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knowledge of the principles of Greek music, with its various moods, scales, and
combinations of tetrachords. The whole subject is treated by Boeckh, <hi rend="italics">De Metris
Pindari</hi> (in Vol. I. 2 of his edition of Pindar); and more at length in Westphal's
<hi rend="italics">Harmonik und Melop&ouml;ie der Griechen</hi> (in Rossbach and Westphal's <hi rend="italics">Metrik,</hi> Vol. II. 1).</p>
<hi rend="italics">Harmonik und Melopöie der Griechen</hi> (in Rossbach and Westphal's <hi rend="italics">Metrik,</hi> Vol. II. 1).</p>
<p>An elementary explanation of the ordinary scale and of the names of the notes
(which are here retained without any attempt at translation) may be of use to the
reader.</p>
<p>The most ancient scale is said to have had only four notes, corresponding to the
four strings of the tetrachord. But before Terpander's time two forms of the
heptachord (with seven strings) were already in use. One of these was enlarged to
an octachord (with eight strings) by adding the octave (called <foreign lang="greek">nh/th</foreign>). This addition
is ascribed to Terpander by Plutarch (&sect;28); but he is said to have been unwilling
is ascribed to Terpander by Plutarch (§28); but he is said to have been unwilling
to increase the number of strings permanently to eight, and to have therefore omitted
the string called <foreign lang="greek">tri/th,</foreign> thus reducing the octachord again to a heptachord. The notes
of the full octachord in this form, in the ordinary diatonic scale, are as follows:&mdash;
of the full octachord in this form, in the ordinary diatonic scale, are as follows:—

<table>
<row role="data">
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of Alexandria, and Lysias, one of those to whom he gave
a yearly pension. After all had done and the table was
cleared,&mdash;To dive, said he, most worthy friends, into the
cleared,—To dive, said he, most worthy friends, into the
nature and reason of the human voice is not an argument
proper for this merry meeting, as being a subject that
requires a more sober scrutiny. But because our chiefest
grammarians define the voice to be a percussion of the air
made sensible to the ear, and for that we were yesterday
discoursing of Grammar,&mdash;which is an art that can give
discoursing of Grammar,—which is an art that can give
the voice form and shape by means of letters, and store it
up in the memory as a magazine,&mdash;let us consider what
up in the memory as a magazine,—let us consider what
is the next science to this which may be said to relate to
the voice. In my opinion, it must be music. For it is
one of the chiefest and most religious duties belonging to
man, to celebrate the praise of the Gods, who gave to him
alone the most excelling advantage of articulate discourse,
as Homer has observed in the following verses:&mdash;
as Homer has observed in the following verses:—


<quote rend="blockquote">
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without metre; they were rather like the poems of Stesichorus and other ancient lyric poets, who composed in
heroic verse and added a musical accompaniment. The
same Heraclides writes that Terpander, the first that instituted the lyric <hi rend="italics">nomes,</hi>
<note place="unspecified" anchored="yes">According to K. O. M&uuml;ller (History of Greek Literature, Chap. XII &sect; 4), the
<note place="unspecified" anchored="yes">According to K. O. Müller (History of Greek Literature, Chap. XII § 4), the
<hi rend="italics">nomes</hi> were <q direct="unspecified">musical compositions of great simplicity and severity, something resembling the most ancient melodies of our church music.</q> (G.)</note> set verses of Homer as well as his

<pb id="v.1.p.106"/>
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<p>Now the measures appointed by these persons, noble
Onesicrates, in reference to such songs as are to be sung
to the flutes or pipes, were distinguished by these names,
&mdash;Apothetus, Elegiac, Comarchius, Schoenion, Cepion,
—Apothetus, Elegiac, Comarchius, Schoenion, Cepion,
Tenedius, and Trimeles (or of three parts).</p>
<p>To these succeeding ages added another sort, which were
called Polymnastia. But the measures set down for those
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that Olympus, a Phrygian player upon the flute, invented
a certain nome in honor of Apollo, which he called Polycephalus,<note place="unspecified" anchored="yes">This seems to be the nome referred to by Pindar, Pyth. XII. 12, as the invention
of Pallas Athena. The Scholia on the passage of Pindar tell us that the goddess
represented it in the lamentation of the two surviving Gorgons for their sister Medusa slain by Perseus, and the hissing of the snakes which surrounded their heads,&mdash;
represented it in the lamentation of the two surviving Gorgons for their sister Medusa slain by Perseus, and the hissing of the snakes which surrounded their heads,—
whence the name <foreign lang="greek">poluke/falos,</foreign> or <hi rend="italics">many-headed.</hi> (G.)</note> or of many heads. This Olympus, they say,
was descended from the first Olympus, the scholar of Marsyas, who invented several forms of composition in honor
of the Gods; and he, being a boy beloved of Marsyas, and
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to pass:<note place="unspecified" anchored="yes">
<p>The relations of the enharmonic scale to the ordinary diatonic are thus stated
by Westphal (pp. 124&ndash;126), <hi rend="italics">b</hi> being here substituted for the German <hi rend="italics">h:</hi>&mdash;
by Westphal (pp. 124–126), <hi rend="italics">b</hi> being here substituted for the German <hi rend="italics">h:</hi>—

<!--<figure><head>Figure</head></figure>--></p>

<p>The <foreign lang="greek">d</foreign> inserted between <hi rend="italics">e</hi> and <hi rend="italics">f</hi> and between <hi rend="italics">b</hi> and <hi rend="italics">c</hi> is called <hi rend="italics">diesis,</hi> and represents
a quarter-tone. The section in Westphal containing this scheme will greatly aid the
interpretation of &sect; 11 of Plutarch. (G.)</p>
interpretation of § 11 of Plutarch. (G.)</p>
</note> for that Olympus before altogether composing and
playing in the diatonic species, and having frequent occasion to shift to the diatonic parhypate, sometimes from the
paramese and sometimes from the mese, skipping the diatonic lichanos, he found the beauty that appeared in the
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scholar, thus labors to convince the world: <q direct="unspecified">Harmony,</q>
saith he, <q direct="unspecified">descended from heaven, and is of a divine,
noble, and angelic nature; but being fourfold as to its
efficacy, it has two means,&mdash;the one arithmetical, the
efficacy, it has two means,—the one arithmetical, the
other enharmonical. As for its members, its dimensions,
and its excesses of intervals, they are best discovered by
number and equality of measure, the whole art being contained in two tetrachords.</q> These are his words. The
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and are exceeded by mese and paramese in the same proportions, those of 4: 3 and of 3: 2. Now these excesses are
in what is called harmonic progression. But the distances
of nete from mese and of paramese from hypate, expressed
in numbers, are in the same proportion (12:8 &equals; 9:6); for
in numbers, are in the same proportion (12:8 = 9:6); for
paramese exceeds mese by one-eighth of the latter. Again,
nete is to hypate as 2:1; paramese to hypate as 3:2; and
mese to hypate as 4:3. This, according to Aristotle, is the
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<pb id="v.1.p.121"/>

of six (i.e., 2&times;3). Whence it comes to pass, that music
&mdash;herself and her parts&mdash;being thus constituted as to excesses and proportion, the whole accords with the whole,
of six (i.e., 2×3). Whence it comes to pass, that music
—herself and her parts—being thus constituted as to excesses and proportion, the whole accords with the whole,
and also with each one of the parts.</p>
</div1>
<div1 type="section" n="25">
<p>But now as for the senses that are created within
the body, such as are of celestial and heavenly extraction,
and which by divine assistance affect the understanding of
men by means of harmony,&mdash;namely, sight and hearing,&mdash;
men by means of harmony,—namely, sight and hearing,—
do by the very light and voice express harmony. And others
which are their attendants, so far as they are senses, likewise exist by harmony; for they perform none of their
effects without harmony; and although they are inferior
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of the Dorian nete, which before was not in use. Even
the whole Mixolydian mood is a new invention. Such were
also the Orthian manner of melody with Orthian rhythms,
and also the Trochaeus Semantus.<note place="unspecified" anchored="yes">See Rossbach, Griechische Rhythmik, p. 96, &sect; 23. (G.)</note> And if we believe
and also the Trochaeus Semantus.<note place="unspecified" anchored="yes">See Rossbach, Griechische Rhythmik, p. 96, § 23. (G.)</note> And if we believe
Pindar, Terpander was the inventor of the Scolion (or
roundelay). Archilochus also invented the rhythmic composition of the iambic trimeter, the change to rhythms of
different character, the melo-dramatic delivery,<note place="unspecified" anchored="yes">So Rossbach and Westphal interpret <foreign lang="greek">parakatalogh/.</foreign> Metrik, III. pp. 184, 554. (G.)</note> and the
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being in the service of the poet. Afterwards that custom
grew out of date; insomuch that Pherecrates the comedian brings in Music in woman's habit, all bruised and
battered, and then introduces Justice asking the reason; to
which Music thus replies:&mdash;
which Music thus replies:—


<quote rend="blockquote">
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<pb id="v.1.p.125"/>
<p>Aristophanes the comic poet, making mention of Philoxenus, complains of his introducing lyric verses among
the cyclic choruses, where he brings in Music thus
speaking:&mdash;
speaking:—


<quote rend="blockquote">
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</div1>
<div1 type="section" n="35">
<p>For there are three things at least that at the same
instant strike the ear,&mdash;the note, the time, and the word or
instant strike the ear,—the note, the time, and the word or
syllable. By the note we judge of the harmony, by the
time of the rhythm, and by the word of the matter or subject of the song. As these proceed forth altogether, it is
requisite the sense should give them entrance at the same
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Achilles, in the height of his fury toward Agamemnon,
appeased by the music which he learned from Chiron, a
person of great wisdom. For thus says he:&mdash;
person of great wisdom. For thus says he:—


<quote rend="blockquote">
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Lacedaemonians by advice of the oracle, he freed the city
from a raging pestilence. Homer tells that the Grecians
stopped the fury of another noisome pestilence by the
power and charms of the same noble science:&mdash;
power and charms of the same noble science:—


<quote rend="blockquote">
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left for me to say; for I cannot think them guilty of so
much bashfulness that they should be ashamed to bring
music into banquets, where certainly, if anywhere, it cannot but be very useful, which Homer also confirms to be
true:&mdash;
true:—


<quote rend="blockquote">
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