

a

show

not

is

hareem.

is indeed

less influenced

or

divine

arts

minds

the

the

Hon

satirical

subjects have

Music to

judged,

In another

gazellein

a

base

a

the

lion, is playing

manifold

owing

upon,

but

;

which

in art, sometimes

The been

the

as

be

now

III.

from

papyrus,

language.

in

"

Rapaeses

or

ass,

an

King's lyre. The

men

volume, like this,does

sometimes

"

of the

knowing

investigationits

of

treble

as

a

double

upon

playing

ears,

cannot

draughts

or

represented

satirized

derived, iRameses, chess

is

lute ;

a

upon

playing

exceedingly long the

of his courtiers

one

playing

animal

third

harp, to

characters

lyre ;

crocodile

a

long-taUed

a

while

pipes ; a

as

the

MUSIC.

to

to

the as

other say,

all who

it."*

(Athenseus, liv., 18.)

ERRATA

Page 6, line

Page 18, third

last

line

"

of 8 to

For

nominaUy

"

tlian

"more

3."

of 8 to

ceutary,"

a

read

in

"

the

last line

but

of note.

one

For

searched

"

ford' read

"searched

"

prod/ace.

Page 36,

"",line

note

of Claudius

Page 52, Page takes

Nee

"Of

1.

the

all

to

the

except

lowers fol-

After

"

Olympus,"

1 of note.

Delete

For

17.

add

the

"takes

"istlie

subscriplum

iota

nothing

awa,y

whkh."

same

less

to

upai.

than,"

read

artletsli/

"

away." 54.

The

gods might tibicen

sorinus

of

use

have

been

omnibus

De

Die

added

Nhtali,

mocMtis

testudo,

last line

but

four.

Page 78,

last

but

three

line

"',line

line line

of

16.

For

20.

After

"

(in

", line

1

(in

some

"15,

W

Page 117, line

Page

"

He

wrong. and

one

it in

degree,

The

11.

(erroneously)

scale, in

line

and

2.

last line

upon

treats the the

to

an

A"

road

"

adding

For

iZuav, read

iota

subscriptum.

a

vowel." in

ogeiai/,as

For

semeioi

but

five.

scale

Ilypate

are

should

"

diazeuctic.

add

"in

treatises

Greek

on

music."

read fityaXoTrpcTrte. copies). iisyaKorcpeTis, copies), irip^j,read iripip. leiera

Introduciio

to-pa^e"m

jnouslkoi, read

p. 63,

and either

in be

Trite

mistakes I have as

added

places. at

the

not

if two So

name.

wrong

semeia

Harmonica,

that

They bottom

mAjusika. read

pentatonic, rather

Meibom's

to

Paramese

same

read

For

Euclid,"

under

the

Euclid.

referring

In

notes

et

nunc

Greek.

the

notes

Page 116, note

132.

fuit;

hidis,

templis.

"adding

diazeutic

some

Page 121,

avorum

usus

honore

grata,

wants ap/xoviif

2.

1

Page 118,

(Fasti, lib. iv.)

septem

neque

For

", line

attributed

Ccn-

says

6),

et amica

110, note

Page

adhibitur,

Greeks.

above.

79, note

Page 92,

to

resonare

mensis

Page 58,

the

nervis.

olim

loquax

;edibus

supplications to and

Egyptians

Ovid

tibia

in

tibia funeribus.

xi., lines 3

Divitum

Romans

sacris

semper

Cantabat

Nee

Page 82,

magno

faiiis,cantabat

III.

in

tibiciiiis

veterum

et in

Gallida

Page

the

Cantabat

(Carm.

line

the

of

that

Again,

12.

cap.

Tuque,

tiie fourth

pipe by to

supplicationibus

Temporibiis

Also, Horace

and

lyre

Magnus,

below

refers

ancients"

Ptolemy.

2.

53, line

Page the

line

52, line

Page

of

3," read

five.

but

ADDENDA.

century."

Page 21, to

For

6.

AND

in

penlaphonic.

his

Conjunct

explained separate Mese

where

of the

all other be

moved

scale.

2

they

are

strings,instead

and

should

Greek

/"

See

names

up

one

p. DB".

402*

ERRATA

Page 144,

*.

note

Page 144,

line

For

10.

AND

tela

"

For

ADDENDA.

qm,"

read

"tela que." passages,"rather

"different

read

different

"a

kind

of passage." Page 145, note on

further

elucidate

Plato's

and

miKvorrje

the musical

/iowdnjc.Parallel

of these

use

which passages, be found in Claudius

words, wiU

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."

Page 203,

line 18.

Page 226, scharf

als

note

die

\

key-note,''read

"the

Hyphen line

ersten

It should

misplaced. After

6.

engeren

"the

"diese," add

IntervaUs,"

interval

be to

"sind

and

in

between

that

quarter-tones.'' viel weniger 7, sollte,"not

aber

line

"

"solte."

Page 228, note,

Page 229, Page 251,

line 10.

For

line 23.

For

Page 264, last Page 276, line trumpet."

Page 277,

line 11.

line but

"

''

iiberbriugen, read

"

attribute," read

a

to attribute."

seeing,"read trumpet," read "like

For

"

''

ubergingen.

"JifthOctave."

Fifth,"read

"like

"as

"

once

broad, general rules

"

to

see

once."

tlie bell end

of

a

be

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, of not less than double creates, according to computation,a sound-waVe 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

No

as

three.

For

18.

line 4.

For "

of

diameter

will

can

lower

-

"

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, and the other of three eighths,of an inch, they will produce the same breath to sound it. Indeed, the note ; the larger only requiringmore practicallimit to width, in pipes blown by the mouth, is the too great of large size. those exertion of But, in the case required to sound been

horns,

Mr.

Carte, and

his

foreman,

Mr.

Charles

Goodison,

who

makes

ERE

the

scales

for

the

AT

braSs

A

AND

403^'

ADDENUA.

instruments

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 :

it is desired

to

tenor

a

of

the

horn

to

"

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

of form

in

dilated

more

bearingsin these unless

science

solved

here

within

a

room,

two

that

cases

be one cones cause may the flatter the pitch. But

subject is

the

of the there

variation,

are

of considerable

one

step in. It is a pretty problem, but not there is not, perhaps, a brass Oatlands, where And might practisethe horn in yet anyone

mde.

would

manufacturers

but

have

bell to

a

still act

take

and

on

off.

The

so

many

difficulty,

wiU

at

if he

the

the cone,

AJ.

one

be

to

instrument

drawing-

a

skilled

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. laws.

In

of

pipes

additioti

to

experience than

more

Mr.

Griesbach.

Page 289,

'',last line but four.

note

Page 305, note "",last Page 310, note *. On be

that

they man's often about

the

further

and

the

For

seven.

plain,"read

"

Trspt, read

w"

plane."

6c ircpi.

consideration, I take Plutarch's Phorminx

make

Octaves

and

meaning to harmony when

for a was played together" not each separately. The Phorminx it had ordinarilybut 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

are

voice, and

Telestes

in

employed whole

Psalmos

line but

"

For

which

he

for

tones

hymns in higher than rot

5'

refers the

Lydian

line

6

of

sounds

acute

mode.

That

of

a

mode

Pektis-Psalmos

in itself

line 1. end

For

of note

two

\l/dkflOlQ O^V^btVOl^"7njKTiS(i)V XphKOV xiv., 626.) (Athensens,

the

"

Latin.

For

read "praetermittcro,''

mittoTO."

Page 353, Page 364,

was

the Dorian.

KiiSiov vjivov.

Page 351,

the

to

"

".

dolphini,"read For

1164, read

"

delphini."

1864.

2/2

"praeter-

From

the

First

Rondini

marble

Century, Faun.

statue now

in

of the

a

Satyr, British

or

Faun,

Museum.

with The

cymbals, statue

of

is known

the

about as

the

THE

BALLAD

LITERATURE AND

POPULAR MOSIC OF History of

A

with and

their

by

the Ancient

Tunes

other

National

OLDEN TIME;

the

of

Songs

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

and

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 The

Airs

and

the

Ballads

Harmony

The

In

F.S.A.

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