From 2a5882c4f41d85cfc265364222743e970ccf145a Mon Sep 17 00:00:00 2001 From: Nathaniel McCallum Date: Wed, 22 Nov 2023 11:21:24 -0500 Subject: [PATCH] tlg0094.tlg002.perseus-eng1 Convert HTML entities to UTF-8 characters --- .../tlg002/tlg0094.tlg002.perseus-eng1.xml | 48 +++++++++---------- 1 file changed, 24 insertions(+), 24 deletions(-) diff --git a/data/tlg0094/tlg002/tlg0094.tlg002.perseus-eng1.xml b/data/tlg0094/tlg002/tlg0094.tlg002.perseus-eng1.xml index df2584b94..7ca4a104d 100644 --- a/data/tlg0094/tlg002/tlg0094.tlg002.perseus-eng1.xml +++ b/data/tlg0094/tlg002/tlg0094.tlg002.perseus-eng1.xml @@ -88,7 +88,7 @@ knowledge of the principles of Greek music, with its various moods, scales, and combinations of tetrachords. The whole subject is treated by Boeckh, De Metris Pindari (in Vol. I. 2 of his edition of Pindar); and more at length in Westphal's - Harmonik und Melopöie der Griechen (in Rossbach and Westphal's Metrik, Vol. II. 1).

+ Harmonik und Melopöie der Griechen (in Rossbach and Westphal's Metrik, Vol. II. 1).

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.

@@ -96,10 +96,10 @@ 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 nh/th). This addition - is ascribed to Terpander by Plutarch (§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 tri/th, 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:— + of the full octachord in this form, in the ordinary diatonic scale, are as follows:— @@ -295,21 +295,21 @@ of Alexandria, and Lysias, one of those to whom he gave a yearly pension. After all had done and the table was - cleared,—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,—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,—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:— + as Homer has observed in the following verses:— @@ -365,7 +365,7 @@ 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 nomes, - According to K. O. Müller (History of Greek Literature, Chap. XII § 4), the + According to K. O. Müller (History of Greek Literature, Chap. XII § 4), the nomes were musical compositions of great simplicity and severity, something resembling the most ancient melodies of our church music. (G.) set verses of Homer as well as his @@ -383,7 +383,7 @@

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, - —Apothetus, Elegiac, Comarchius, Schoenion, Cepion, + —Apothetus, Elegiac, Comarchius, Schoenion, Cepion, Tenedius, and Trimeles (or of three parts).

To these succeeding ages added another sort, which were called Polymnastia. But the measures set down for those @@ -459,7 +459,7 @@ that Olympus, a Phrygian player upon the flute, invented a certain nome in honor of Apollo, which he called Polycephalus,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,— + 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 poluke/falos, or many-headed. (G.) 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 @@ -550,13 +550,13 @@ to pass:

The relations of the enharmonic scale to the ordinary diatonic are thus stated - by Westphal (pp. 124–126), b being here substituted for the German h:— + by Westphal (pp. 124–126), b being here substituted for the German h:—

The d inserted between e and f and between b and c is called diesis, and represents a quarter-tone. The section in Westphal containing this scheme will greatly aid the - interpretation of § 11 of Plutarch. (G.)

+ interpretation of § 11 of Plutarch. (G.)

 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 @@ -854,7 +854,7 @@ scholar, thus labors to convince the world: Harmony, saith he, descended from heaven, and is of a divine, noble, and angelic nature; but being fourfold as to its - efficacy, it has two means,—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. These are his words. The @@ -883,7 +883,7 @@ 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 = 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 @@ -900,15 +900,15 @@ - 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, + 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.

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,—namely, sight and hearing,— + 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 @@ -965,7 +965,7 @@ 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.See Rossbach, Griechische Rhythmik, p. 96, § 23. (G.) And if we believe + and also the Trochaeus Semantus.See Rossbach, Griechische Rhythmik, p. 96, § 23. (G.) 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,So Rossbach and Westphal interpret parakatalogh/. Metrik, III. pp. 184, 554. (G.) and the @@ -1016,7 +1016,7 @@ 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:— + which Music thus replies:— @@ -1065,7 +1065,7 @@

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:— + speaking:— @@ -1212,7 +1212,7 @@

For there are three things at least that at the same - instant strike the ear,—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 @@ -1319,7 +1319,7 @@ 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:— + person of great wisdom. For thus says he:— @@ -1379,7 +1379,7 @@ 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:— + power and charms of the same noble science:— @@ -1416,7 +1416,7 @@ 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:— + true:—