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II E PI M or x Ik Hz
PLUTA R C H
TRANSLATED.
êvvéroiot.
Cijigſbítá:
FROM THE PRESS OF C. WHITTINGHAM,
C () I., L.F. G E HOUSE.
1822.
Nºvo-º-º-º- - Gºv. Va.--
\4 & a 2- º & 3 &
\S- ~ * * * Pºovºo
3. * f \ . . a n
| $ 3, 9.
TO
JOHN BROADLEY,
OF SOUTH ELLA, ESQ. F. S. A.—H.M.S. A. A.
smºsºm-ºsmºs-ºs-sm,
THE following attempt to render into in-
telligible English a Piece of Antiquity,
on the subject of the ANTIENT Music, is
with the Translater’s most sincere re-
spect addressed to you. To no person
indeed could he more suitably inscribe it
than to one, who combines in himself the
characters of the Scholar and the Mu-
sician; and who has been for so many
years a most liberal Patron and zealous
Cultivater of the Art, of which the Priest
of Apollo here treats.
The Translation presented to you was
begun some years ago, at the instance of
iv. DEDICATION.
a literary friend of high reputation; who
having condescended, amidst his various
important avocations, to employ his ad-
mirable talents and erudition in giving to
the English reader a corrected edition of
“The Lives” of the Author, was pre-
vailed on to undertake a similar office,
though without the advantage in the
former instance derived from the learn-
ing and industry of the Langhornes, in
editing, or rather in translating anew,
the “OPUSCULA.” In this work, which is
now in progress, the following version of
the trip Msgucmc was intended to occupy,
and may still eventually occupy, a place:
and it now ventures into the light, though
not the full light, of day; partly that it
may have the advantage, which it here
solicits, of the animadversions of those
Masters in Greek Literature, to whose
judgment it will be submitted; and partly
that the Translater may have an oppor-
DEDICATION. V
tunity to place on record his high sense
of the value of your friendship.
It was his intention, in order to dissi-
pate, as far as he could, the obscurities,
which envelope the subject, and which
diminish to a great degree its interest
with the general reader, to accompany
his translation with explanatory Notes
on those passages of his Author, which
have reference to the Musical System of
the Antients; particularly their doctrine
of MoDEs, and their use of SYMPHONY.
Since notwithstanding what the labors.
of Meibomius, Wallis, Burette, Burney,
Hawkins, and other eminent scholars and
musicians have effected, much illucida-
tion is still wanting on these points.
But he considered, that as these Notes,
unless embracing a great variety of par-
ticulars, would fail to render the work
generally intelligible, so with his present
readers such Notes would be altogether
vi DEDICATION.
a supererogation. Satisfying himself
therefore with annexing for their conve-
nience the original text, as it has come
from the correcting hand of the inde-
fatigable Wyttenbach, he is content to
sound his harp, for the present at least,
to “ the Intelligent” alone.
He is proud to acknowledge his great
obligation to the Fair Sex for the embel-
lishment of his Volume. To the pen of
one Lady he owes the elegant poetical
version of the passages quoted from
Pherecrates and Aristophanes; and to
the pencil of another, whose genius is an
honor to her country, the characteristic
designs, which ornament two of it’s
pages.
An apology he judges due to yourself
and his other readers for his deviation in
some instances from ordinary orthogra-
phical usage: though you will perceive
that nothing more has been adventured
DEDICATION. vii
by him than what is justified by that
analogy, to which our language has for
more than a century past been gradually
approximating. -
Agreeably to this analogy he has not
hesitated to omit the Gallic U in all words
ending in OR from the Latin:-author,
labor, tenor.
He has invariably retained the Teutonic
ER, in lieu of the Pelasgic OR, in verbal
nouns, which have their root in the English
Verb:—cultivater, instructer, translater.
Of active participles and participials
from Latin Verbs not of the first conju-
gation, he has made the final syllable
ENT ; and of mouns similarly derived,
ENCE and ENSY:—ascendent, dependent,
dependence.
Where the verb ends in NDo, and the
corresponding Latin noun in NSIo, he has
terminated the English noun in sE:—de-
Jense, expense, suspense.
viii DEDICATION.
Verbs derived from the Latin CEDO he
has expressed in English by CEDE:-re-
cede, succede. - -
Adjectives from ETUs he has made to
end in ETE:—complete, replete:
From ORIUS, or the radical noun in or,
in ORY:—accessory, dimissory :
From ABILIS, together with all those
that are formed from the English Verb,
in ABLE:—estimable, convertable:
From IBILIS, with the exception of
those from the English Verb, in IBLE:—
visible, discernable.
The initial syllable IN from the Latin,
which had given place to the French EN,
he has restored:—inlarge, inquire:
As also the syllable TI in the middle of
words, where the sound had occasioned
the substitution of CI:—antient, negotiate.
The instances given will sufficiently ex-
emplify his Theory; into which he there-
fore enters no further, as he already ima-
DEDICATION. ix
gines your curiosity impatient to learn by
what possible link this speculation can be
connected with the present subject. He
confesses that the connection would not
be easily discernable, were it not for
the comprehensive range allotted by the
Antients to the province of MUSIC. That
range included, as you well know, every
liberal pursuit and inquiry. Their Msauco
Töv dw8pov were not Musicians in the
technical sense of the word, but men of
general literature and science; tragöv ráv
Msatov 6spárovréc.
Again into every part of their musical
system avaAoyia entered as an essential
and vital principle ; to trav trapd pisotkoic o
pubuðc :
And so severe in this respect were the
rules of their dpuovuch Tøayuareia, that all
sounds represented by quantities incom-
mensurable, or as they termed them,
&\oyot, irrational, were excluded from
their Canon.
X - DEDICATION.
It is not however that the Translater
would be understood to advocate unre-
servedly this rigid subjection of the
senses to the understanding. For to
this intolerance, justified though it might
be in the view of their Philosophers and
Politicians, and founded as it evidently
was on the supposed perfection of their
Geometrical science, it was owing, that
Temperament bore the character of a li-
centious heresy; and the true principles
of Harmony remained for so many ages
undiscovered. But as the Antients and
their doctrines are now the subjects of
contemplation, your candor, he is satis-
fied, will concede to him the full benefit
of the argument. -
J. H. BROMIBY.
HULL,
Aug. 1822.
IIEPI MOTXIKHX.
ON MUSIC.
IIEPI MOTXIKHX. O
t
y gº W f
Ol. HMEN bwkitovoc rs Xpmarov yvvm koo-
& ºf 37 g \ / y
pov avrmc *Xeyev gival rd poklovoc orparmyń-
• ? \ \ / y W 3. W y/ y \
para eyo 8è kóguov šuovov učvov tºtov, d\\d
V \ W * 9 f p e *
yap kat Kouvov tow oucetov travrov, myovuat
V gº gº f w P /
tny Ts uov 818aokáAov Trept Aóyovc atrovštív.
tov pºv ydp otparnyov ra âtripavčarara KCI-
p f f 3/ gº 9 sº
topflºuata, owrmpiac uovov otòauev tric k rov
gº y y /
Tapaypnua Kučivov airta yuyvöueva orga-
P 2 -\ y *\ / gº •A *A & P
Twóraig óAiyotc, m tróAst utºi, i kāv čvi twº
j y gº gº f A
£0.9et, 35Xrlovc 8 ovéautoc troudovra oire réc
/ y V 3 * ~ 3 } \
orpartórac, oùre réc troAirac, d\\ ovć ràc
c T - . \ 8: y > / 2 f
ouosºvčic Tm v og tratēsiav, OUOLOIT) evèauoviac
ON MUSIC.
*-
1. It was a saying of the Wife of Phocion the
Good that ‘ the martial achievements of her hus-
band were her proudest ornaments.” In adopting
this sentiment I can with truth affirm, that I regard
the literary labors and honors of him, who was my
instructer in the liberal sciences, as my own orna-
ment and pride; and the lustre and credit of them
as shared with me by all, whom Irank in the num-
ber of my friends. And I conceive we have the
greater reason for glorying; since the most splendid
and successful displays of military talent do nothing
more than deliver from temporary danger a few
soldiers, a single city, or at most a nation. They
do not make any addition to the stock of wisdom
and virtue in the soldiers, the citizens, or the people.
Whereas intellectual and moral culture, as it is es-
sential to human happiness, and the basis of all
B 2
4 TIEPI MOYXIKHX.
º: * / $ 3 f 5 p. y \ © ºf
ovo av, attuan T sūgovXiac, OU puovov SOT’lly evpsiv
*\ y/ *N y *\ y/ y 2 \ V
7) otkºp, 7) tróAst, n éthyst Xpmotumv, dAXd TO197".
gº * 9 p / ef º & 5 f
tºp T(s)?) av0p6trov yevel. ooq) Ouv m &K tratēsiac
> , / p y y P
opéAsia pist.ov travrov orparmymuartov, toosrº
V t \ 3 * f > 92 y º
kai n trept avrng pºvmum d'éta atrovenç.
y Tº * 8 / * K º * / e
£8. Tº youv čevrépg röv Kpovicov muépg, 6
w 5 / y \ W t y y/
ka)\oc 'Ovnoukpárne äri riv Šariaow ăvěpac
gº 2 / y º: \
Movauknc étriotăuovac trapaksk}\iket. maav 8é,
f 3. \ *
20tmptyoc AAsćavěpsûc, kai Avatac, čic tic
gº? 3 - /
rtov oivračiv trap' divrs Aapſ3avóvrov. Tel 8:
V / / \ \ 3/ *
to vour’ānsva avvreréXegro, To uév airtov ring
> / gº »f e/ f 5 y \ ºf e /
dv6pºſtov povnc.(Hºn) 6, titor’āoriv, & traigot,
gº y gº º ! ... gº V
vov širāmrčiv od ovutorucóv' (oyoAmic yap vn-
gº \ y V & 2 &
paxworépac Seira, to 0sºpmua). Tel 8 optſovrat
f \ 5
riv povăv ol āptorot Ypauparukoi, dépa ret-
V * /
Anyuévov atoffmrov droń, rvyxávouév re x0te
&nrnkórec Tepi Ypauparuchc, oc TÉyºung £irt-
ON MUSIC. 5
wise counsel and upright conduct in life, extends
it's beneficial effects beyond the limits of one family,
or city, or people, to the whole human race. And
hence it follows, that the more the advantages ac-
cruing to mankind from the cultivation of the sci-
ences surpass those, which are derived from the
exercise of military prowess and skill, the more
both they, and whatever bears relation to them, de-
serve our studious regard and recollection.
2. On the second day of the Saturnalia Onesi-
crates, a Noble Athenian, invited to his table, to so-
lemnize the festival, a few persons versed in the
science of Music: among whom were Soterichus of
Alexandria, and Lysias, a musician by profession,
retained in his household. When the feast and the
usual ceremonies of the occasion were over, the ſol-
lowing conversation was introduced by our host.
My friends, he said, would hardly think a season
of conviviality like the present suitably employed by
entering into an elaborate discussion of the Cause of
Sound, and the Nature of the Human Voice. Such
an inquiry would demand more leisure, and a greater
effort of attention, than we have now to bestow.
But as our ablest Philosophical Grammarians have
furnished us with a definition of Sound, viz. that
it is “the air so struck as to become sensible to the
6 TIEPI MOYXIKHX.
f gº \ \ sº W
rměstov Y9applate rac povac ënuoupygiv, Kat
/ gº P y p
tapweven tº dvapºvăget, ºwnev tic usrd raúrny
/ / * 9 f º: \ ef
8evrépa Tpétrovoa pown striotmum. oiual §§ 3rt
W t * \ y /
Movoukm. vuvstv Yap evosgèc kai troom youplevov
P \ * P \
av096 touc T8c Yaptoauévovc divroic uévoic riv
y \ / * \ ef
Évapôpov panniv 6sočc. rgro è kai Ounpoc
3. * 9 º /
#Teamuſivaro, voic Aéyet,
Oi 3é travmuéovot poxtſ, 6801, i\dokovro,
Ka\öv distöovreć travijova Kovoot 'Ayatov,
f e
MéAtrovreć Škosoyov' 6 38 poéva réotrer' drovov.
y v º' gº gº y _ - 3. f
ā-ye 8m (a) puovo.ukmg (haatoral, Tug Towroc eXpm-
* y p W t y e \ y
OOTO plovo.ukſ) avapuvmorate T8g eralpove KOl! TU,
* \ y/ p & / . W y
supé T90c aúčnow Tautºmo o X90woc, KOll Tuvag
2 & / / \, ºv w \ 9 /
suèókuot yeyovaot Tony Tnv puovo.ukmw etruormumv
/ 5 V V \ 3. /
pueray Elptoallevov. aXXd pumv Kal Elg 7TOO'd
* > f - f W 5 f gººd \
KOut Elg TU100. X9mouov TO £irtrijeevua. TQ UTO, puśv
sitev 6 êtêdakaAoc.
y. 68? Avaiac utroXaſłºv, IIapd T oXXoic,
of
épm, śāntmušvov ſp69Amua Tiānreic, dyads
'Ovmaikparec. tov re yap TTAarovukov ot
*
ON MUSIC. 7
ear;” and as in our speculations yesterday we de-
termined Grammar to be “ the knowlege of ex-
pressing and fixing, by means of written characters,
the sounds of the voice,” let us at this time procede
to the next point of research appertaining to the
subject; and this I take to be MUSIC. For it is a
sacred employment, and an act of duty highly ob-
ligatory on man, who of all the inhabitants of the
Earth has alone received the faculty of uttering ar-
ticulate sounds, to employ this power in singing the
praises of the Gods, who imparted it. Homer
points out to us this duty, where he says;
With hymns divine the joyous banquet ends,
The Paeans lengthen’d till the sun descends.
The Greeks, restored, the grateful notes prolong :
Apollo listems, and approves the song. IL. 1.
Come then, my companions and fellow-votaries
of the art, inform us who was it's first inventer?
What improvements it has received in the course
of time 7 Who, among the cultivaters of it, are the
highest in esteem : And to what beneficial pur-
poses it is applicable? These questions the Host
proposed.
3. The answer to them was first undertaken by
Lysias, who thus replied: “What my noble friend
8 . TIEPI MOYXIKHX.
gº * A. gº / p
TXétarot, kai rov diró rs TIspitárov pºogó-
* 9 f *
60V ot āptorol, trept Te Tng apyaiac Movoukmg
/ 3. / \ w * 9 •
avvráša Šotroöðagav, kal trepi tric autº ye-
- / - gº t)\\ \ \ W
yevnuevng trapaq,0opac. d’AAd yag kai yoap-
* gº f
partköv kai appovikov oi &r drºpov trai&siac
\ V \ gº
AmAakórec, troX\ºv groveriv trept Tsro tretrot-
\ * & eº /
mvrat. troX\m youv m tow ovvrerayórov 8ta-
> ſº ." gº *
povia. 'Hgak\siónç 8 ºv Tº ovvaywyn Tov £v
* gº y \ gº \
Movouch, rmv kiðappètav Kai rmv kiðappèukiv
y • y 3 P 3. gº \
Troimaw irporóv pnow Audiova ruvongat, rov
W 3. y gº
Atóc kai Avriótmc, rs Tarpoc 8m) ovári 8-
/ 3. f ** \ gº 5 gº
Šáčavroc avròv. Two row rat 83 rsto èk rmg
5 gº? * y gº • 5 / 2 º'
avaypapmc tnc év >ukvovi atrokeupévnç, 8 mg
/ t p \ z >/ \ V $ V \
Tác re ispeiac rac Šv "Apyet kai rêc troumrac kai
\ 2 P & - V \ \ 3. \
rèc uovoucouc ovouáčev. kard 88 riv avrºv
gº 9 -
#Auclav kai Alvov rôv š Eüßoiac 0pſivovc TE-
f
troumkéval Aéyst, kai"Av0m rôv šč 'Av6m86voc
gº f e/ \ / \ 3.
rnc Bowriac Čuvouc, Kai TItéptov rôv čk
IIlepiac rd trºpi rdc Moûgaç trotiuara' dXXd
ON MUSIC. 9
now presents for our discussion, is not a novel sub-
ject of inquiry. Numbers of the school of Plato,
and the most eminent of that of the Peripatetic,
have treated at large on the Ancient Music; and
the corruptions, which it has undergone. And be-
sides, there is scarcely a Grammarian, or writer on
the subject of Harmony, who in treating of the es-
sentials of a liberal education has not considered
these points, and dwelled on them with great mi-
nuteness. Yet it is observable that a very wide
diversity of statement, in regard to these matters,
subsists among them.
Heraclides, in his collection of notices respecting
Music, says, that “the first who sang his poems to
the sound of the CITH ARA, and invented the poesy
suited to that instrument, was Amphion, the son of
Jupiter and Antiope; who received his instructions
from his celestial father. The authority cited for
this notice is the Public Register preserved at
Sicyon; from which are also transcribed the names
of the priestesses of Argos, and those of a number
of the early poets and musicians. He mentions
the following as contemporary; Linus, Anthes of
Anthedon in Boeotia, Pierius of Pieria, and Phi-
lammon of Delphi: the first as a composer of
Threni or plaintive verses; the second, of Hymns;
the third, of Poems in honor of the Muses; and
10 TIEPI MOYXIKHX.
W W \ W * \ ,
kai Pi)\dupova röv AEApov, Antovc ré kal
A > > / gº
Apréutòoc, kai AiróA\ovoc yévêow 8nMojoat
3. / \ \ gº \ V 2
£v učAeol, kai Xopolic trotorov trºpi to v AEA-
gº t \ gº / \ \ P
‘poic tºpov armoat. Bäuvpu 88 to yévoc
€oa 5 / i äuusXé /
pgka, evºwvorspov Kai supeñéo repov travrov
gº f •; t gº / \
tov Tórs goat, wc taic Moûoac, kard tâc trot-
\ y 3 pº *
mrdc, etc dyſova karaormvat. Tetoumkévat 8:
* & gº P \ M \ /
rsrov to roperat Turávov trgoc Tsc 0sodc TóXe-
\ / gº
pov. Yeyovévat 8: Kai Amuáčokov Kepkvpatov
- V \ eV / 5 / ,
Taxatov uovo.uköv, 8v Tetroinkéval IXtov retróp-
V 2 M t p
0now, kai Appobirnc kai Hºpatarov Yapıov.
y W f 3. / gº
dAAd unv kal dºſiutov Iſakiotov vóorov rov
5 \ f 2 3 / > /
atro Tootac usrº Ayapuśuvovoc divakoutoffévrov
gºsé 5 / V : .*
Totmoat. od AEAvuévnv & cival Tov trgosipm-
* gº f \ 2 -
Hévov triv Tóv troumuárov Aéčw, kai uérpov O'DK
37 3. W p f \
*Yovaav, d\\d kaffairsp Xrmaty 6pov re kai
* * * f
rtov doxalov učAotovov, of Totovvrec ºrn,
/ / to \ \ W /
toirotc ué\m trepieriffsoav. kai yap row Téo-
3/ * - * >/ y
travöpov, éºpm, kiðappèukov Toumtmv ovta voucov,
/ * f ** gº \
kard voucy Écaorov roc treat roic gavrov kai
gº e f f *
toic Ouñpov učAn trepuriffèvra, §§ew év roc
º gº 9 gº y y
dyſpaw. dropºva & Tsrov Aéyet ováuara
Totorov roic kiðappèucoic vöuotc. duotoc 8:
ON MUSIC. 11
the last, of Songs celebrating the birth of Latona,
and of Diana and Apollo; as well as the instituter
of the choral dances round the temple at Delphi.
He records also that Thamyris the Thracian far
excelled in sweetness of voice and justness of in-
tonation, all his rivals in song; and ventured, in
consequence, according to the poets, to engage in a
contest with the Muses; and that he wrote the
poem on the War of the Titans with the Gods. In
this list of the early musicians are included Demo-
docus of Coscyra, who wrote the fall of Troy, and
the marriage of Venus and Vulcan; and Phe-
mius of Ithaca, who celebrated the return of the
companions of Agamemnon from the sacking of
that city. One thing in particular he states, in re-
gard to the compositions of all the writers here
mentioned; that they were not in simple prose,
wholly unshackled by rules, but resembled the
pieces of Stesichorus and the other early melopoeists;
whose practice was to write their verses, and then
to adapt to them appropriate melodies. He in-
stances Terpander, the original inventer of written
melodies, called “ Nomes,’ for the Cithara; who at
the public games used to sing them adapted to his
own epic verses and those of Homer. He says,
further, that the practice of giving names to these
Nomes was begun by Terpander. Again, he in-
12 IIEPI MOYXIKHX.
/ gº gº A
Tspiravöpp KXovav, rov Tptorov ovarmorapue-
\ y v P \ \ /
1901, TSg avX98ucouc voluovg KCIU 70. Toogóðia,
\ gº W .
#Aeystov T8 KOll £irov Troum7mmy yeyovévai’ kai
& / y \ \ gº
TIoMüuvnorov rov KoMoſpºviov TO1) puera TOUTOny
/ gº 9 gas ſ /
yevousvov touc auroic Ypſigaoffat Troumpuaouv.
- ./
8. Ot 88 vöuot oi kard rotºrovc, dyabs 'Ovn-
P . 5 V : > / 27
oukparec, aij)\pèukoi figav, atröfferoc, #Aeyot,
Koud9xtoc, oxolviov, Knºrtov rekai 8stoc, kal
ic' woréow & y \ \ /
TousXfic' worépp & Yoëvº kai ta troXvuvāoria
ka)\otiusva £evpé0m. oi 88 tnc kiðappèlac
P , / gº y gº y *
vöuot Tøórepov troX\tº Xpóvº tov avXpèukov
y 3. \ y y gº gº
kargarā0mgav Štri Tspiravöpov. cketvoc youv
w w / 2 f y /
Těc kiffaggðukovc irpórspoc divöuage, (3owºrtów
\ > / ~ / \ 2 ye \
Tuva kai atóAtov, Tooyatów re kai 6&v, kn-
triová re kai reptăvéptov Kaxtov, d\\d unv
- gº f
kai Terpaoièuov. tretroint at 83 tº Tspirávěpºp
\ / W 5 3/ e/ V t
kal trooopita kiðappèuka Év regu. 6t, 8è ot
V y t / 2 3. * /
kiðappèucol vöuot oi tráAat éé štrov ovvioravro,
/ 3 & P * - ** / p
Tipó0soc tößwaſs, ràc youv troºrovc vónovc
p \ º:
#y weat 8tautyvöwy, 80-pauſbucºv Aéčw #8Ev,
ôtroc un gü00c ſpawn trapavoutov sic riv ap-
ON MUSIC. 13
forms us that what this poet did for the music of
the Cithara, was done for that of the Flute by
Clonas; by whom Prosodies ( or solemn marches
for public processions to the temples,') were first
composed; and who wrote also elegiac as well as
epic pieces. Polymnestus of Colophon, the poet
whom he mentions as next in succession to Clonas,
wrote pieces of the same kind.
4. The Nomes for the FLUTE, which we have
from these masters, are the Apothetus, the Elegiac,
the Comarchian, the Schaenian, the Cepionian, the
Deian, and the Trimeles. The Polymnastian
nomes are of later composition. Those for the
Cithara, which were the invention of Terpander,
are of a much earlier date than any of those com-
posed for the Flute. Their titles are the Boeotian,
the AEolian, the Trochaean, the Acute, the Cepio-
nian, the Terpandrian, and the Tetraoedian. Ter-
pander was the inventer also of Proems, or pre-
ludes, for the Cithara, adapted to the epic measure.
Indeed, all the Nomes for this instrument were
originally Epic; as what we know of the practice
of Timotheus is sufficient to prove. For the early
Dithyrambic pieces of this musician are invariably
interspersed with movements in the epic metre; to
avoid the appearance of a direct transgression of
14 TIEPI MOYXIKHX.
- f f \ * *
Yatav Movouchv. čoucs & kard rºv téxvnv Tmºv
kiðappèukºv o Tápiravöpoc 8tevnvoyévai’ to
P \ P e.g. ſº \ - -
tröffia yap retpakuc §nc vevuenkojc avayśypair-
ſº \ gº / V / f 3.
tav Kal touc Xpovolc 8: opóðpa traXatóc &OT! •
- P . gº p \ y / 3. y
Tpeggiºrepov youv avrov Apyi)\óYou atopaivet
- * f
TXavkoç 6 & IraXiac, čv ovyygáuſtart TU1jū.
tip Tepi tov do Xatov Toumrøv re kai povo.ucdov'
©ngi Yap avrov 8stºrspov yevéoffat uérd toūc
/ / 9 f
Totorovc Tomoavrac avX98tav.
P * * gº
8 . 'AAéčavèpoc 8 v tº ovvaywyn Tov Tepi
, , 97 *
bpuytaç, Kpoſſuara "OAvurov, Épm, Tpwrov sic
rāc"EXXmvac Koutoat, ért & kai rāc 'Ibalovc
8akróAove' "Yayviv 8: Totorov divXmoat, sira
/ g
tov rárov viðv Mapaiſav, tira "OXvutov. čn-
/. -
Awkévat 8: tov TÉpiravöpov "Ouñpov pºv td
y \
Éirm, Oppéoc 83 rd piéXm. o 88 Oppstic ow8éva
/
patveral usupinuévoc. ovětic yáp to yeyévnro,
3. \ t ** y * !. y \
st um of row avX98uköv troumrat routouc §§
kar’ ov6èv ro Ogbukov Épyov £oucev. KAovac
* * . e
8é o Tov avX98wkov vöuov toumric, 0 6\ty9
e/ . y y t \ y
varepov Tspirávěpov yevous voc, oc uév Ag-
káðsc \{yoval, Teysārmc fiv, oc & Bowroi,
ON MUSIC. 15
the ancient system. There is reason to believe
that Terpander's excellence, as a singer and per-
former on the Cithara, was unrivalled. It is on
record, that he obtained the musical prize at the
Pythian games four times in succession: and the
period, in which he flourished, must have been of
very high antiquity; as Glaucus the Italian, in his
Historical Account of the ancient Poets and Mu-
sicians, places him before Archilochus; and next in
immediate succession to the very earliest culti-
waters of flute-music.
5. Alexander, in his Notices respecting Phrygia, .
relates that the art of Music was originally brought
into Greece by Olympus; and subsequently by the
Idaei Dactyli. The first performer on the Flute, ac-
cording to him, was Hyagnis, who was followed by
his son Marsyas; and to him succeeded Olympus.
Of Terpander he says, that that poet and musician
took Homer for his model in versification, and Or-
pheus in the character and stile of his melodies. The
musical compositions of Orpheus appear, from his
account, to have been wholly original; as this mu-
sician was prior to every other on record, except
composers of melodies for the Flute; and to these
the Orphic songs bear no resemblance.
Clonas, the inventer of Nomes for the Flute,
16 IIEPI MOYXIKHX.
\ sº
€3m3atoc. usra 8: Tépiravöpov kai KAovav
Afty {\oxoc trapaëlèoral yewéoffat. âXXot 8é
rivec riov ovyypaſpéov "Apèa\óv ſpact Tpoiâ-
P º W 2 \ /
viov trgörepov KAova riv avX98uctiv ovotn-
oao'0at Mowgav' yeyovéval 8è kal TIoMüu-
vmorov troumriv, MéAmroc rs KoMopoviov
vióv čv IIoAúuvnorów re kai TIoMuuviiotnv
f * \ \ ~ ef W > P
vouave troumoat. Trept 8: K\ova &rt row atró-
6erov vöuov kai oyotviova Tetromkóc sin, uvn-
povešovow ot dvayeypaſpérec' rs & TIoMuu-
viarov kai IIvèapoc kai 'AAkudv of rov peXtov
troumrat êuvmuávevaav' rivac & Tov vöuſov rov
kiðappèuctov rtov viro Tiptávěpov tretrotmušvov
bºdunová page row doxalov rov AEApov ov-
f
origadflat.
/ &
s'. To 8 &\ov m pièv Kard Tépiravöpov
- f V / * / t /
kiðappèia, kai pusX9t tric q'pěvièoc m\uciac
º t * * º A > \
- travrºtocº at)\m rug ovara 8teréAct. ow yap
3 gº º \ \ e/ * \
£&nv to traXavov oira troustoffat Taç kı6a-
f º * > Q \ / \ t ſ
998iac (0g vuv, ow8é peraſpépéty Tac approvac
A \ * / J
kai réc pv6 uočc. £v yap touc voucic £rdorp 8ts-
\ /
Tipovv tºv oucciav tdow' 8to kai taúrm. Tw-
vvutav fixov' vöuot Yap Tpoomyopetºngav,
ON MUSIC. 17
flourished soon after the time of Terpander; and was,
according to the Arcadians, a native of Tegea; but,
if we may credit the Boeotians, of Thebes. To
Terpander and Clonas succeded Archilochus;
though there are some historians who affirm, that
Ardalus of Troezen composed music for the Flute
before Clonas; and mention Polymnestus, the son
of Meles of Colophon, as the composer of the
Nomes Polymnestus and Polymnesta. Clonas, it
appears from the Public Registers, was the author
of the Nomes Apothetus and Schoenium: and
Polymnestus is spoken of both by Pindar and
Alcman (themselves composers of melodies); by
whom we are told, that some of the Nomes, sung by
Terpander to his own verses, were the invention
of Philammon, the ancient musician of Delphi.
6. One thing, which we are able to deduce from
the authorities extant, is, that the music of the Ci-
thara, from the age of Terpander to that of Phrynis,
retained its original simplicity. For in the early
times it was not permitted to musicians, as it now
is, to introduce mutations in melody or rhythm at
pleasure. The Nome, which they employed, having
its appropriate pitch and measure, to these they
were required to adhere without change. Hence
these melodies were called “ Nomes,’ that is to say,
C
1.8 TIEPI MOYXIKHX.
9 \ 2 x 9’ “ * 3 ty
firstèm Skáčnv trapaſ}nval ka0 traorov vsvouto-
'3. * \
Hévov čičoc tric rāgsoc. td †dp trøðc toug
P º
0sočc oc Boixovrat dºoowoduévot, §§3atvov
ev60c &mi re riv 'Ouñpov kai rov &\\ov trot-
now. SmNov 8 rout' or 8td rov Tsprávěpov
trooopiov.
3. / V \ \ * gº y *
Etroviſón 83 kal ro a Ynua rmg kiödpac roto-
tov kard Kniriova röv Tspirávěpov Maffnrávº
āk\#0m & Agude, 8td rô keypnoffat tSc Aeo-
f 3 * \ V - 2 A y *
{3isc divrº kiðappèouc trøðc tº Agig karovkovv-
tac. rexévratov 8: TISpik\ciróv pact kiffaggy-
8öv vuk"oat v Aakečaiuovº Käpytia, rô yévoc
ëvra Aégºtov. rotºrov & rºleurºgavroc réAoc
Aaffeiv Agagiotç rô ovvexic ric kard rºv kiffa-
99.8tav 8taðoync. Éviot & TAaviousvot wouizovot
\ V / f e /
kard rov Xpóvov Tspirávěpov Intrºvakra 'ye-
yovévai’ paiveral & ITtrøvakroc kal IIspi-
*N f
k\siroc ºv Tpeogórspoc.
y -
... 'Ettel 83 rowc avXpèucoic vöuovckal kiða-
\ c →
pºpčikoúc ouou roic dpxalovc Šutrºpavikauev,
- p y \ \ j
peraſºnogueſa Štri Hovove touc atºpèucoſe. Aé-
*.
ON MUSIC. 19
Laws; because of the prohibition to transgress the
species of harmony, by which each was characte-
rised.
As soon as a performer on any solemnity had
finished his prelude in honor of the Gods, which
might be a piece written or selected at his discre-
tion, he passed immediately to the verses of Homer,
or some other poet. The Proems of Terpander
shew the strictness, with which this rule was ob-
served.
The Cithara in its present form came into gene-
ral use, we find, in the time of Cepion the scholar
of Terpander, and was called the ‘Asian' from the
city “Asia, whence the Lesbians, dwelling in the
neighbourhood, derived it. Periclitus was the last
Lesbian citharoedist, who gained the Carneian prize
at Lacedaemon: and the death of this musician ter-
minated the succession of the citharoedists of that
island. They are mistaken, who suppose that Hip-
ponax was contemporary with Terpander; for he
was later even than Tºericlitus.
7. After this enumeration of the ancient Citha-
roedic Nomes, jointly with those for the Flute, I
procede to notice those which were adapted for the
* At the foot of Mount Tmolus, in Lydia
C 2
20 TIEPI MoxxIKHX.
W W - f y
yeral yap rov trgosipmuévov "OXvutrov, atºm-
V f gº gº / 9.
riv čvra rov čk ºppvyiac, troumoat vöuov at-
\ 9 / W p
Amrukov etc. 'AtróX\ova röv ka).éuevov IIoMu-
r; V ºf • f
képa)\ov. čtva è row "OXvurov touróv paow
* 9 W gº / f dº /
Éva röv diró rs irpºrov 'OXùutrov rs Mapai's
gº y V y
ts retroinkóroc sic rode 0sodc roºc vöuovc.
º W \ p & T / v
oùroc ydp Tatēukd yewóuevoc Mapoºs, kai riv
3/ W 3. y ºf W P \
aúAngw uaôov trap airs, rode vöuovc rouc
dpuovuçoic éénveykev sic rºv EXAdèa, oic vov
X9óvral oi"EXXmysc &v raic sopraic røv 0sov.
&\\ot 8: Kparntoc tivat ‘past rov troXvképa)\ov
* f
vöuov, Yevouévs uaffnrov 'OXijutrov. 6 & IIpa-
f 2 / \ º * / w
rivac 'OXùutrov pnoiv ćival row vewrépov rov
/ gº V V f º /
vöuov tourov. Tov 88 ka)\oſuévov Apudriov
/ / gº t gº 3/ e
vopov Aéyeral Tounoſau. O troorog OXvutoc O
y
Mapai's pabnric. Töv 8. Mapaiºav ‘pagi rivec
gº /
Mágonv kaAstoffat' of 8 8, dAAd Mapaiºav.
•; 2 9 v t / t \ gº gº &
tivat 8 airów Yáyvièoc viov rs irporov su-
y \ 5 W / e/ 3 × \
póvroc triv avXmrukºv réYvnv. 3rt 8 to riv
'OAjutov o 'Appérioc vöuoc, £k the TAajkov
"Avaypaſpnc tnc wrip tov afxatov Toumriov,
{{} y/ \ ºf f e/ > y e
pla OU. C.1) Tug, KOLL 87 U. yvoum OTU Tmolyopoc O
ON MUSIC. 21
Flute alone. Among these is the Nome Polycepha-
lus in honor of Apollo, composed (we are told) by
Olympus, a flute-player of Phrygian extraction, who [.
has been already mentioned. Yet some say, that
it was the work of another Olympus, who flourished
at a subsequent period. The first of these was the
scholar of Marsyas, and the author of several
Nomes in honor of the Gods. He was in his boy-
hood a favorite of Marsyas; and, having learned
from him the art of playing on this instrument,
brought over into Greece the Enharmonic Nomes,
which are still performed at the public festivals.
There are others, however, who ascribe the Poly-
cephalus to Crates, the scholar of Olympus. Pra-
tinas affirms it to have been the production of the
second Olympus: but the scholar of Marsyas has
an incontrovertible claim to the Nome, which is
called the Harmatian. A doubt prevails on the
true name of this last mentioned musician, which
according to some was Masses, while others affirm
that he is properly called Marsyas; and that he was
the son of Hyagnis, the inventer of the art of play-
ing on the Flute.
That Olympus was the author of the Harmatian
Nome is determined by Glaucus, in his Account of
the Ancient Poets; and from him we learn also
that, Stesichorus of Himera, in adopting the use
22 IIEPI MOYXIKHX.
"Iuspatoc, §rs 'Oppèa, gre Tiptravöpov, gre
'Apyūoxov, Sre ea)\irav čupingaro, dAA'
"OAvutov, Yongduevoc tº dpuariº véup kai
Tº kard 84krv\ov steel, 6 ruvec à épôts
véuov paciv ćival. &AAot 8é rivec wirò Mvotov
supnoffat roorov rôv véuov. yeyovéval yáp
Tuvag doxalovc avXnrác Mvootſc.
m". Kai äA\oc 8 to riv afty aſſoc vöuoc, ka-
Xojuevoc Kpačiac, ôv ºpmow 'Itrirâvaš Miu-
vepuov atºngal. Év doxº ydp &Aeysia usue-
Xoſrownuéva ot atºpéol #8ov. Touro 8: 8nMoi
m ròv IIavaônvaiov ypaſpii m repl row usouks
dyóvoc. yé yove 8è kal Xakáðac 'Apyeloc
Townric ut)\ov re kai Aeystov usueMoTotmuš-
vov. o 8 airóc, Kai Totnric dyabóc, kai ra
IIá0a Tolc vevuknköc dvayéypatra. toūrov
kai TItvèapoc uv.muoveſet. róvov youv Totov
ëvrov Kard TIoMüuvnorov kai >akáðav, tov re
Awpts Kai Povyts kai Avēls, Év čkágrº row
signuévov tóvov orpoºdv Toufiqavrá ‘page rov
>akáðav, 8.84%at #8av Tów Yopov 8topiari uty
tºv Toºrm, ‘ppuytari ë triv êevrépav, Avôtari
88 rºv Tpirm' ka)\gioffat 8: Tputph tov vöuov
* / * *
tourov 8td rivueraſboxiv. čv 88 tº èv >ukvöv,
ON MUSIC. 23
of this Nome, and with it the Dactylic measure
(which, according to some, is characteristic of the
Nome Orthius), did not borrow it from Orpheus, or
Terpander, or Archilochus, or Thaletas, but from
Olympus. There are some, however, who say that
the Nome had its origin with the Mysians; Mysia
having given birth to several of the flute-players of
former times.
8. There is, also, another ancient Nome called
Cradias, which Hipponax tells us was performed
on the flute by Mimmermus. In those times it ap-
pears to have been usual to sing elegiac pieces to
this instrument; as is shown by the Register of the
Musical Contests at the Panathenaean Games. And
Sacadas of Argos, we find, composed not only lyric
songs, but elegiacs with music arranged to them.
This poet stands among the highest in merit, being
recorded as thrice victor at the Pythian Games.
He is mentioned, likewise, by Pindar. At the
time when he and Polymnestus flourished, the
only Modes in use were the Dorian, the Phrygian,
and the Lydian ; and an ode is mentioned, that was
composed by him with three strophes, to be sung
in the three Modes respectively; which he instructed
the chorus to sing, the first in the Dorian, the se-
cond in the Phrygian, and the third in the Lydian
Mode: And, on account of this mutation, the Nome
24 IIEPI MOYXIKHX.
2 * gº \ gº * dº t W
Avaypaſpirm trepitov troumrøv KAovac supermc
5 gº yº /
dvayéypatral Ts rotuspovc vöus.
t º / / gº W
6. "H uév ouv trgdºrm karáoragic rôv rept
\ gº / f A
triv uovo.ukºv čv rā >irdorn, Tsotravčps karao-
y /
Thoavroc, yeyévmrat' tnc 8svrépac 8è €aXirac
e / \ P /
Te o Toprāvuoc, kai Fevöðauoc o Kv0iptoc, kai
y t \ \ f t
Bevökpiroc 6 Aokpóc, kai TIoMüuvnotoco. Ko-
f V / e *
Aobajvuoc Kai Xakáčac o 'Apysioc, AdXtora
> p 57 e / / / \
artav sysow myspovec yevéo,0at. Tourov yap
> / \ V \ f *
stonymoauêvov ra Tept tac Yuuvoiravöiac Tog
5 f Xé * V \ \
£v Aakečaiuovº, Aéyéral karaornwal ra Tept tag
W 2 *
diročeiščic rac Šv Apkaðig, rov 8é šv "Apyet
/ / •;
td vôvudria ka)\éueva, hoav 8è ot Tepi 6a-
/ \ /
Añrav rekai Eevöðapov Kal Fevókptrov, Tot-
y \ f gº
mral travāvov' oi & trepi TIoXijuvnotov, rov
\ W
op0tov kaAsuévov' oi è trepi Xakáðav, As-
y #XX 8: !- 58 e /
ºystov. aaaoi ce =evooapov virogynuarov
V V > / /
Toumriv yeyovéval ‘pagi kai 8 traudvayv, ka0árep
\ 3 * * /
IIparivac. Kai aurs 88 rs Eevočáuov dro-
P º e/ > * e /
pivnuoveveral gopia 6 sort paveowc vTopy'nua.
kéYomtat 88 rip yévet tric Toungeoc raúrmc kai
TIivěapoc. 6 & traidv 3rt 8tapopov #xel T90c
t y W / f
railrog Xmpara, Ta TIuvèdpov trouiuara 8m)\ºast'
yłypaſpe yap kai Tatavac kai Utopxiuara.
ON MUSIC. 25
was called Trimeres. Yet from the Record at Si-
cyon, under the head of the Poets, it should seem
that the original invention of this Nome is to be at-
tributed to Clomas. -
9. The first establishment of Music in Sparta took
place under the direction of Terpander. The se-
cond seems with good reason to have been the joint
work of Thaletas of Gortyna, Xenodamus of Cy-
thera, Xenocritus of Locri, Polymnestus of Colo-
phon, and Sacadas of Argos: for we learn that the
Gymnopaedic Dances at Lacedæmon, the Repre-
sentative ones in Arcadia, and the Endymatic (or
* clothed') Dances in Argos, were successively in-
stituted by these musicians. Thaletas, Xenodamas,
and Xenocritus are mentioned as composers of
Paeans; Polymnestus of Orthian Songs, as they are
called; and Sacadas of Elegies. Yet there are
some who affirm, and Pratinas amongst them, that
Xenodamus was not a composer of Paeans, but
only of Hyporchemas, (or ‘Songs to be accom-
panied by dancing;') and a Song of his is extant,
which is obviously a Hyporchema. Pindar himself
wrote pieces of this kind; and his compositions en-
able us to discern the difference between the Paean
and the Hyporchema, as we find among them spe-
cimens of both.
26 IIEPI MOYXIKHX.
/
t'. Kai IIoMüuvno rocè avXpèukovc vopovg
2 / v 83 to 3. 0: nueX •/, /
stroumo'ev Evos tºp opuup tº usaotroug keypnrat,
ka0ársp ot appovikoi paow. ouk *Youev S’
dkpiſłóc sitsiv. § ydp siphicagw ot agyatoi
\ f V \ f \ *
rt trºpi tourov. Kai Tspi Gaxiira 83 roo Kpm-
róc, et Tatóvov yeyávnrat troumric, duptoſłm-
* * \ x 3 P /
terrat. TXavkoç yap uer A9XiXoyov ‘pagkov
** P *
yeysvnaðat ea)\irav, usupinoffat uév avrów
V > y / > \ 8: \ /
‘pmoſt ra. Apyūčyov učAm, Tiê to wakpórepov
5 gº \ / \ \ t W 3
ākretva, kai Mápova kai Konrucöv puffudv &tg
\ ./. 2- .0. T. . . . . . . . .” f \
Tºv učAoirottav čvöstval' otg A9XiXoyov um
keypnoffat, dAA’ ow8è'Oppèa, ow8& Tépiravöpov.
āk ydp tnc'OXùutov divXhosoc, ea)\ſirav pagh,
2% / º \ {& \ 3. \
§§epyāoflav Tavra, kal 86%at Townriv dyabov
/ \ \ }*! / t\ º \ /
yeyovevat. Tept §§ Févokourov, oc my to yewoc
ék Aokptov táv čv 'Iraxia, dubioſ3mreira, et
tº º * t
Tadvov troumric yé yovev. npoikov ydp U7'ſ O-
/ * \
0časov Todyuara *Yougov Tountriv yeyovéval
\ *_2 . . \ / - f - *
ºpaqiv auróv' 8vo kai Twac 810opduſbove ka)\civ
> * \ t / y \ * * f
aurs rac virofféo etc. Togo.gwrepov 8: Tº m)ucig
‘pmoivo TXavkoc GaAſirav Fevokptrov yeyo-
M
1981/Olle
ta'. "OAvutroc ë, oc 'Aptoróševóc ºpmoun',
ON MUSIC. 27
10. Polymnestus was a composer of Nomes for
the flute; and, as the writers on Harmony inform us,
was the author of songs, which he sang in the Nome
Orthius. This information of theirs is however to
be received with some degree of hesitation; as the
old writers say nothing of these songs. It is a
matter of doubt, -likewise, whether Thaletas of
Crete was a writer oſ Paeans: for Glaucus, who
represents him as later in time than Archilochus,
says that he imitated that poet; and differed from
his model in no other respect than in making his
Songs of greater length, and using the Maronian
and Cretic rhythms; which had not been done
either by Archilochus, Orpheus, or Tcrpander.
In this instance, it is said, he followed Olympus;
and was, besides, a poet of great merit. Again,
with respect to Xenocritus of Locri in Italy, it
is by no means agreed, that the pieces which he
composed were properly Paeans. For though the
subjects of his Songs were heroic, yet the abrupt-
ness of the incidents leads some to think that the
compositions ought to be ranked among Dithy-
rambics. The period, in which Xenocritus flou-
rished, is stated by Glaucus to be later than that
of Thaletas.
11. To Olympus, as Aristoxenus informs us, the
~~
& º
~~~
28 TIEPI MOYXIKHX.
t f * \ gº º • 3
viroMauſłdveral vtro tov uovatkov Ts evapuo-
y t \ * \ \ \
vis yévovc supermc yeyevnaðat. Ta Yap Tpo
/ / f \ \ º
£keivs trävra, 8tárova kai Xpwpatuka mv.
t * \ * ef f \ / tº
Jirovosov 88 riv supéow towavrmy twa yevéoffat
y / \ 3/ > * /
avaorpeq6psvov rov "OXvutrov čv tº 8taróvº,
\ / \ - / \ \
kai 8tagiſłdzovra to ué\oc troXXákic tri riv
/ P V \ 3. \ * W.
8tárovov TapuTarmv, tors usv atro rmg trapa-
f \ \ 2 \ * / \ f
Héanc, Toré & atro Tric uéong, kai trapagat-
* y \ * \
vovra rmv Štárovov \ly avov, karapabstv to
f ~ x/ \ e/ \ 2 * > P
káAXoc tº #0ovc, kal &ro to £k rmg avaMoyiac
\ W f \ 5
ovvearnkóc odornua flavudgavra kai atroësé-
f 2 y * > V * f /
apevov, Sv tourg, trously stri Tov Atopis TO1/8.
2/ \ * * 8 f têt 2/ * *
8te yap Tov Ts owrovov totov, 8te rov rs
/ e/ {} iXX * jë. gº * e
Xotouatoc attsoual, aaaa ovoe rov tric applo-
•; 2 3 * \ * º
viac civat 8 avrºp ta trpora tow £vapuovíov
totavra.
f \ f * V º
Tifféag, yap, toirov Todorov rôv atrovëstov,
3. º j8 / * Š A \ º 3. f
£v 9 oveguia tow Stapéoétov to towov subaivet,
y y 3. \ y \
st um tug etc tow ovvrovºorspov atovëstaguov
5. \ * / º y /
{3\étrov auro touro 8tarovov cival aircuction.
* e/ \ * \ 2 \ / t
8m)\ov 8 &rt kal ſlew8oc kai ékusXèc (host o
* * \ c/ f P
Totovro rifletc. bevæoc uév, 3rt 8téo et éAarrów
3. / * \ \ & / / • ?
&OTU TO1/OU T.8 Trept TO1) nysuova kelp, evov 8K-
oN MUSIC. 29
1Musical world unanimously ascribes the invention
of the Enharmonic Genus: the only divisions of
the scale, before his time, being the Diatonic and
the Chromatic. The invention is understood to
have taken it's rise from the following incident.
In a descending diatonic movement he passed
several times directly from Paramese (B. mi., H "),
and Mese (A), to Parhypate diatonos (F); omit-
ting the Lichanos (G): and, being greatly pleased
with the beauty of the effect produced by this
series of sounds, he constructed upon it a new
system; the principle of which was the invariable
omission of the Lichanos; and confined the prac-
tical application of this system at first to the Dorian
mode, introducing no sound peculiar either to the
Diatomic, the Chromatic, or to what we now call the
Enharmonic Genus. Such was the origin of this
Genus, as ascribed to Olympus. Of the Nomes
composed in it, the first is stated to have been the
Spondaean; in which it is observable that there is
not an interval characteristic of any of the three ge-
nera: unless either the # tone ascending of the
Spondiasm should be mistaken for the same inter-
val in the soft diatonic scale; (in which case the
note lichanos diatonos (d), the higher note of the
* Burette says B ſa, b.
30 IIEPI MOYXIKHX.
MEAec oe, ori kat et rug sv tº Ts towtatov ovvapºet
riflein rô rs ovvrovºorépov girovostaguou têtov,
\ y t & 2 ºf sº f V
ovuſbaivot āv 8wo £ng riffeoffat *ētárova, to
\ y / V 8. / \ \ y
pièv, doiv0erov, to 88, giv6erov. To Yap Šv
gº / V : * gº
raic uéoaic vapuávtov rvkvov, vov Xpóvral,
y gº gº gº º . & W . 3 y \
§ 8okei rg troumrow sivat. 648tov 8 or ovvi-
* > / 2 a º gº f y gº 3. y •
8āv čáv rug ap Yaikóc rivoc avXouvroc dicotion'
p ºf \ W gº
doºv0srow 'Yap (3otºcrat gival kai to èv raic
& / \ º gº pº
Héoaic nutrövtov. rā uév oſſiv Toora rov
* e/ V t f
£vapuovtov, rotaura' to repov 8è to nutróvtov
y gº \ gº
8typé0m, Évre roic Avētouc kal év roic depvyiote.
> 3/ f w gº
‘patveral 8 "OXvutroc avāńgac uovauchy, tºp
> / / - \ 2 / t W ~ of
dyévnrów tº kai dyvošuevov ord töv čutſpooflav
3. gº V y * / {} gº ‘EX
eigayayev, Kat apy myoc yevéquat the º
* \ gº *
Amwukňc kai ka).mc uovouknc.
t
/ ºf / \ \ * & ~ \ ,
16. "Eart 8éric kal trepi riov puffudov Aá)oc.
-- y \ yo & gº
yévn yap ruva kai stöm pv6 uſºv Toogeševoč0m,
iXXd v \ ... • * * V : {} a tº gº
a\\d unv kai us\otroitov re kai pubuotroitov.
A \ \ & / y
Tporºpa puty yap 7) Tspirávěpov KauvoTopita
* 8trova. Bur.
oN MUSIC. 31
interval, would be characteristic of the diatonic); or
the performer should substitute for the spondiasm
the hemitone of the tonic chromatic Genus. But
in this latter case the interval would be obviously
false and inconcinnous: false, because it would be
less by a diesis (# tone) than that, which should
follow the leading note in the scale; and incon-
cinnous, because two ditones would stand in im-
mediate succession, the one incomposite (or intire),
the other composite (or divided). As to the inter-
mediate quarter tones of the modern Enharmonic,
these do not seem to have constituted any part of
the invention of Olympus: and the difference be-
tween the two methods may be immediately per-
ceived by any one, on hearing a piece played in the
ancient manner; as, in this case, no division is
made in the hemitone. Such was the origin, I ob-
serve, of the Enharmonic melodies. A division of
the hemitone came afterwards into use in the Ly-
dian and the Phrygian modes. With respect to
Olympus, he is to be regarded as having greatly
contributed by his inventions to the perfection of
the art; and as the father of the genuine Grecian
and good music.
12. Something is now to be said of Rhythm.
For of this branch of the musical art, new genera
32 IIEPI MOYSIKHX.
/ P 3. - \ > / -
ka)\óv twa Tpótrov sic triv povoucmv clamyayev.
/ \ / /
TToXùuvno rocèuerd tov Teptrávěpetov Tootov,
º \ P \ > \ y º
9 kat typigaro, kai auroc uévrov #xöuevoc T8
• / / . \ f
ka)\ov rátrov. Joairoc & kai ea)\irac kal
p \ , \ º A \
Xakáčac. kal yap grow kard ye rac puffuo-
-/. e \ > 5 p \ * *
Trottac ixavoi, owk irſłaivovrec uév tº kakov
W 2/ / 5 \ f \
riſtov. čari 8é ric AXkuavukm katvorouta kai
y \ q t > * º
Xrmouxópstoc, kai airav Šk absorſogal row
* \ / -
ka)\ov. Kpéčoc 8è kai Tué0soc, kal dºt-
f \ \ / \ e
Aóševoc, kai oi kard rávrmy triv m)uctav ye-
/ \ f V f
yovotec Toumrat, (poptikorspot R&Oll pixókaivot
/ V / \ \ *
'yeyovagu, rov ºptAdvflowtrov kai fleuartkov vov
> f 8 (£ \ V >
Övouaºuevov 8tºšavrec. Tiv Yap 6\tyoxop-
\ \ e / \ / *
8tav kai triv at Aérmra kai oeuvörnra tric uov-
* º 5 - - * º /
Oſtknç, Tavrºtoc apy aucmv 80.1)Cl. ovuſ?iſbnkev.
/ x - \ \ / P *
ty. Eipmka)c kard 89,autv Tºpi re ric
* \ * f * /
Tpºrnc uovo.uknc, Kai Tôv Tpºrov supóvrov
e \ - / *
avrºv, kal wird Tivov kard Xpóvovc rate Tpo-
y 2 / / \ f
gečevpéqsaw miſènrai, karatraúow Tóv \6 yov,
\ / * & f / y
kai Tapaśćgo tº raipº 20tmptyq), otovëa-
f > f W \ 3. \ \ \
kóra ow uávov trºpi uovaukºv, d\\d kai trºpi
rºv &\\mu #ykök\tov tratestav, music ydp
ON MUSIC. 33
and species were from time to time invented, and
accessions made to RHYTHMOPCEA, as well as to
MELOPOEA. The principal innovation on record
is that of Terpander; and the mode invented by him
is full of beauty and dignity. Polymnestus, who
succeded him, adopted and imitated this mode, ad-
hering to it's simple and grave stile. The same
may be said of the rhythmopoeists Thaletas and
Sacadas; in whose compositions the antient cha-
racter is preserved. Alcman and Stesichorus were
also inventers of new rhythms; but they adhere
strictly to the simplicity and dignity of their mo-
dels. As for Crexus, Timotheus, Philoxenus, and
their cotemporaries, these men, of bold and licen-
tious imaginations, and eager after novelties, brought
into use the mode which is known by the name
“Philanthropian' or ‘Thematic.” The consequence
is, that simplicity, gravity of stile, and the limitation
of melodies to the compass of a few notes are now
become quite antiquated.
13. “Having thus, to the best of my ability, given
an account of the early Music, its first inventers, and
subsequent cultivaters and improvers, I now resign
my office to my friend Soterichus, who is perfectly
versed not only in music, but in every other liberal
accomplishment. With respect to myself, it is the
D
34 IIEPI MOYSIKHS.
Max\ov Yagovoytkó Hépet ric uovoucic £y-
/ t \ f • ? 2 \
yeyvuvágusta. 'O uèv Avatac tavr citrov
/ \ /
KCITETOIUO 8 TO1) Aóyov.
18. >wriptyoc 8è uérd tourov $8é Tøjg
#ºn, 'Yrip osuvov turnèstuaroc kal 6soic uá-
Atara apčakovroc, 6 yaffè Ovngikparec, toūc
Aóyovc muſic Trpoerpélo Touloagflat. dro-
8éYouat utv oùv tric avvéasſoc rôv ŠtěčakaAov
Avatav' d\\d unv kai rnc uviumc #v Štrºëstéaro
trºpi re rouc superdc tnc Tpºrnc uovokic, Kai
Tepi toūc rd rotaura ovyyeypaſpérac. wrouvigo
ë rov6', 3rt roic avayeypaupévoic uóvoic kara-
kokov6#aac retroinra riv 8siów. music 8 Šk
ăv6potów TUT)0. trapeNáðouev superiiv rov rmg
uovouche dyadov, d\\d röv rágate raic dperate
kekoopinuévov 0sov, AtróA\ova.
Oürs ydp Mapaiſov, 'OXùurov, i. 'Yáy-
vièoc, &c twec oiovrai, sipmua 6 avXóc. ow
pévn & Kiflápa 'AtróA\ovoc, d\\d kai aij}\m-
rucmc kai kiðaptorucic superic 60sóc. 8nMov
8è ék Töv Xopov kai riov 0uguſov âc trooanyov
ON MUSIC. 35
practical part alone of the art, which I profess to
have studied.” With these words Lysias con-
cluded.
14. Soterichus, taking up the discourse, spoke to
the following effect. “It is on a highly venerable
art, my respected Onesicrates, and one in which the
Gods themselves take especial delight, that you de-
mand a lecture from me. Our friend Lysias, in
his instructive discourse, has given us sufficient rea-
son to admire the extent of his knowledge; and
especially the accuracy, with which he has recounted
the several particulars respecting the first inventers
of the art, and the writers from whom his facts are
selected. But I must venture to point out one error,
into which he has fallen; from his trusting too impli-
citly to the authority of the Public Registers.
“We believe, and we have good grounds for the
persuasion, that this delightful and useful exercise
was not of human invention; but originated with
the God, whom all virtues and perfections adorn,
Apollo. It was He, and not Marsyas, or Olympus,
or Hyagnis, as some imagine, who invented the
Flute. The Cithara, we are agreed, is from him;
and so I maintain is the whole art and system of
Music, whether of the Cithara or the Flute. In
proof of this, I appeal to the custom of accom-
D 2
36 TIEPI MOYXIKHX.
\ 9. pº gº - gº *
pierd avºv tº 6sº kaflátrep âA\ot re kai
2 gº y/ *... eſ & gº W r y
AAkaloc v twº róv čuvov to rope. Kai n v
/ gº gº f
AñA@ 83 rs dyáAuaroc durg diptópvoic #yst £v
* gº gº * y
pºv tº èsélà róšov, Šv 88 tº aptorspá Xápirac,
** * gº y e
tov trig uovo.ukmg 6pyávov #Kāorm ri *YouGav
t \ \ y gº ºf \ > \ © tº 2
m uév yao Xipav kparé, m 8% avXojc, m 8 ºv
gº P
Léop Tpookeupévnv #xel tºp gróuart ovovyya.
ôrt & otroc oux éuoc 6 Aóyoc, 'Avrukxétème
\ }/ 9 * 9 ſ V y *
kai "Torpoc &v raic ētupavetaic trept tourov
dºnymoavro. gro è traXatóvãort to dipièpvua
rooro, &ore rouc £pyacapévovc aúró, røv kaff
'Hoakāśa Mépétrov pagiv čival. dAAd unv kai
rū karakoutſovri Tatēi riv Tsurukºv 8áºvnv
sic AeApowc Tapouaprči avXnric’ kai rā āś
'Yitspſ?opéov & ispá usr auxov kai avoiyyov
kai Kiflápac sic rºv Anxóv ſpact to traXavov
- \
oréA\eoffat. &AAoi & kai aurov rôv 0sów
‘pagw avXmoat, ka0áTep to ropel o ãptoroc pie-
Aøv troumric 'AAkuáv. n 88 Kópwva kai 8-
gº r gº
8ay:0myai, pngi, rov 'AmróAAw vir 'Affmac
3. gº V •; V / t \
aij}\siv. ospºvii ouv kard travra m Movaukm,
6sſov sipmua goa o
ON MUSIC. 37
panying the choral dances and sacrifices in honor of
the God by the sound of flutes; a custom recorded
by many authors, and among them by Alcaeus in
one of his Hymns. I appeal, also, to the group in
the statue of the God at Delos; in which he is re-
presented with a bow in his right hand, and with the
Graces on his left, each holding a musical instru-
ment; one a lyre, another a double flute, and the
middle one a syrinx applied to her lips. In the in-
ference deducible from these circumstances, I do
not rest exclusively on my own judgment, but on
what is stated respecting them by Anticlides and
Ister in their books on the Apparitions of the God.
The statue at Delos is so antient, that it is esteemed
by some the work of the Meropes in the time of
Hercules. Other facts leading to the same con-
clusion are, that the youth who is the bearer of the
Laurel of Tempe to Delphi is always accompanied
by a flute-player; and the bearers of the Sacred
Offerings, antiently sent by the Hyperboreans to
Delos, had in their train persons who played on
flutes, syrinxes, and the Cithara. Besides, we have
direct authority for the fact, no less than that of the
highly gifted Poet Alcman, that the God himself
played on the flute. Corinna informs us, further,
respecting it, that He was taught the art by Minerva.
With great reason, then, does Music claim the vene-
ration of men, since it's invention is from the Gods.
38 IIEPI MOYXIKHX.
P > P y 5 ºf t \ \
l6 = Expioavro 8 airn oi Taxatoi kard
W ??! e/ \ gº #X 3. p
tnvastav worsp kat roug a Aoic Turnèsſuagi
traow. of 88 vov rd asſwd avrmc trapairm-
f s V gº 3. f : > / \
oapuevot, avru tmc dvěpºèovc ākeivnc. kal 6sotre-
y \ * / - * \ /
aiac, kal 6soic pi\nc, karsayvtav Kal koriMnv
y \ / > / P P 3.
eug Ta. 0éarpa stoayoval. totyaprot TIXarov ºv
gº º gº /
Tºp rpirº tnc troXtreiac 8voyspaivet tº rowavrº
gº V * / t -
Movouk"). Tm, Youv Aöölov appoviav trapat-
gº j V * & gº \ 5 #3 V *
Tsiral, Širstöm 6&eta kai éturièstoc trooc 0pmvov.
º V V p / 9 *
H kai triv trpºrmv avoragw airmc paat
/ N \ p 3/ *
6pm-68m riva yevéoffat. "OXvutov yap irpo-
/ gº gº
TO]) 'Aptoróševoc £v rip Toºrºp Tepi pusouKng
* P *
£ir. tºp TI500v, p.mah, ētrikiºstov auxmoat Av-
8tari. etal 8 o' MaXavitritièmy roºrov rs pué-
Aovg âpéaaffai paou. TIivěapoc 8 Év Tataow étri
gº / / \ / t gº
Toug Nió9mg yapotc pmoi Aü8tov dpuovíav Too-
rov wir Avēlirts êtêayónval. &\\ot & Tó-
* • * pe f P
pm{3ov troorov tº approvig Xofigaoffat, kaffairsp
r f gº
Atovčovoc o' Iauſłoc to ropsi.
/ V : f * 3.
15. Kai m pušo)\ºtoc 8è traffmrukň ric ori,
rpaypôtaic dpuóðovga. 'Aptoróševoc 8é pnot
ON MUSIC. 39
15. By the Antients this art, with every other,
was employed to the noblest purposes. But the
Moderns, ceasing to value those qualities in which
it's great excellence consists, have, in the room of
what is manly, solemn, and divine, introduced into
their theatres and public spectacles a feeble and
frittered stile. It is this which Plato, in the third
Book of his Commonwealth, condemns. He does
not even tolerate the Lydian Mode, on account
of it's acuteness, and fitness to express and excite
plaintive and mournful affections. And this was
the use, we are told, to which it was originally
applied. Aristoxenus, in the First Book of his
Treatise on Music, informs us that the first melody
composed in the Lydian Mode was a Funeral Hymn
on the death of Python, performed on the flute by
Olympus. Yet some ascribe this air to Melanip-
pides: and the invention of the Mode, Pindar (in
his Paeans on the nuptials of Niobe) gives to An-
thippus; others, as welearn from Dionysius Iambus,
to Torebus.
16. The Mixolydian Mode is also of a plaintive
kind, and suited to Tragedy. This Mode, accord-
ing to Aristoxenus, was the invention of Sappho.
From her, he says, the Tragic Poets adopted it, and
joined it with the Dorian: the latter being ex-
40 TIEPI MOYXIKHX.
/ f \. 3
Xatrº troormv súpagflat riv učoxvötori trap
* \ \ gº f gº
mg Toug Toaypôoirototic Maffeiv. Aagóvrac yovv
3) \ * gº !. y \ & V - \
avrojc ovćevéal rº 8wport stret m uév to pus-
\ 3. e
ya)\otpetric kai détouarukov droötöwow, n &
V / / - \ V P
to traffmrukóv. uéuucrat 8: 8to rotºrov Toa-
y 3. \ gº e * * e gº
'ypèia. £v 8: roic woropucouc tng applovukme.
v, \ y e W *
TIv6ok\stönv, ‘pagi, tov avXmrºv supermy airnc
/ W
'yeyovéval. Agouc & AaptpokXéa rov 'A0m-
*4 P e/ 9 3. gº 3/ w /
valov, ovvièóvra öri Šk #vrauða exei triv 8td-
- W r/ y *.
Čevčiv 6trov oyséðv ôtravrec àovro, dXX &r.
* 3 * y P \ gºs
to 630, rotarov airfic airspyágaoffat to oxmua
- • \ & / º gº
otov rô diró trapauéong #Ti Jirármy virardov.
5 \ W V \ 2 / \ e/
dAAd unv kai riv Štraveluévnv Avētori, ntrep
5 f gº \ f * gº
£vavria tº uéoxvölgri, trapatMotav oſſo av ty
'Iá8t, Jiró Aduovoc supnoffat ‘paou ts'A6myatov.
ić. Todrov &n rov douovtſov, rnc uèv 6pm-
iº 2/ ~ . Sº 2 / > /
v98ucmc rivoc game, the 8 k\exvuévnc., stkóroc
t / f y \ W . \
o TTXarov trapairmoapſevoc avrac, rnv 8optoti
oc toxsukoic dvěpási kai gºpogw doué-
r/ tº 2 V f y / t 3.
Žovoav ćiMero' ou ud Ata dyvongac, oc Apto-
/ . p y gº / gº gº
tóéevóc pnow év tº 8avrépy rov uovoucóv,
ON MUSIC. 41
pressive of gravity and majesty, as the former is of
pathos; two qualities essentially belonging to Tra-
gedy. By the Harmonic Historians this Mode is
attributed to Pythoclides, the celebrated performer
on the Flute: and Lysis informs us, that the cor-
rected arrangement of it's intervals was the work of
Lamprocles the Athenian; who, perceiving that it's
diazeuctic tone was naturally higher in the scale
than it was almost universally supposed to be, raised
it to it's true position; and determined the scheme
of the octave, characteristic of the mode, to be that
which lies between Paramese, (b), and Hypate
Hypaton, (B). The graver species of the Lydian
harmony, which differs widely from the Mixoly-
dian, but resembles the Tastian, is attributed to
Damon the Athenian.
17. The two kinds of harmony here mentioned
were, with good reason, rejected by Plato; the one
on account of it's being of a plaintive, and the other
of a soft and effeminate character. The Dorian
alone was admitted by him, as fit for the ears of
wise and brave men. And this, as Aristoxenus ob-
serves, in his Second Book on Music, is not to be
deemed a proof that the philosopher was ignorant
of the uses, to which the other harmonies might be
applied in a Commonwealth; for the science of Mu-
42 IIEPI MOYXIKHX.
W P º \
ðrt kai év čksivate ri Xpmauov my trooc tro-
y / / \ / º
Xtreiac pu)\akiv. trāvv yap Tpoočoys tº
* > f P y V f
Movouch triotium TTXarov, akovortic yevouevoc
/ * > \ º
Apákovroc rs Affmyats, kal MeréAAov roo
> y 3. > 3 \ e P
Akpayavrivov. a\\ {trel, oc troositrouév,
\ \ / 3. 2 gº \ /
troAv to a suvöv šarw v Tº 8wptori, Tavrmy
e 3. / / \ /
Tpovriumgev. oijk myvös, 8è &rt Tox)\d Adºpta
3. * /
trapºvsta ué\m ‘AAkuavi, Kai TIw8ápp, kai Xi-
\
Movièm, KOll BakyvXièm Tetroint at' dAAd priv
\ }} f \ º \ P e/ V
KCIU 870, Toogóðva kai Tatavec, kal uévro Šrt &
\ º: P > \ * f P y
Tpayukoi oikrów tore étri vs Awptov Tpótov Šue-
A P *
A@8ñ0mgav, kai twa sporuká. ãňpkel S’ avrº
W x \ f V * \ *
td sic töv "Apnv kai 'Affmav, kal rd atovësia.
• * pºss P
#Tippocal ydp Tavra ikavd avěpóc ooppovoc
P \ \ º y \ 3. 9 / \
ilvy iv. Kai Tepits Avôtov Šà oðic myvoet, Kat
A ”T / N_ _ _ _2_ſ V ºf r f
Tºpi rmg 'Idêoc' mirtararo yap or m toayºta
/ º ./.
tauty tº Mºotroitg kéxpmrat.
P \ t \ \ y > 2 f
wn. Kai oi traXavol & Trávrec ovk attelpwc
y * * º gº > / 3. /
#yovreć tragov Tov appovtſov, Šviate éxpñoravro.
* >/ gº / W
ow ydp m âyvota Tng Touautmg orévoyagiac KOlú.
ON MUSIC. 43
sic was well known to him, in consequence of his
having studied it with great application under the
instructions of the Athenian Draco, and Metellus
of Agrigentum. But the Dorian was preferred on
account of it's peculiar quality, which has been
already intimated, of gravity and dignity. Besides,
he could not be ignorant that in the Dorian mode
itself many Partheniae (or, ‘Songs to be sung by
Chorusses of Virgins') had been composed by
Alcman, Pindar, Simonides, and Bacchylides; as
well as many Prosodies and Paeans. There are
some Amatory pieces in this Mode; and also plain-
tive verses, which he must have known to be sung
in Tragedies. But the only compositions in music,
to which he gave the sanction of his express ap-
probation, were the Hymns to Mars and Minerva,
and the Spondaean Melodies; these being calcu-
lated, as he thought, to strengthen the love of virtue
in the soul. And that he was well apprized of the
Lydian and Ionian harmonies, their admission in
tragedy is a sufficient proof.
18. On the same ground it is clear that the an-
tient composers must have been acquainted with all
the Harmonies, though they confined themselves in
practice to the use of a few. The narrow boun-
daries of their melodies, and the paucity of the
44 TIEPI MOYXIKHX.
ſº 8t 2 -º • p / jë. 8.
ÖAlyoxop tac auroic atria yeyevnrat, ovoe ot
p/ º \ 3/ \ P \
dyvouav of trept "OXvurov kai Tiptravöpov, Kal
e 5 X () y gº / /
oi akoaovungavréc tº Tourov trooapsost, trept-
gºd W f
sºov riv troXvyopStav ré kai touci,\tav. uap-
gº gº V /
tupet youv ra "OAiſutov re kai Tspitávěpov
f \ gº /
troumptata, kal tow touroug duotorpóirov Távrov.
f t * gº
ToiyopSa ydp &vra kai air&d 8tapépet røv trot-
\ /
ki\ov kai troXv)(698tov, oc unèva èuvaaffat
y 3. p
pupiñaaaffat row OXijutrov rpétrov. varepičev
y gº \ 2 * / \
8’ avrs ràc év tº troXvyöpèq, Te kai troXv-
y /
tootrºp Karayuvousvovc.
p / -
t{}. "Oru 88 ot traXatoi ou 8. ūyvotav direi-
.* P 3. * f /
Xovro the Tpirmc ev tº otrověstáčovrt T9079,
gº * y gº
pavegov Totel n &v tº kpovači Yuvouévn Yomouc.
gº \ /
ow ydp āv trors avrº Tpoc tiv traputrarmv
** P \ ſ W
keypnoffat orvpubøvog, puri 'yvapičovrac Tm v
gº * ef W ** y º:
Xpnouv' dAAd 8nMov &rt to rs KáA\ovc ºffoc,
eV y y gº 8 gº / 8 w w gº
o yueral ev tº otovosiakº Tpotrºp own triv rmg
y 5 y * 9 •r V w */ {}
Tpirmc ãaipeow, Tour m w to Tm v ato'Umouny
ON MUSIC. 45
strings employed, were matters of choice, for which
their judgment and taste are alone responsible; and
the opposition, with which Olympus and Terpander
and their disciples encountered every attempt to in-
crease the number of strings, and introduce varieties
in modulation, is to be attributed rather to their
wisdom than to their ignorance. This the poems
of Olympus and Terpander themselves, and all
others composed after the same model, testify.
For though confined rigorously to one Mode,
and requiring in many instances only three strings,
they excel beyond comparison all those which
are modelled on a greater compass of notes, and
frequent changes of mode. This superiority is
strikingly apparent, whenever it is attempted to
produce the effect of the melodies of Olympus, by
poets who adhere not to his simplicity.
19. Again, it was the custom among the antients
to omit the note Trite in the Spondean Mode: And
this omission, it is evident, did not arise from ig-
norance, since they used the same note on the Ci-
thara, in consonance with Parhypate. But their
perception of the beauty of the effect in this Mode
was the cause of their regularly passing over it in
ascending to Paranete. The same may be said on
the omission of Nete. For they sounded this note
46 IIEPI MOYXIKHX.
3. gº 2 / \ \ f \
avrov stayov âtri to 8tagiſłażew to ué\oc
> \ \ . / t > \ \ / \
stri rmv trapavnrm. o avroc §§ Aóyoc KCL.
\ gº f \ V f \ \ *
trept the vntmc. Kat yap Tavrn trpoc usv rm,
gº * \ W ſ
Kpovow #xpóvro, kal Tpoc Tapavmtmv 8ta-
f \ \ / f e \ \ \
povog kai Tpoc usanv ovuqajvog" kata 83 to
- 9 y * y º º
MéAoc ovk paivero auroic oikeia sivat tºp atrov-
: º P 3 f v p j \ y \
8stakº Tpotrºp. ov wovov 8è rowrotc, d\\d'kal
gº / f /
Tº ovvmuuévov vity otra, kéxpmvrat 7Tauraç.
\ \ \ * y V f
KOIT O. uèv yap triv kpovow avrmv 8tepºvovv
/ P \ \ W
Tpoc te Tapavmtm', kat Tpoc trapauéonv' kai
f p \ P /
ovveſpovsv trooc te pléonv, kai Tpoc Atxavóv'
\ NV \ / W 2 * *
kard 88 to ué\oc, Kqv atoxvv0m at Tºp Xpm-
\ * 3. > \ 3/
oauévy, âtri tºp yivouévy & avrºv #6et.
gº 9. º: \ 3 gº P e/ >
8nMov 8 cival kai ék Töv Ppuytov, 3rt oux
> f t 3 y / \ º 3.
myvómro vir "OXijutrov Te Kai Tov diko)\ov0m-
f ſ * V 3 * > /
advrov šksivg. *Y96vro yap avtº 8 provov
\ W * y \ \ V V P 2
kara ruv kpovow, dAAd Kai kard to ué\oc v
* / V ºf * f Šm
touc puntpºpouc Kat ev two tov dºpuytov. 8nMov
& º f º > 9/
8è kal to Tepi virardov, 3rt ov 8 &yvotav
* P º /
direlyovro £v roic 8wpioic TOt) terpayépêov
/ \ gº * / *
toūrov. aurika štri riov \otirov rávov #xpóvro,
f 3. / \ \ \ * >/ \
8m) ovért stöðrec' Sid & Triv rg #60wc qvXakºv
p f y \ * f / * \ V
diſpſipovv štri rg Awptov Tóvs Tudovrec to ka)\ov
5 *
OLUT8.
ON MUSIC. 47
on the instrument, both in dissonance with Paramete,
and in consonance with Mese. But in the Song
they judged the introduction of it to be inconsistent
with the effect of the Spondaean Mode. And to
these examples of the omission of certain notes may
be added that, which obtained universally, of Nete,
(d), in the tetrachord Synemmenon. For on the
Cithara this note was sounded in dissonance with
Paramete, (c), and Paramese", (b); and in conso-
nance with Mese, (a), and Lichanos, (G): but in
the vocal part no musician would have ventured
to introduce it, because of the change which it
would have made in the character of the Mode.
In the Phrygian melodies we find it used by
Olympus and his followers, not only on the Ci-
thara, but in song also; as in the Hymns to the
Mother of the Gods, and other pieces in this Mode.
Among voluntary omissions we may instance, fur-
ther, that of the tetrachord Hypaton in the Dorian
Mode. This tetrachord, having been admitted by
the Antients in all the other Modes, cannot be said
to have been unknown to them; but as it enlarged
the scale, they thought the use of it in the Dorian
melodies inconsistent with the peculiar character of
that Mode, the plain and majestic simplicity of
which they were anxious to preserve.
* Burette says, (b b)
48 TIEPI MOYXIKHX.
f * / V y \ gº gº y
k'. Oióv ri kai Éiri riov tric Toayw8iac
* * \ gº
troumrøv' tº yap Xpwuarukº yévet kai rº
e ** y \ 2 Q / \ /
pubuº Tpaypºta pºv ow8étro, kal Tmuspov
/ ſº / \ gº gº
keypnrat kiödpa 8è troXXaic yevsaic Tpea-
... / - f r; y 2 gº 9 f
Øvrépa Tpaypôiac oùoa, ść apy'ng sypnoaro.
W V gº e/ / f y * t -
to §§ Xpwpia ort Tpeogórspóv sort rmg ap-
- ſ , 8 sº * 8 X / \ \
ploviaç, oraſpéc. st yap omaovoru kara rmv
gº 3. f / 2/ \ gº
tnc avôpotrivng pigeoc Évreuštv kai Xpmow
\ ſ f W W 2 \ V
rö Tpeogūrepov \{ysiv. kard yap arriv riv
gº * f /
Tov yewov ºwow owk orw £repov ërëpov Tpeo-
f : 3. •y . - jº f *A /
(3árepov. &l Ov1) Tug AtoyºAov à Đpúvyov
- 2 ** tº y ºf p
pain 8. âyvotav direoyºnoffat T8 Xptoparoc, apa
2 ºW 3/ ''... • º \ > * V
ye ovk av arotroc elm ; o Yap avroc kal
f •A 3/ 2 gº \ \
TIaykpárnv av eitrot dyvosiv to Xpouarukov
\ \ º t
yévoc. direly ero yap kat ovroc oc #TirotroXi,
/ 3. / 9 ºf 3. > 3/
tovrov, sypnoaro 8 v Tugw. od & ayvotav
* \ $
oùv 8m) ovóri, d\Adèld rºv Tpoaipeguárely ero.
gº 9 W f \ • P
àAov, yovy oc auróc pm, Tov IIuvèapčićv T8
y \ f ---
kai Xiuovíðslov ſpóirov, Kai ka06Xov röv dp-
*4 / t \ gº gº
Yalov kaxodusvov vird row vuv.
f \
ka'. 'O auroc & Aóyog kai Tºpi Tupratov
* \ tºº
re rs Mavruvéoc, kal Avēpēa rs Kopwôtov,
ON MUSIC. 49
*
20. Something similar to this practice is ob-
servable among the Tragic poets: for even down to
the present day no strict rhythm is preserved, nor
is the chromatic genus used in Tragedy; though in
lyric pieces, which are by many ages more antient
than Tragedy, rhythm has been regarded as essen-
tial, and the chromatic genus adopted from the very
first. The Chromatic harmony likewise is well
known to be of greater antiquity than the Enhar-
monic. By the word ‘antiquity” I mean of course
priority of usage and practice, and not any original
quality in the nature of the genus itself; as no one
genus can properly be said to be in nature antece-
dent to another. What folly should we esteem it in
any one to affirm of AEschylus or Phrynichus, that,
because they made no use of the Chromatic, they
were both ignorant of the genus ! With almost
equal reason might it be asserted that Pancrates
was ignorant of it, because he very rarely uses it.
But his use of it in some of his pieces is a proof,
that his omission in others was the effect of choice.
He took for his model, as he himself declares, the
compositions of Pindar and Simonides; and adhered
to what is generally called the antient Mode.
21. There are, also, examples of a similar prac-
tice in the works of Tyrtaeus of Mantinaea, of An-
E
50 IIEPI MOYXIKHX.
P • * \ e
kai Opaoix}\ov rs pXiaotov, Kai répov troX-
* P \ >
\ov, oùc travraciousv 8td trooaipeou atteo Xm-
y P \ * \
Mévovc Xpwuatoc Te Kat peraſ?oxic KOLD TO-
f * y
AvXopeiac kai d\\ov troAXſov čv Héoq àvrov
t * V : * \ !?’ \
puffuſov rekai apploviſov kai Aééeov kai Hexo-
t
Totiac kai spunveiac. avrika Tm) sºdvnco Me-
º f e
yapucóc oùroc troXéunge raic oùptyčiv, dors
V 2 W 9 tº 5 * p 3/
toūc auxotrotojc ové àriffsiva trºtrore stagev
3. * M - º º
âtri rode avXojc, d\\d kai ts TIv0ukov dyſovoc
* 3 y >
p.dxtora èld ravr, airéarm. ka06Xov 8' stric
** \ º P
tº un Yomoflav rekuapóuevoc, karayvägeral
tov un Xpouévov dyvotav, ToMAtov čv tic
/ \ * * *
q64vow kai rov vuv karaywºokov' olov,
* w P * 3 f /
tov učv Awptovtov rs Avriyevièslow rpótrov
f f y gº *
karaqpovouvrov, £irstěřtrep ov Xpovrat aúrò'
rtov 8 "Avriyevièstov rs Awptoviov Sud riv
auriiv airiavº Tov 88 któappèdjv rs Tºuoffstov
y V \ > * >
Tootov. oystov yag dirotspotrikaatv sic re
\ P \ 2 \ y # /
rd karriºuara, kai sic ra. TIoMusièov* troujuara.
º 3/ \ \ *
IIáXw 8 at ºf ric kal trept the Touci,\tac
6906c re kai £utsipwc âtriokotroin, rd ráre kai
º e/ \
td vov ovykpivov, sipot av čv Xpigs. oùoav
\,
* Toxvetón. Bur.
ON MUSIC. 51
dreas of Corinth, of Thrasyllus of Phlius, and of
many others; all of whom, we know, abstained by
choice from the chromatic genus, from mutations,
from the use of many strings, and from a variety of
things now common; such as particular kinds of
rhythm, of harmony, of diction, and of musical
execution and expression. Among these examples
may be specified that of Telephanes of Megara,
whose objection to the use of the reed was so great,
that he would on no account allow the flute-makers
to adapt one to the instrument used by him; and
chose to absent himself from the Pythian games
rather than conform to the general practice. If
the argument, indeed, from disuse were to be ad-
mitted as universally conclusive of ignorance, many
modern musicians would incur the same charge.
The admirers and imitaters of Dorion, for instance,
never make use of the Mode in favor with the fol-
lowers of Antigenides; and these latter as scrupu-
lously avoid that, which is adopted by the former.
The same may be said of the citharaedists in respect
to that of Timotheus. No compositions are passable
with these but patchwork-pieces, made up of in-
cessant and unmeaning changes. Yet in truth if
any one, competent to form a judgment, examine
the matter carefully, and compare the productions
of the early times with those of the present, he will
E 2
52 TIEPI MOYXIKHX.
\ p \ f * V \ W.
kai Tóre riv trouctXiav. rn yap trepi rac
º ./. p »f :t)\ y > p
pv6 uotrottac touci)\ig oign touci Morépg Ypſi-
gº \ W
oavro oi traXavot. &riuov youv riv pubukiv
f \ \ V V V \
Touci)\tav, kai to trepi rac kpovuarukac & 8ta-
Aékrovc röre touci,\dºrspa fiv. oi utv yap vov
gº P gº
ºptXouaffsic, oi è rôrs pi}\óppv6 uot. 8nMov
º \ f
oùv 3rt of traXavol of 8. âyvotav, dAAd Sid
Tpoatpeow, direlyovro róv kekkaouévov us\ov.
/ gº
kai ti bavuagrów ; troAAd yap kai äA\a rov
\ V f 5 f 2 y gº
kard rov (3tov Štrurmêevuárov owk dyvostral
\ • * gº A • ? XX f \
Hév Jiró row Xpwuévov arm)\orpiota 8:
9 ** gº 5 p - \ w y
avrov, ric Xpsiac dipalpstetanc, 8td to sic
y A
£vwa attpstrec.
f - & ef & - p -
k[3'. Aeëstyuévs 8m 6tu o TIAarov oërs dy-
p 3/ 3. y \ 2/ / . 2 y
voig, oùre direpig ra àA\a trapyrigaro, d\\
e 3. A / f !? & Cº. f*
.0c ou Tpétrovra totaúrm troXtreig, Seišousvāśnc,
e/ y e ſ º sº * .*
örl utrelpoc approviac fiv. £v yovy tº ilvyoyo-
p • 9 gº p / \ W / -
vig tº Év tº Tipatºp triv re trepi rā uaôňuara
\ \ - * &
kai uovatkºv otovëriv reëstéaro 688 troc' Kal
W ~ Xm tre &TXá \ \
usta Tavra ovvetrampov Ta Ts outraaoua kat ra
y f -
Tpitädata 8taorſiuara, uoipac re keiôsv dro-
f \ \ y \ \ f ſº e/
Teplvøv, KOll. riffsic Eug TO ueračº TOUT (019 (JOT&
ON MUSIC. 53
find that there was then no defect or want of variety.
In respect to Rhythmopoea, which is so susceptible
of this quality, the old compositions are even more
remarkable for variety than those of the moderns.
The taste of our ancestors, it appears, inclined them
strongly in favor of varied rhythmical movements;
and indulged a greater licence in the musical dialect
than is now tolerated. There is a distinction, in-
deed, to be made between them and their successors
in this respect: that we of the present day affect
changes in modulation, and the display of science;
their passion was for varieties in rhythm. It may
hence be regarded as certain, that through judgment
rather than ignorance the antients forbore the in-
troduction of syncopations and divisions in their
Music. Nor is there anything in this their for-
bearance calculated to excite our surprise. In the
various arts and professions of life, it is by no
means uncommon for men to refrain from the
application of rules, which are well known, but
are found to be in certain cases unsuitable.
22. To return to Plato's rejection of modern in-
novations, we will cite a passage from his writings,
in proof that it did not originate in ignorance, or an
imperfect acquaintance with the art, (as he had, on
the contrary, thoroughly made himself master of
it); but because these refinements did not suit the
54 IIEPI MOYXIKHX.
-> • f Š / 8 y º / ... t.
ev Ekaotº otaormuari ovo swat usaornraç. ap-
* W 3. gº \
plovukmc yap my £utreipiac TOTUTO TO troooiulov,
t > / f -
oc aurika 8sičouev. -
gº 3. / t º > , x +
Tošic sigt usagrutec at trporat, aq, ºv \ap-
/ gº P 2 V t w
(3áveral traga usgörne, apt0amrukm, applovukm,
P t 5 * e
yewuerosuévn' rotºrov m pèv top apifluº virap-
/ \ r / - & 8: y/ Aó t 8: 3/
syst kat virspexeral, moe top Aoyy, m os 8te
P f 2 * t f V
Aóyº, gre dpiðug. 6 rolvvv TIAarov riv
t * /
ilvyukºv dpuovíav tov reggapov orotystov,
\ \ > / * \ 3/ y 3. y
kai riiv airtav rig trpóc àA\m\a £é avouotov
* t * \
ovuſhoviac 8sićat applovukwc (3ovXmósic, £v
t / 8 y 8. P il \
skaorº ovaormuatu ovo usootnraç puyºukac
> / \ \ \ f gº \
airépyve kara row uovoukov Aóyov. tmc yap
\ º 3. * f / f
8to tragöv čv uovouch ovuſpoviac 8üo 8waarm-
/ º: / º W y y
para uéoa cival ovuſºnkev, (ºv riv avaMoytav
f t \ \ \ • ? y
8stéouev. n uév Yap 8td tragöv čv 8tt)\agiovi
Aóyo 0swoeira. Toulost 8 sikóvoc Yáow rov
yº p º Yap
/ / > y W \ \ \ \
8tt)\dotov Aóyov kar diptówov td & kal ra
/ 3/ \ * \ / 3 V : /
868ska. Éort 83 rouro to 8táormua atro virármc
\ f º ſ
Hégov širi värnv 8te.svyuévov. ëvrov ovy rov
tº \ P 2/ »f e \ e / P
§§ kai 868eka akptov, exet m uév vTarm usagyv
\ * t\ 3. w t \ / A
tov Tóv Šć apifluov, n & virm 8téevyuévov
tov rtov 868ska.
ON MUSIC. 55
character and manners of his Commonwealth. The
passage is in his Timaeus, where he is treating of the
generation of the Psyche, or ‘Soul of the World;’
and his reasoning shows the depth both of his ma-
thematical and his musical science. “After this,
He (the Supreme Deity) filled up the intervals of
the duplicate and triplicate proportions by taking
off from the extremes certain parts, and placing
them in the mean; so as to have two intermediate
intervals within each of the greater.” In this man-
ner, he enters on his argument; and we will show,
that his words are the scientific language of Music.
Between all proportional quantities there are three
principal kinds of intermediate intervals formed by
what are called respectively the Arithmetic, the
Harmonic, and the Geometric means. In the first
kind the middle term excedes that which goes be-
fore it, and falls short of that which follows, by a
common difference. In the third the progression is
measured by a common ratio. The remaining kind
procedes neither by a common ratio, nor a common
difference. The Philosopher, in order to establish
his harmonic doctrine of the mundane soul, and the
nature of the mutual accordance of it's four ele-
mentary principles, undertakes to show, that within
the several greater intervals there are two interme-
diate ones naturally constituted in Harmonic pro-
56 TIEPI MOYXIKHX.
* \ ^ \ V \ / 2
Aaſsiv 8m Aotirov Xpm trpoc tourouc dpiff- -
V \ \ y * * > / t
plovg Tovg peračo truttovraç, ovov akpot, o
W 3 y e V & P f > \
Mev strutputoc, o & muléXtoc pavnostat. Etoi
§§ t º 5. \ V * y P gº \ & \
so tov okrø kal rov svvsa. Tov yap § rd
V 2 \ 3 y \ W x / e f W
piev okrø strutpura, ta 8; £vvéa mutóAta. TO
V \ y * V (NP x/ \ amº /
pièv čvákpov, rotaro' to 8 &AAo rò riov 868ska,
* \ > A 2 y * S’ 3. V & P
tov usv evvca stirpura, Tov OKTC) mutóAta.
f º: * 3. * 3/ £ \ * &
TOUT (019 OU19 T (a)?) apifluſov ovrov ſustagu Tov §§
\ gº / \ º Š \ * 8 P
KOll T (a)]) 868ska, kat Ts old traotov ovaot muotog
3. * \ P \ * \ P gº
£k row Sud terrapov kat rs Sud trèvre ovveoto-
* e/ t/ t \ / v - - y \
Tog, 8m)\ov Órt £et m pusy pusom Tov toy okrø
3. \ e V f \ ~ 3. A f
apituov, m 8: Tapapuson row rov evvsa. Tourov
A ty tº t P \ / t A e
yevous vs, Éet n Jirárm Tpoc ſusomu oc Tapapuson
\ y / ... ? - \ , \ P
Tpoc vurnv 8te.svyuévov atro Yap traputrarm.c
/ 8td P > \ y itro è?
piegov ota terrapov stri usanv, atro of Tapa-
/ y \ / 8 A 8 \ * #: e
puéong stru vmtmv tº evyuévov UCL TOIO (A)1/. m
> \ \ 2 p \ y \ * 3. * • f
avril 8: ava)\oyia KOLL STL TO1) dpuffudov supwo-
t \ 37 \ \ W V > \ e/
kerau. oc Yap syst ta §§ Tpog ta okrø, 8tto
\ 2 / \ \ 8 §§ e \ t 37 \ \
Ta svvea Tpoc ta owocka Kat oc syst ta §§
W A > / e/ \ > \ \ W /
Tpoc ta svvsa, 8to ta okro Tpoc ta 868ska.
> / \ \ \ 3. W * A W 8: /
stirpura yap ta usv okro Tov £8, td 8: 808ska
gº 3. M t 5X §§ \ \ > / * ey
tov evvea. mutoAla os ra piev Evvea tww £8,
* The text is evidently mutilated, but the sense is
clear. º
ON MUSIC. 57
portion. Now in Music the symphony diapason
(the octave) comprehends two mean intervals; the
extreme terms of which are to each other in the du-
plicate ratio, (1: 2). To express these extremes,
and to simplify at the same time the illustration,
we will assume in this proportion the numbers
six and twelve; and the octave that, which lies
between Hypate Meson, (E), and Nete Diezeug-
menon, (e); taking six to represent the former
extreme, and twelve the latter. It remains then
to find two mean terms, which shall be to the
extremes respectively in the ratios Epitritus
(3 : 4), and Sesquialter (2 : 3). These terms will
be represented by the numbers 8 and 9; 8 being
to 6 (one of the extremes) in the ratio of 4 to 3, and
to 12 (the other extreme) in the ratio of 2 to 3; and
similarly 9 being to 6 in the latter, and to 12 in the
former of these ratios. The mean terms between
6 and 12 being thus determined, and the interval of
the octave being compounded of the diatessaron
(the 4th) and the diapente (the 5th), it follows that
the note Mese (a) will be represented by the num-
ber 8, and Paramese (b) by 9. And hence the in-
terval between Hypate (E) and Mese (a) is equal
to the interval between Paramese (b) and Nete
Diazeugmenon (e), viz. a 4th: and again, that be-
tween Hypate (E) and Paramese (b) is equal to the
interval between Mese (a) and Nete Diazeugmenon
58 TIEPI MOYXIKHX.
\ \ P gº y / > y \ 3. f
TO. §§ 868ska T(n)}) O KT (0), apkéo et TO. sipmueva
2 \ 2 F. eV º: \ V P
&ug TO #Tiës&styéval my etxe trept TO. Maſhuara
atovënv kai čutsipiav IIAárov.
/ eſ \ \ t & f \ ~ /
ky. “Ort 8è geuvn m approvia, Kat 6stóv ru
\ f
Kai uéya, 'AptororéAmc o TIXárovoc Tavri Aéyet.
‘H 8: t y 9 \ 3. P M P 57
é applovia sariv 8pavia, triv puow eXovo a
\ \
0slav Kal ka)\riv KCL. 8aluovíav. terpauspic
* / g=4 / f y
8: Tſ) 8vváust trepukuta 8wo pueo orntag éxel,
/
apiflunruciv re kai dpuovuciv. ‘patverai re ra
gº t
uépm airnc, kai rā Heyá0m kai at wirepoxal,
9 \ *
KOLT . agiðuðv KOll to ouergtav' £v yap 8val
f t / \ A * \
Terpayóp3ouc pv6 uſéeral TO. HéAm. Tavra usv
td £nrá.
/ V 2 * \ * 27 5.
Xvvægráva è airng to owpua #Aeyev 8K.
ſº y /
uépow avouotov, oupſpovouvrov Mévrov trpoc
3/ • ? W \ v \ p 3 *
âA\mXa' d'AXd pumv kat Tag usa'otmraç autºmo
KOTO TO1) dpiflunrucóv Aóyov ovupovstv' tow
ydp véarov, T90c tov intarov čk 8tt)\aois'
/ º A sº y
Aóyov mpuoguévov, riv 8td tragov ovpubww.iav
5 gº º y W
attoreAttv. #xel ydp, wg Tpositrouév, rov
/ f y V §§ e/ ‘(2 W
včarov 868ska Mováčov, Tov OS v7ratov &c. Tn V
* W t p 5
8: Tapaušonv ovupwvsgav troog virárnv kaff
t / & / y * #8 gº 8: /
mutóAtov \6)ov, Švvéa uováčov, the 8: uéong
2 \ ºf *, / 2^ / wº gº {} 8:
okrø Elvat pováðac #Aéyouev ovyketoval of
ON MUSIC. 39
(e); viz. a 5th. And the same equality is observable
in the numerical ratios: the ratio of 6 to 8 being
equal to that of 9 to 12; and the ratio of 6 to 9 to
that of 8 to 12: the former being the ratio Epi-
tritus, of 3 to 4; and the latter the Sesquialter, of
2 : 3. This will be enough to establish the fact of
the Philosopher's acquaintance with the subject.
23. Aristotle also, the scholar of Plato, thought
that there was something great and venerable and
divine in Music. “Harmony,” he says, “ is from
heaven. It's nature is divine, full of beauty, and
fit for the Gods. Consisting essentially of four
parts, it has two means; one an arithmetic, the
other an harmonic mean. These parts, their mag-
nitudes and intervals, are expressible by numbers,
and their proportions accurately determinable in
the extent of the two tetrachords, in which all music
is comprised.” These are his own words: and he
shows that the different parts, which compose the
substance of harmony, are in accordance with each
other; and that the terms expressing these ac-
cordances, as well extreme as intermediate, have
the same arithmetic difference: the extremes Nete
and Hypate, which include the Octave, being to
each other in the ratio 2 to 1. Now Nete, as we
have already seen, may be represented by the num-
60 IIEPI MOYXIKHX.
3. A / * gº p P.
8tà toirov tric uovo.uknc ra Kupwrata 8taori-
p y W ſ e/ >
mara ovuſbaivet, ré, re 8td Teggapov, o sort
W M > y !------ \ \ \ \ / ef
kard rov Tirpirov \6 yov' kai to 8td trèvre, 6
5 W M t / / e \ \ \
£ort kard rov mutóXtov Aóyov' kai to 8td.
* e/ > \ W P 5 \ \
tragöv, 6 or kard rov Surxāotov. dAAd ydo
\ V 3 W p e/ 3. \ \
KO (, TOT) tröyöoov oºzeabat, 6c or kard rov
gº y * gº 9 gº V : ** {
Tovuatov A6-yov' raic aoraic 8. virepoxalc vireo-
\ t gº e f W
éxtiv Kai virspéyeaflat tmc apploviac to uépm
e W * * \ * / e \ sº
viro Tov uspov, kat rac uscotnraç vito Tov
/ f V 5 5 * e \
pisoorfirov, kará retiv čv apifluoic vTEpoxmv,
\ v \ \ f f
kai kara tim, yeſouérpuknu 8üvauw ovuſbaivet.
3. f ~ : y \ 9 \
Atroſpaivet youv aurac AptororéAng Tac
/ y 2 p f w \ /
8vváusic Yowa ac rotatºrac, triv učv vsårmy
gº A gº p / * 9 º' t /
tric usame tºp rotrºp uspel tº avrmc virspexov-
\ \ e p t \ gº t
oomy” Tm v §§ v7ratmy v7ro Trig trapapéanc virsp-
t f t y \ e \ f
syouévnv ouotoc. oc yivsoffat rac vTrepoxac
gº / ~ \ > * *
tov trooc twº touc yap autoic pépcow virsp-
M t gº g=& 2 gº /
Éxoval kai UtrepéYovrat. Toic ysv auroic A6-
& 9/ gº / g \ / t
yotc oi äkpot rmc uéong Kai Tapauêonc wrip-
W r y y V & y
#yovo, kal wrepéxovrat Tirpirº Kai mutoNig.
/ * * F x t t y e \ gº
rotatºrm 8m virepoxm saruv m applovukm. m 8ètnc
/ & \ \ * / - 3. 3. \
vsarmc virepoxm kai tric usanç kar apiflunrukov
/ \ e \ 2 f *
Aóyov top uépet rac Utrepoxdc Śupatvsow
t y \ e A * & / * * w
togavrwg kai n trapapucom Tmc vTarmc tng yap
t V w 2 f P
péanc à trapauéon kard rov Štröyöoov \óyov
t / / & f gº * f. p
vTepe)(et. TráAw n vsårm rmg virármc 8tt)\agia
ON MUSIC. 61
ber 12; Hypate by 6; Paramese, which is to
Hypate in the ratio of 3 to 2, by 9; and Mese by
8. Of these, which are the principal intervals of
Music, the ratio 4 : 3 forms the diatessaron; 3 : 2
the diapente; 2:1 the diapason; and 9: 8, arising
out of the other proportions, the tone. Here it
appears that these several antecedents and conse-
quents, though the representatives of quantities
geometrically proportional, have a common dif-
ference. He procedes to prove that the excess of
Nete above Mese, viz. a third part, is the same
with the excess of Paramese above Hypate. So
that these quantities have in nature a determinate
and fixed relation to each other; exceding in the
one case, and being exceded in the other, by the
same ratio. A similar equality is found in the
ratios of Mese and Paramese to their respective
extremes; each of them having to one of their ex-
tremes the ratio of 4 to 3, and to the other that of
3 to 2; the terms of this proportion exhibiting the
Harmonic Progression. Again, the excesses of
Nete above Paramese, and of Paramese above
Hypate are the same, the terms being in arithmetic
Progression. The ratio of Paramese to Mese is as
9 to 8; of Nete to Hypate as 2 to 1; of Paramese
to the same, as 8 to 2; and of Mese to the same as
4 to 3. These, according to Aristotle, are the
62 TIEPI MOYXIKHX.
2 \ * {\\ P gº & P & / t
£otiv. iſ 8: trapaučan rmg virármc mutóAtoc, m
W > y \ e / e/
8è uéon etrurpiroc trooc virarmv mouogral.
\ gº \ gº y \
Kai roic uév pépcot kai touc TXà0sot kal
V 2 / & & f e/ 3/
kard AptororéAmy n appovia otroc Youga
trépuke.
p f gº
k8. Xuvéarnks 88 pvoucairara ék te rmg
f \ º \ gº 3.
apruac kal treptoſomc, kat £k rmg dpriotspiagov
p \ 9 \ \ V 3 * /
‘ptoswc, kai airn kai to uépm airng Tāvra.
2 \ \ / 3. \ º:
avrii wiv ºyap 6\m dpria ãoti, terpauspic OUOIO.
- ef we V y - \ /
touc opowe ra §§ uépm airnc, kal ot Aóyot,
f \ W \ 2 \
ăpriot kai Tepiggol kai apriotréptagot. Triv
\ V P 3/ > / 5 y / sº
Plev Yap vsarmv syst apriav, sk 868ska uováčov
\ \ / Q
tiv 8& Tapauêonv, treptoomv čá čvvéa uováčov
W \ / > / > * > \ / • —."
triv 8% uéonv aptuav, £é okrø uováčov' rúv
8: & f y / tº £8 •y
e viratmv, apriotspurgov, ëé uováčov otoav.
/ gº > / \ V >
oùro è Tepukvia aurii re kai to uépm armc
W 3/ * t gº \ gº /
Toog āA\mAa raic virepoyalç Te Kal touc Xó-
/ – e. * *
yote, 6\m re 6\m, kai rotc uépcot ovuſhovel.
f 9 \ w \ t y y t pº
ké. A\\d unv kai ai atoſhiasic ai toic
f 3. f \ \ & p t \
Owpuolouv syyuvous vat, 8ta Tm v apploviav, at Mev
> y gº º: \ gº w y
oupavia, 0etat ovoat, utta 6sov Tm v aloffmauv
f * 3. / 27 V 2 M
trapsycéueval roic avöpaſtouc, čilic re kai dicom,
\ º \ \ \ º / 3.
Mera povng kai poroc triv appoviav Štri-
ON MUSIC. 63
parts, with their proportions, of which Harmony is
constituted.
24. Again, both Harmony itself and each of it's
constituent parts consist essentially of some one of
those relations of Quantity, which are even, un-
even,*, or evenly uneven. Itself integrally is event;
being of four parts within its natural boundaries.
These parts also and their proportions are even,
uneven, i, or evenly uneven. For Nete is even, con-
sisting of 12 units; Paramese uneven, consisting of
9; Mese evens, consisting of 8; and Hypate evenly
uneven, consisting of 6. Thus is Harmony con-
stituted, in itself as a whole, and in the relation
which it's several parts bear to each other.
25. Even in the natural senses the principles of
Harmony are discoverable: as well in those which
have in them something celestial and divine, af-
fording to men perceptions in common with Deity;
viz. sight and hearing (for these faculties are evi-
dently in harmony with light and sound) as in those
which are inferior, and subordinate in their nature.
* Evenly even seems wanting.
t Evenly even, q.”
# Evenly even, wanting.
§ Evenly even, Wyttenbach.
64 TIEPI MOYXIKHX.
‘paivovoi, kai äAAat 88 aurate dkóAov6ot, %
atoffflasic kaff dpuoviav ovvsgraat. Távra
ydp kai airav ŠtureMovow owk #vev douoviac,
#Aérrsc pºv extivov otoat, oùk àto 8 kelvøv.
trival yde ăua º Tapovais, Tagaywóueva,
Toug owpuaou kata \oytoplov, to Xupaw Te Kat
Ka}\ºv ‘piſow #xovot. -
/ V •; 2 p e/ *
kş. Pavépôv oëv ŠK Toitov 6tt roc ta-
gº gº / p
Xatoic rov "EXXàvov sixóroc MáXiara advrov
/ gºe
ŠušAmoe Tetratêgêoffat uovouchv. Tov yap véov
rac ilvyde §vro èeiv Šid uovo.uknc TAárretv re
W -
kai pv6 uſ.stv £irl to staynuovº Xpmoiumc 8m-
/ * sº t /
\ováti tric uovouknc virapy.oiſome T90c TOL1970.
kai Tagav čotovëaguévnv Tpaštv, Tponys-
/
pévoc & T90c t&c Toxsutkæc kivetºvsc. T90c
t * gº /
oùc oi utv auxoic typovro, ka0áirép Aakeča-
• f
névior trap' oic to kaxodusvov Kaorépetov
müXétro ué\oc, otóre roic Toxsutoic ēv kóoup
/
Toogſtody waysočnevo, ot & kaiſgöc Aſpaw
3. y
#Totovv triv T9ógoëov riv Todcrouc vavriovc,
kaflátrep taropouvrat Méxpt tox\ov Ypſigao-
gºes gº \
6au raj rpóTw toūrg, tric tri Tojc Toàsukoúc
te 0. U.
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kw8úvovc #368ov 9mTec. ou o eru kal ka
t tº y gº f 2 gº
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8: T90c triv rov >0svetov rov ka)\ovuévov
trap avroic TáAmy #xptovto Tºp atºp. tov
gº * gº \ V
8: dyſova tourov širl Aavaº wiv riv doxºv
* e/ 2 gº A.
reffnvaſ pagw, to repov 8é àvarsönval Ali
ON MUSIC. 65
*
They all fulfil their respective offices according to
harmonic rules. The former, especially being de-,
rived by immediate influx from Deity, exhibit in
the proofs, which they bear of the operation of a
wise intelligence, the power and beauty of their
original.
26. On these grounds it is evident, that the early
Greeks were wise in giving to Music the principal
place in their system of Education. They were
sensible, that by Music the minds of Youth are
modelled and trained to habits of order and sobriety.
They knew well that there is no pursuit in life, re-
quiring virtuous and persevering exertion, in which
Music may not be found serviceable; especially in
the arduous and perilous occupation of War. In
time of battle, consequently, some nations (we
find) introduced the Flute; as the Lacedaemonians,
with whom it was customary to advance to the
.
charge to the air Castoreum, played upon this in-
strument. Others adopted the lyre; as the Cretans,
who are said to have long retained this mode of
marching to the field. Others again, from whom
the practice has been transmitted to us, made use
of the Trumpet. At the celebration of the Public
Games, called the Stheneia, at Argos, which were
at first instituted in honor of King Danaus, and sub-
sequently dedicated to Jupiter Sthenius, the con-
F
66 IIEPI MOYXIKHX.
3. \ 97 W * gº
>0svig. où unv dAAd ºri kal vov roic rev-
/ gº 9
rá0\otc vsvápºtoral trpoo avXetaflat, où'ěv učv
/ 9 & 3) y gº 3 tº 3 * 5 W
kekptuévov, ow8 apyatov, ow8 otov Švoußero
* gº jº / 5 ſ e/ w t \
trapa touc dvěpáow sketvouc, worsp to viro
\ \ 2 /
"Iépakoç tretrotmušvov trøðc riv dyovíav raûrmv,
gº / / \ 2 3
6 ŠkaAstro èvěpouñ' àuoc & kai et doffsvác ru
V 2 / 9 2 º: gºd
kai & kekpuévov, d\\ ovv troogavXstral.
/ 'E \ { * >/ y f jë.
k. ‘Bari uévrot row £rt apxalorépov ové
v V f *
st8éval, pagi, rode "EXXnvac riv 6sarpukºv
* e/ y ºf V y
Mowgav. ÖAmv 8è airnc rºv ćirtariumv trøðc
* w V \ gº
re 68tov rumv, kai riv rov véov traičevow
f V P
trapaxauſłóvsoflat, uměš to trapdraw #8m 0sá-
paaap 2 El 9 m
V gº y f
Tpov trapa totg dvěpáow £kelvoic Kareaksvaa-
/ tXX W. 27 gº gº y gº e *
Revov, awaa eri Timg uovoukme sv touc isootc
3. º f gº
avaorpedopévnc. £v oic ruńv re rs Óslov 8td.
gº v * 5 gº gº
raúrmc trotov vro, kal rôv dyabov dvěpov
s P > \ 8: * e/ V {}: e/
strawovg. eukoc of elval, ort to weatpov wors-
W } {} gº X V / > \ est {} gº
pov, Kat to Usopelv troAv troorºpov, atro Ts usov
\ y #X 2 \ / gº
tmv trooomyopiav č agsv. čirl uévrot rôv
9 & see P gº 2 / w gº
kaff muac Xpovov too ovrov âtričá8wks to ric
8ta O ac sièoc ðars rs êv tratēevrukov r étrov
9 2 Al 9
ON MUSIC. 67
tests of the wrestlers were always accompanied by
the sound of the Flute. It continues, indeed, to
this day the established usage for the Flute to be
played during the exercises of the Pentathla. It
is true we no longer hear on such occasions those
venerable Nomes, which were the delight of our
heroic ancestors; e. g. the Nome Endrome, com-
posed for those contests by Hierax : but the sound
of the Flute itself is still to be heard; though what
is played on it is some capricious strain, utterly de-
void of character and force.
27. In the yet more early times the music of the
Theatre was unknown to the Greeks; the whole art
being then made subservient to purposes of Religion
and Education. Theatres themselves were then
unknown; and their only music consisted of those
sacred strains, which were employed in the Temples,
as a means of paying adoration to the Supreme
Being; and of celebrating the praises of the Great
and Good of our species. It is probable that the
modern word “Theatre,” and the very antient one
“ 0sootiv" ( to look at'), have their derivation
from “Osoc,” the Deity. In the present day, so
great is our degeneracy, that we have absolutely
lost both the knowlege and the notion of that
system, by which youth were formerly trained up
F 2
68 TIEPI MOYXIKHX.
8 y P V > y º P
pumospitav pavetav plmö. avri)\mbw fival, Trávrac
§§ Touc novouchc arrouévouc T90c tºv flearpi-
W *
knv trpookey womkévat uovoav.
º: * º t v º
kn'. Eitrot ric, "Q rav, ovëv obv vird rov
y \ /
dp Xatov Tpoosécipmrat Kat KekauvoToumtat ;
\ \ x \ e/ y y \ \
pmui Kai autog ort Tpogéewpmrat, a}\\d uerd
º * \ \ e /
rs aspyou kai trpétrovroc. ot yap to room-
w * / \ / /
o avTeg Ta Touauta Tspirávöpp Mév táv re Aaj-
2 3. º
otov viirm, Tpoorerí0so av, OU Yongauêvov auty
* »ſ \ \ / \ \
rtov ºutſpooflew card to ué\oc. kai Tov utéo-
P / / gº
Aöðtov Šē rôvov 6\ov Tpogséevonoffat Aéyeral,
\ \ * y y f / \ \
kai Tov tric 690ſov pusX98taç roëtrov rov Kard
\ 2 ſ \ \ 3/ \
toūc Öpfftovc T90c rov č90lov amuavrov Tpo-
* y y y A
Xatov. El 8è, kaffairsp TIłvèapóc ‘pmot, Kai
º * * V ºf
tov oko) wov učAóv TÉpiravöpoc supermc 111).
W \ x W *
dAXd unv kai A9XiXoyoc Tny Tony Tpuérpov
•/. gº \ \ 2 \ 3.
pubuotrottav troooséeups, kat ruv etc rove ovy
gº y \ \
duoyevsic pv6aoûc èvraow, kai riiv trapakara-
\ * * /
Aoyńv, kai riv Tepi Tavra kpovolv. Toorºp
3: 5 * P 2 8 \ \ W / \
s avtºp ta te strºpoa, Kai ta terpauerpa, Kat
\ \ \ \ W 3. /
TO Komtukov, KOIL TO Toogoëtakov atroëéðotal,
* ON MUSIC. 69
to honor and virtue. The only music, now studied
and listened to, is that of the theatre.
28. “What!' some one may here object to me,
‘ do you mean to affirm, good Sir, that no innova-
tion or exercise of invention was allowed by the
Antients? I answer, “Innovations were certainly
allowed; although under such restrictions as to pre-
vent them from overstepping the bounds of decency
and gravity. For instance, as we learn from the
musical Historians, the use of the sound Nete in
the Dorian mode was an innovation of Terpander's:
no musician before his time having extended the
melody of the song to that note. The whole of the
Mixolydian mode was, also, an innovation. And
the same may be said of the trochaic semantic
rhythm" in the Orthian Melodies. The Songs,
called Scolia, were, as Pindar informs us, an inven-
tion of Terpander: and to Archilochus we owe the
introduction of trimeters, of the practice of passing
from one kind of metre to another; of relaxing the
strict proportion of the measure; and of the method
of execution required by these innovations. To this
last poet, likewise, is attributed by some the inven-
tion of the Epode, of Tetrameters, of the Cretic and
* Triple time, Adagio.
70 TIEPI MOYXIKHX.
\ e * / 3/ e 5 » f \ W \
kai n ts trotorov aúčnoic, vir viov 88 kai to
s gº \ \ p e/ * > y \
#Aeystov, Tpóc 88 rowrote its rs taugstov Tpoc
\ y W f y/ \ t gº * &
tov Štrigarov traitova èvragic, kai n rs muán-
t y y \ W w
uévov mpojov, etc re rov Toogoëtakov, KOLD TO1)
/
Kpmrukov.
* y * \
"Era 88 riov taugstov, to td uév Aéyeoffat
W * f 3. /
trapd tnv Kpovolv, rd & #8860a, ApyiMoxóv
º e *5 /\? e/ / \
paou karaśāśaw giff oito Ypſigaoffat Tovg
V /
Tpayukovic troumrác, Kočov 88 Xagóvra sic
P t * y * 3/ \ V
810ipauſov Xpnow ayayev. ovovrat 8è kai
p-f ** \ t \ W * tº
rºv Kpsow ruv viro rmv çënv Tourov Tporov
e * - p ſ
superv, toūc 8: dpxaisc travtag Tpóoyopea
Kpoſsiv.
k6". IIoMuuvigrº 88 row 6 viroXóðtov vov
5 p / 3. P \ \ }/
ovoua.6aevov Tóvov avari0éaou, kai Triv čk\vatv
kai riv £kſ}oxiv Toxi, usičo TreTounkéval ‘pagiv
> / \ \ V \ y/ A > *
aúróv. kal avrov & rov "OXvutrov šketvov,
gº
t
gº t gº w
tº 8m riv dpyiv tmc EX\mvuknc rs kai vo-
* P / y * &
Mukmg plovo mg atroëlèóaou, Tó, re rmg dpuoviac
P 2 ** \ gº t gº f
yevoc £eupciv ‘pagu, Kai tºov puffuſov TO Ty T. E
8 V y * c → "A / \ V
Tpooo lakov, S1) 9 O T8 pswg wouog, KOtú TOl)
Xopetov $ troXAp kéxpmural £v roic Antpéoic'
ON MUSIC. 71
Prosodiac metres, and of the augmentation of the
Cretic; while others state that with him originated
the Elegiac stanza, the transition from the Tambic
to the Paeon epibatus, and from the augmented
Heroic to the Prosodiac and Cretic. From him,
there is no doubt, was derived the practice of the
alternate recitation and singing of iambic verses
to the Cithara; a practice which was afterward
adopted by the tragic poets, and applied by Crexus
to dithyrambic pieces. This musician is thought
to have been the first, who introduced an accom-
paniment on the Cithara under the song; it having
been the practice before his time to sing every note
in unison with the instrument.
29. The Mode now termed the Hypolydian, was
the innovation of Polymnestus; who is also said to
have introduced into practice a considerably wider
interval, both of the descending 3 tone (eclusis), and
of the ascending # tone (echole), than former mu-
sicians had done. And again, the Prosodiac rhythm,
in which the Nome to Mars, and the Chorean, in
which usually the Hymns to Cybele were composed,
are ascribed to the elder Olympus, who has been
already mentioned as the inventer of the Enhar-
monic genus; and who may be regarded as the fa-
72 TIEPI MOYXIKHX.
#viot & kai Tov Baky stov "OXvutov otovrat
supnkéval. 8nMot 8 kaorov Tóv afyatov
peXtov, ôrt ravra otroc #xei. * Aágoc 8: 6
"Eppuovejc sic riv 80upaugurðv dywyſiv pie-
ragrãoac roºc puffuotic, kai rā Tov auxtov
troXv$ovig karakoxovſhigac, TAetoot re 406-y-
youg ka ièteppuuévoic Xpngáuevoc, sic pierd-
6eauv tºv Tootitápxovoav #yaye uovoucív.
A'. duotoc 8: Kai MeMavittrième o us\otrotoc
#Tiyevöuevoc, sk véusive ty troovirapy.éon pus-
ouci, d'AA' $8. dºt\6ševoc, 38& Tuč0soc' ouroc
\ e y * f º y t/
'yap, Traſp06-yys tric \pac virapy some og
sic Tépiravöpov röv Avriggalov, 8tépôtilev sic
TAstovac ©06 yysc. dAAd 'yap kai avXmrukm diró
at AsGripac sic Touci Morépav usra3:3mke usot-
kiv. ro ydp traXatov, twc etc McAavitritièmy,
tov rov 80Upáušov troumriv, ovuſ'sſłike rouc
> \ \ * * P V
atºmrdc Tapd rov troumrøv \apſºdvew rouc
A y f * P
pitaffodc, Tporayoviarovonc 8m) ovért Tng Troum-
ON MUSIC. 73
ther of Grecian and sacred music. The Bacchian
rhythm too, according to some, is his invention.
What is here said on the innovations allowed in
antient practice is amply confirmed by an inspec-
tion of any of the old melodies. At length, however,
Lasus of Hermione, by making his dithyrambic
pieces subject to rhythmical laws, by affecting in
his songs the compass and variety of the flute, and
by an incessant division and crowding together of
his notes, produced a complete revolution in the
art.
30. His example was followed not long afterward
by Melanippides, the lyric poet; and also by Phi-
'oxenus and Timotheus: the last of whom encou-
raged the prevailing taste for a licentious multi-
plicity of notes by increasing the number of strings
on the lyre, which from the time of Terpander had
never exceded seven. A similar corruption took
place in the music of the Flute; which from a plain
and simple degenerated into a varied and florid
stile. It was a custom among the Antients, and
continued down to the period when Melanippides
wrote his dithyrambics, for performers on the flute
to engage their services for hire to the Poets and
Composers of music; their province being held in
higher esteem than that of the flute-players, who
74 IIEPI MOYXIKHX.
pº y y * e P *
o'E00g, Tov 8 au)\mrov virmperouvrov Toug Štěao-
P e/ W sº y e t \
káAotc. vorspov 8è kal rouro 8ts@0apm (og Kal
f \ V 2 º \ v
q’spekpárnv tov kwuikov storayayev ruv usaucmv
y ſ f $X º # W
819 yvvaukeup o Xmuari, OAmy karmkuopisvm TO
º gº \ W f -
owpua e 7TOU8l. §§ Tnv 8ukatooiſvnv 8tatruyffa-
P \ > / º / W \ P
vous vmw triv auruav rmg A63mc, Kat Tºmmy Trotmotiv
Aéyovoav.
MOY2. Aéo uév our drova'a' got rs yao k\ſetv
'Euoi ré Aéat buſwóc jôovny #xst.
'Euoi yao joie rov kaköv M&Mavitrittöng
'Ev Totov Todrow, &c. Aaſdy divākā us,
XaAaporéoav T' & Totno's yopSaic 666eka.
'AAA' oſſv" duoc oſſroc uév jv droxoov avijo
"Euovye Todº to vov kakd—
Kevmatac 3& d Kardoaroc Artukóc
"Ečapprovious kapıtd; Totov čv raic groopaic
'AtroAdſxské u' oijroc, čore tric Toujo sac
Töv 6.00augov, cabdrºp ºw rais dorial,
'Aototép' airs patveral ra ösétd.
‘AAA’ 8v Štrustkric groc iv Šuoc suðt.
* sk’. Bur.
ON MUSIC. 75
were considered in the light of servants to the com-
posers, and bound to conform scrupulously to their
instructions. But in process of time this subordi-
nation ceased; and the consequences are described
in a lively manner by the Comic Poet Pherecrates,
who introduces Music on the scene, in the person of
a female, covered from head to foot with wounds.
He represents her as interrogated by Justice, per-
sonated also by a female, on the cause of her mi-
serable state, and answering thus:
MUSIC.
Gladly will I explain: the pleasure mine
To tell my sorrows, if to listen thine.
The guilty origin of all my wrongs
Is Melanippides. To him belongs
The dire design, alas! by victory crowned
My strength to dissipate. On twelve cords bound
He torturing held me; and beneath his sway,
Relaxed and faint, my powers dissolved away.
Yet not to Melanippides alone
I owe the evils under which I groan;
For cursed Cinesias, of Athenian race—
O! may his name be covered with disgrace!
Varying with modulation wild each strain,
And spurning Harmony's allowed domain,
Bereaved me of whatever grace was mine.
Just like the shield, the dithyrambic line
The form reverses which it gives to view,
Nor is to order and to nature true.
Yet will not these harsh foes so harsh appear,
When all my other injuries' you hear.
76 IIEPI MOYSIKHX.
(Podvutº 3’ totov arodºt\ov ćuga)\dy Tuva,
Käutrov ple kai atpépov, ŠAmv 8tépôopey
'Ev távre xopóaic 840ska douovías #xov.
‘AAA’ offv šuotye X oãroc fiv droxoov divijo.
El ydor, kçáñuaprev, ań6ec divéAaBev.
‘O 3é Tºud986c u', 3 ptArdrin, Karopéovye,
Kai Suakékvavk’ ałoxvora. AIK. Tolog ouroci
Tºuá0soc; MOYX. Mojº, tug IIv66tac
Kakai uot trapéoxév oſſroc àtravras oi's Aéyo,
IIapexiſNv6' d'yov ŠkrpattéNovc uvounkiac.
Káv évrilyn Tov uot (3aôtéoùon uávn,
'Atrévos, kºvéAvo's yopSaic 840ska.
Kal 'Aptoropávnc & koukóc nvnuoveſet qbt-
\očévs, kai ‘pmoun', ôrt sic rouc kukAisc Xopsc
/ 5 / t V V A gº
AéAn Etonváykaro. n & pisquºm Aéyet tavra,
'Eğapprovíovc ſtepſokatovº re divoortec
ON MUSIC. 77
For Phrynis, with the fury of a storm
And eddying whirlpool, twisted all my form;
And by a mischievous contrivance wrings
Twelve harmonies from my five simple strings.
Yet though from him so many wrongs I date,
I can forgive his temporary hate:
For though he erred, he penitent confessed
His errors, and my grievances redressed.
But, dearest Lady I would you truly know
From whom my deepest wounds and miseries flow,
It was Timotheus drove me from the Earth—
JUSTICE.
Say, who is he 2 What country gave him birth?
MUSIC.
Miletus; and he owns amother name,
Pyrrhias, which gives his fiery locks to fame.
The most atrocious of my foes was he .
Marks of his brutal violence you see
I bear: for as alone I chanced to stray
He met me in my solitary way,
And rudely seized: my strength and spirits fly;
And, in his twelve strings bound, I nerveless lie.
Mrs. Strutt.
Of Philoxenus mention is made by Aristophanes,
the Comic Poet, from whom we learn that he was
the first who introduced songs into the Cyclian
chorusses. Music is represented as uttering her
complaints thus:
By him constrained am I compelled to bear
The frantic drunkard’s countenance and air.
'78 TIEPI MOYXIKHX.
K \ / e/ \ r J t/
ai vºy)\doec, čotto re td; jaſpdvec àAmy
f
KduTroy us karspuéoroo’e.
\ 3/ \ V 9/ * \ 3. /
Kal âAXot 8: kwu98oirotot £8sićav Tm v arom tav
gº \ * w \
T(01/ puera Tavra Tn V puovoukmw karakekspuari-
P
KOT (a)]).
Xa'. "Oru 8? Tepi rac dywydc kai rāc ua-
y P *
0mostc 8tó900ate # 8taarooqi 'ytveral, 8m)\ov
> / 2 f * \ \ \ 2 *
Aptoróševoc Toings. Töv yap kard rºv aurs
t º
n\uctav, moi, TsAegig tº €nſłaig ovuſbmvat
P \ 2/ º * : º XXi
vép uáv Óvri, T'papmvat 8v tº kaAAiorſ, uov-
* \ * * P
ouch, Kai uabeiv čA\a re rov subokuoëvrov,
\ \ *
kai &m kai tā IIw8ápov, rá re Atovvais roi
engals, kal td Adulrps, kai to TIparivs, kai
* pº e/ * ** 27 3. /
røv \ottröv čoot rov Avouköv čvěpec àyévovro
\ P 3. !. V 2 N - \
Tountai kpsuárov dyabot kai atºngat 8:
* \ \ \ \ / gº /
ka)\oc, kai trepi rā Āotird piépm rmg ovutrāonc
tratégiac travoc Statrovnónval' trapax\ášavra
8: tºv rnc dkunc n\uctav, oùro opóēpa ãa-
ON MUSIC. 79
He makes me utter strange and impious sounds,
Unknown to the harmonic scale; whose bounds
They far excede; nor serve one useful cause
Of harmony, contemming all her laws.
My person, thus subjected to his will,
He grasps, distorts, and loads with every ill;
And I, resistless, am compelled to bend
As the soft radish every way will tend.
Mrs. Strutt.
Other writers of comedy have in the same man-
ner exposed the folly of those musicians, who after
the example of their leaders have employed them-
selves in frittering away the powers of music.
31. Of the influence of Education in rectifying
or perverting the taste and perceptions of the mind,
a striking instance is mentioned by Aristoxenus.
Among the musicians, his cotemporaries, he re-
lates, was Telesias of Thebes; who in early life
had been carefully brought up in the study of that
music, which the best friends of youth approve;
and had assiduously practised the compositions of
Pindar, Dionysius of Thebes, Lamprus, Pra-
tinas, and other lyric poets of the greatest merit
and celebrity. He was, besides, an admirable per-
former on the flute, and in all respects a man of
extensive and solid acquirements. It happened,
after he had passed the flower of his age, that he
80 IIEPI MOYSIKHx.
* e W gº gº \
Tarnónval viró tric armvuknc té kal Touci,\me
gº e gº sº gº
povouknc, oc karaqpovmoat røv Ka}\tov #Kelvov
9 º 3. P \ \
Švoic averpa pm, td biXošévov & Kai Tuofféov
2 / \ / y * \ /
£kuav0ávelv, Kai Toirov aurov to Touci Maſrara
\ / y 3. gº 27 y e
kai TActormv čv auroic *Xovra katvoroutav
e y / > \ W * A \
oppºſioavrá re étri to trouéiv učAm, kal 8tairst-
y 9 / gº / gº
pºuévov dupotéptov tow rpóirov, tou Te TIuv-
R \ y gº
8apetov kai biXočevstov, un öövaoffat Karopôovv
£v tip (pi}\oševcip yévet. yeyevnaðat & airtav
rºv čk traß6c ka)\tormy dywyńv.
Aſ8'. Ei oiv ric BoöAeral uovatkº kakóc
kai kekpuévoc Yongbai, Tov doxalov drout-
pistoffo TpóTov. dAAd pºv kai roic d\\oic
auriiv unfliuagw avatAmpoſſro, kal bºooo-
‘ptav Štriarmaaro Tatēayoyáv. airn Yap travn
kpival to uovoirſ. T9érov uérpov kai to xpſi-
ouov. 79tſov ydp &vrov usptov etc à èuipmrat
rºv ka06Xov 8taipsaw m traga uovouch, 8ta-
róvov, x96 paroc, apuoviac, Tigriuova Xpi
•; tºº p f p V
stval rmg tourotc Xpwuevmc troumorewg row uov-
ON MUSIC. 81
suffered his judgment to be so imposed on and per-
verted by the florid and fantastic stile of the theatre,
that he conceived a thorough distaste and contempt
for the venerable and simple kind, in which he had
been educated, and could tolerate no music but that
of Philoxenus and Timotheus; and even of their
compositions those only, which exhibited the greatest
wildness and novelty. But undertaking himself the
composition of melodies, and making the attemptin
the two different stiles, viz. of Pindar and Phi-
loxenus, he found that he was quite unable to suc-
cede in that of the latter. The cause of the failure
is evidently attributable to his having been early
habituated to the more excellent kind.
32. The conclusion hence deducible is, that
whoever would possess a just taste and discernment
in music, and apply the art to it's most rational and
laudable purposes, must attach himself to the an-
tient model; and perfect his acquaintance with it
by the aid of all the other branches of science; more
especially taking for his guide Philosophy, which
will lead him to the choice of movements, both be-
coming and useful. For as there are three genera,
into which the whole of music is divided, viz. the
Diatonic, the Chromatic, and the Enharmonic, a
musician should be able to determine well what
G.
82 IIEPI MOYXIKHz.
uovatkº Tpoovávra, kai tric punveiac rmc ra
/ 5 P
tretrotmušva trapaétéoùonc éirigoxov.
gº V º f gº P
TIptorov učv oëv karavomrčov Órt traga uá-
gº \ \ \ 3. p y
0mgic rov rept triv plovaukºv, Š0iopôc orw
3. f \ W / ey gº
ovčátro TpogetAmpºc to rivoc vska rov 8t-
y gº P
8aakouévov čkaarov rig uav0ávovrt uaſhiréov
º ſ V 8: gº 3. {} P e/ W V
sort. usra os touro evuvumrsov or Tpoc ruv
y y P W P 2
rotatºrmv dywyńv rekai uáðnow ow8étro Tpoo-
y p y - 5 v * \ \
dyeral rpótov šapiflungic. d’AAd oiuév troXXol
5 * y eV. A gº f •A -
sikm uav04vsaw ö av rig Stödokov'rt in tº uav-
/ 2 / ... • S WA v \ z → 3
flavovrt apéon' of 88 ovverol to eikh atroëoki-
p e/ * p \ V \
Adásow, dotep Aakebapióviot to traXatov, Kai
gº V gº f P y
Mavruveig kai TIEAAmvsic. Éva yap twa rootrov
s\ X * SXi 5 X &_ſ eV 3/
'm Tavreatoc oatyovc ekastaplevot, 8c povro
\ V gº y sº 3. y t /
T90c riv rov ibov Štravóp0wav applottetv,
y gº gº * y gº
autºm ty Movourcy s}(90/To.
P \ > \ P 2P t ſ
Ay. Pavspov 8 &v yevouro, Et tug skaarmy
y y gº 3. gº y 3. W
ãeráčovro tov Štiarmutov, Tivoc ori 080pm-
/ * \ e/ • \ t \ gº?
tukii. 8nMov yap or n usv applovukm, yewtov
* &=? W P
T8 T (a)]y TS figuoguévov, kai 8tag rmudrov kai.
/ \ P \ f \
ovarmuárov kai póðyyov Kai Tôvov kai usra-
* gº 5. p y &
{30}\ov ovarmuarukov SOTL yvoorukn- troppo-
ON MUSIC. 83
genus the character and sentiment of his verse re-
quire; and also what stile of composition and exe-
cution contribute to the same end. In respect to
the ordinary methods of conducting a musical edu-
cation, it may be affirmed, that no insight at all is
afforded into the grounds and reasons of the pre-
cepts laid down by the teacher. And to this defect
another may be added, that no account or explana-
tion is given of the several stiles of composition.
The pupil takes up and pursues whatever his own
fancy, or that of his master, suggests to him. Yet
wise and discerning men have condemned this un-
systematic and irrational practice. For instance,
the old Lacedaemonians, and the people of Mantinea
and Pella, selected some single Mode, or a few
Modes at the most, which they thought conducive
to the improvement of public morals; and to these
they rigidly and exclusively adhered.
33. In looking into the different branches of
science, we ascertain without difficulty what is the
specific purpose of each. Harmonics, which is the
branch now under our consideration, treats of ge-
mera, intervals, systems, sounds, modes, and mu-
tations of systems. These are its component parts,
and it evidently includes no other. It is hence
obvious that not any proficiency, to which a Har-
G 2
34 TIEPI MOYXIKHX.
/ 8: > / f * * / e/ y
répo 8. §kért raûry Tpogs)0siv otów re. ©or
ow8š Čnrsiv Tapa Tavrmc to 8wayvövat 8w-
*. P . x - 2/ t W
vaoffat, trórepov oiketog sixmpsv 0 troumric,
e/ • . ~ 9 p \ e / /
oplotov ettreuv Sv plougoug, Tov Utroë6ptov TO1/O1)
s M M > \ \, \ P & P W P
stri rmv apxmv, m rov pušoxiºuſ v rekai Acéptov
> \ \ 3/ º \ t f r V
Štri riv čkſłaatv, rov viroppuytov re kai
p 2 \ W / 3. W ſ gº?
ºpäytov štri riiv uéonv. 3 yap 8tarelvet tº
t gº W \ gº
approvukm Tøayuareig Tpoc ta rotavra, trpoo-
gºe \ gº * / tº * V gº
8strat 83 troXXtov crepov tmv yap the
2 / / * W \
oikeiôrnrog 80 vauv dyvoet. oùrs 'yap to
v y/ s y ef
Xotouarukov yévoc, oùrs ro svapuovtov #ést
3/ \ gº 2 / / /
Tror: } Xov rmv Tng oucetormroç 8övauv rºstav,
\ 2 eV V * A A 3.
kai ka0 fiv to row retrotmušvov učAove hôog
> y 9 \ gº gº P 3/
£irupatveral, d\\d touro rs texvirov spyov.
\ e/ t gº º \
pavepov & 6tt répa row avorijuaroc i povn
* 2 * / -
tnc év tº ovarſiwari karaokevaaffstanc us-
•/. \ * y 3/ gºe gº e
Aotrottac, Tspi me ouk art 080pmoat rmg ap-
povuknc Tpayuarsiac.
t > * / \ \ * t gº
O auroc 8: Aóyoc kai trepi rov puffudov.
y \ W & \ \ gº / 3. P
ov6sic yap pv6 uoc Triv rmg textiac oikeiô-
/ e/ 5/ 3 * \
rmroc Sávayuv ščet eXov £v aurº. To ydp
2 2 \ P - \ ºf ºn /
oikstoc dei Xeyóuevov, trpóc fióóc tº 9Xé-
J . e P \ \ •
TonyTEg Aéyouev TOUTOU 8: papièv CIUT'LGMTV
ON MUSIC. 85
monist can attain, will qualify him to decide whe-
ther or not the poet consults the genius of his piece
by opening it, for instance, in the Hypodorian
Mode, or by concluding it in the Mixolydian and
Dorian; or by introducing in the middle of it the
Hypophrygian and Phrygian. To these and many
other points, especially the congruity of the Modes
and Genera with the stile and character of the
poetry, the science has no relation.
The most perfect intonation, for instance, of the
Chromatic, or Enharmonic Genus, which it is
the business of the performer to produce, by no
means implies that these genera are the best chosen
to express the sentiment of the poet. Nor again
is the series or pitch of the sounds in any system
to be confounded with the Song that is composed
within its limits. It does not enter into the pro-
vince of Harmonics to inculcate rules for the com-
position of Song.
The same may be said in respect to rhythm.
There is no excellence of any one kind of rhythm
over another independently of the application of
each. Every kind is excellent as far as it is ap-
propriate to the character of the piece; and con-
tributes to the effect, which it is the design of the
poet to produce. This character arises either from
the general tenor and stile of the composition, as a
whole, or from the nature and qualities of some
86 TIEPI MOYXIKHX.
t {} y *N É “A 2 ‘- *
ovvt/sqiv riva, ii utów, iſ authorspa. oiov
'OXù \ x / évoc T. Povºvi
vutrºp to svapuovtov ysvoc sitt Povyts
/ {}} y y 3 * {}{ gº
Tovs reuev, trawvi striparº utyusy. Touro
\ gº 2 -: * * > y y \ gº **
'yap rmc doxnc to fiðoc &yévvmasy &ri tº rmc
3. * P - y V
Affmac vöup. Toogºmpóstomc yao us\o-
•ſ. \ ./. gº
Totiac kai pubuotrottac, texvikoç re usra-
* & gº / - 3 * \ -
Ampflévroc ts pubuov påvov aurs, kal yevouévov
, • , p" W 5 /
Tpoyatov divri iratovoc, ovvéarn to 'OXùutrov
y y / 3. V \ w * >
£vapuávtov yévoc. dAAd unv kai row vap-
p P V gº y y f
povíov yévovc kai Ts ºppvytov távov 8tausvāv-
W W . / * y
tov, Kai trpóc toirote rs avorijuatoc travroc,
/ 5 y *
psyāXm. a}\\otwow égymke to m60c. m ydp
Aovuévn a ta èv rá, rne 'A0mvac vó
kaAoupevm approvva sv tº tric mvac voup
w / * * º • f
troXij Štěormks to fióoc tric avatsipac.
y *: * * gº
Ei ouv trpooyévouro rip tric uovauknc éu-
P \ \ gº c/ * *\ y/ t
treipp to kpurikov, SmNov čtv Šroc àv sin o
2 \ 9 ** t w 3. W W W
dkplgic Šv uovoukº. 6 ydp siè6c to 8wptari
2/ - gº p \ gº - y
ãvev rs kpivetv Štiaraoffat riv ric Xpmoewc
5 ed 3. W 3. 57 eV. ~. 3. jº 2 Q \
aurs oikeiôrmra Śk eigeral à troust' axA ové
V ºr y 3. \ \ \ 3 * gº
to fifloc cºast. Tsi kai Tspi aurov rov
* tº gº jo gº
Awptov HeMotrottov atropetrat trö spóv £art
ON MUSIC. 87
one or more of it's constituent parts; or from both
these circumstances taken together. We are sup-
plied with an instance illustrative of our position in
the Nome to Minerva composed by Olympus; of
which the leading technical characteristics are the
Enharmonic Genus and the Phrygian Mode; the
metre, which enters into the composition, is that of
the Paean epibaton. The poet however makes a
change in the rhythm, by substituting, according
to the rules of his art, the Trochee in room of the
Baean: in consequence, although the Genus and
the Mode remain, and the whole system as far as
it regards the melody, an essential alteration is pro-
duced in the character of the Nome. The music
of the body of the piece is of a quite different cast
from that of the prelude. *
From all which it appears, that to form a per-
fect musician not only skill and practice, but taste
also and discernment are requisite. For unless
any one have a full and clear perception of the
characteristic peculiarities of the Mode in which
he composes (the Dorian, for instance), though he
may be acquainted with them in practice, he will
be quite unable to maintain them in their purity
and perfection. And indeed with respect to the
peculiarities of the Dorian Melopaea, it is doubtful
whether they ought properly to be made a part of
88 IIEPI MOYXHKHY.
i
V : * \ / /
8tayvoorukm in douovuki trpayuareia, kafláirsp
V 3/ * / A 3/
Tuvèc oiovral Tov Awptov, m 8.
t 3. \ \ f V V * r * 9
O auroc 8: Aóyoc kai trºpi tncóv0ulknc étt-
/ f & \ 3. \ \ f \
ormung Taomg. o yap st86c rov Taiova, riv
* / y re z f 9 ºf \ \
rmg Yongcoc avrs oucetormta ovk stocrat, 8td ro
5 \ / têé \ * f /
avrºv uávnveiðvat riv row traiovoc &vösaw.
\ \ y * a- * -
#Tei kai trºpi avtſov Tóv trawvuköv fiv0uo-
tº º gº > * / / \ r
troitov atropetral, Tórspóvãort 8tayvoorucii 1)
t \ / f *\ f /
pubulki trpayuareia toûrov, m, kaffairsp rivéc
> / f 3. **
‘pagw, § 8taretvet HéYpt tourov, avaykaiov
º: / y W / t f º
oùv 800 row\áyºtorov yvoosic virapystv tº
/ P 2 * \ \
uéAAovri 8tayvögeoffat ré, re oikslov kai to
> N \ } º gº \ ~ x/ º' ty
dAAórptov Tootov učv, Ts #0ovc à évéka
* / • */ y º
m giv6catc yeyévmrat' retra, rotºrov čá čv
t / e/ \ º: 27A9 e e \
n obv0soug. ôru uév ovv oë6 m approvukm,
//\? • { W f f 2 * A
où0 m buffukň, oùrs &\An ovésuta rājv kaff ºv
/ A 2 / > * y t \ *
Mépoc Asyouévov, autépknc airm kaff avriv rs
3/ º: \ \ \ * 27
#0ovc cival kai yuwatukù kai rov &AAwv ko-
V y \ y
tuki, apkéost ra signuéva.
y * y f gº 3. \ sº
A8. Totov 8 &vrov yevſov etc & 8taipérat
V t f * sº /
rô mpuoguévov, toov roſe re row ovarmudrav
psyé0sov kai raic rov 406-yyov 8vváusow,
ON MUSIC. 89
the doctrine of Harmonics; notwithstanding the
assertions of many Dorian poets and musicians.
The same observations are applicable to the
science of Rhythm. The mere knowing of a metre,
and of the method of constructing and using it, (the
Paeonic, for instance), does not imply a perception
of the propriety of it's use. It may be questioned,
indeed, in opposition to the opinion of some Theo-
rists, whether or not it is within the province of the
rhythmical art to teach this propriety. Our con-
clusion then is, that whoever would be qualified to
determine what is appropriate or otherwise in any
poetical or musical composition, must indispen-
sably possess a knowledge, first of the peculiar cha-
racter, which the composition is designed to sup-
port; and secondly, of the several constituent parts,
which concur in the production of that character.
But that neither Harmonics nor Rhythm, nor any
single branch of the science of Music can convey
this knowledge, or enable the student to judge of
the qualities and properties of the other branches,
what has been said may suffice to shew.
34. (Of the three genera into which the musical
scale is divided, corresponding in the number and
power of their respective systems, sounds, and
tetrachords, one only was cultivated by the antients.
90 TIEPI MOYXIKHX.
-
e y \ \ gº * f
Ouolog 8è kai raic rov terpayépêov, trºpi
t \ P e W 5 / º 3.
Evog uovs ot traXavoi empa Yuarevaavro stret-
ſ 27 \ f >/ \ / ‘.
Sitep 8te trept Xpwuaroc, 8re trept 8taróvov
t . V e ºf > y > \ W P
ot trpo mucov streakotrovv, a\\d trept uovov
* > f \ º: / \ ty /
ts evapuovtov, Kat av tourov tript ev ru uéyeffoc
/ * \ *
ovotnuaroc, Tov ka)\ovuévov 8td tragóv' Tepi
\ \ gº y 8 A W 8: * P
Rev Yap rmc Xpoac tépépovto, trept osts utav
f > \ \ º f \ y
euval autmv ruv approviav oxetov Tanyteg ov-
f -
vepovovy.
3. N º: \ V \ t
Ouk av oſſiv Tore ouvièot rā trºpi riiv applo-
\ e - > * * /
1/ukm/ Toayuaretav O uéxpt avrng Tng ywooewc
y \ y W p
rairng TpoeXmYv06c, d\\d 8m) ovért trapa-
º * \ f \
ko)\ov6ov raic re card uépoc #Tigrijuatc, KOIL
* / / º * * \ * º
tºp ovvóAq) owpatu tric plovoukmg, kal Taic Tov
* \ t W /
peptov Mišegi re kai ovv0égéow. 0 yap plovov
2 & \ y
applovukoç treptºyéypatra, Tpotrºp ruvi. ka-
{} 5A \ + 3. gº t 8 º 8 ** P
oAov učv ovv eitreuv, ouoopouelv ost rmv re
27 \ V P 3. * f * *
atoffnow kai Tºv 8wdvowav čv Tº kptoet Tov tric
º * \ / P \ gº
povoucmc usgow, kat unts trpoayetv, ô trotovow
gº \ p a- 5 P
ai trpotreretc re kai pepousval row atoſhigetov,
y t º * e • ? \
pumte worspíčeiv, O TOLOUO'L1). Oll 3paësial T8 KOLD.
/ º f W > / 3. Óñ
8vakivmtow. - 'ywerau Sé .7TOTE 87TL Tuy001) (ILO' n-
ON MUSIC. 91
In their treatises we find no direction given on the
use of the Diatonic genus, or the Chromatic; but of
the Enharmonic alone: and of none of the systems
in this genus, except that which is called the
Diapason, (octave). With respect also to the
manner of dividing the tones of the other genera
they were not agreed; but are almost unanimous in
maintaining that there is but one species of the JEn-
harmonic.)* -
It is certain that a thorough insight into the ap-
plication of the science of Harmonics is not to be
obtained by any one who confines his studies and
attention to this subject exclusively. Whoever
would be a perfect musician must make himself
master of all those branches of knowledge that re-
late to the musical art. He must view those
branches as constituent parts of one whole; and
understand not only their individual composition,
but also their mutual combinations. For the art of
the mere harmonist is limited to a narrow compass.
To speak generally, a skilful and discrete judge of
the power and excellence of music, is equally in-
debted to his ear and to his understanding. He
suffers not the former to take the lead of the latter,
* Wyttenbach thinks with Burette that this paragraph
should stand in § 37 before “The venerable Philosopher Py. ,
thagoras.”
92 IIEPI MOYXIKHX.
\ \ f * y * J
asov kai to ovykeiusvov čk Ts ouvapporépov,
\ t gº & 3. \ \ * P
kal votepovow at aural kat Toorspovot 8td.
* \ • y - F º: *
Tuva puoukriv divoua)\tav. treptapetsov sv Tnc.
weXAoûonc duoëpoptiv atobiosoc Tavra.
pº /
As'. Aiel ydp dvaykalov rpia #Adytara
º: \ y e/ 3. W y \ f
swat Ta truTrovta apla etc rmv akonv, 406-yyov
V y \ \ “A y
Te Kat Yoovov Kat ovXXaſºv 'ypappua.
/ V > * gº \ V \ /
ovuſ?igeral 8è k Tng usv kata Tov 406-yyov
y V t / f • ? \
tropelag to mouoguevov yvtopičeoffat sk §§
gº \ f \ t * , , , 2 \ gº \
tmc kata Xpovov, tow pv6 uáv £k 8: Tric Kard
/ \ t *
ypáuna ovXXaſºnv, to Asyóuevov. duov
\ W e/ V gº y f jº
§§ Tpoſławóvrov, ãua rmv tric ato (higetoc Tu-
V y gº * y \ V 3. sº
(popav avaykatov Tolstoffat. ax\d umv Kqketvo
\ e/ y sº / \ / gº
‘pavspov, or ovk £vèéxeral, pin 8vvapiévng ric
/ * 3.
atoſhigeoc Xopičav £kaorov Tóv sipmuévov,
gº f * 5 */
trapakoWouðsiv re Sûvaoffat roic ka0 traora,
\ ſº y 3. * P y t f
kat ovvopºv to {} auapravouevov sv skaorº
gº \
airtov, Kai to th.
TIptorov oùv Tepi ovveysiac 'yvooréov.
- gº y t y pº gas
avaykalov 'yap ãotiv virapy sty ty Kplturſ,
ON MUSIC. 93
as hasty and impetuous temperaments are apt to
do; nor to lag behind, as in those of slow and dull
perceptions. Sometimes by an anomaly in the con-
stitution of the mind it happens, that both these
vices, of precipitancy and tardiness, are found in
the same subject. But the remedy must be carefully
sought; and the senses and the judgment made in
all cases to concur with and assist each other.
35. When we listen to the voice of a singer,
we cannot avoid being sensible of three impres-
sions rapidly made on the ear at the same time;
one, by the sound uttered, as it is acute or grave;
another, by the quantity of the same sound, as long
or short; and a third, by the syllable or letter enun-
ciated. By the progression of the sounds is ascer-
tained the melody of the piece; and by their dura-
tions, the rhythm; whilst the sentiment is expressed
by the letters and syllables. Now these, being si-
multaneously produced, must affect the hearer at
the same instant; and it is quite evident, that if
through any organic defect he be incapable of dis-
tinguishing these several impressions, he cannot be
a judge of their relative proprieties, or know where
they are incongruous and where not. The power
however to discern these proprieties is abso-
lutely requisite; since on it depends the ability
94 IIEPI MOYXIKHX.
/ \ º \ \ 9
8vváust ovvéXstav. ró yap su kat to evav-
p jº 3. 3. f gº / y
Tutog ovk Ev apoptoſuévoic rotočá riotv yivsrat
P *A ſ *A p 3. 3 y
ſp06/yote, à Xpovolc, m Ypappaow, dAA ºv
P • ? \ iſ > \ * \ \
ovvey souv £irstèm Hičic tug sort twov Kara rmv
º 3. 4-9 º gº
Xpmow douv0érow usptov. Tepi Hèv Ovy Trig
- f *
Tapakołowſhoewc TOOOLUTO.
f \ \ \ * j f f t
A5'. To 8% usrd routo Tuakerréov, 3rt oi
gº > J \ \ \
uovauknc striotnuovec trpoc tnv kpurikm. Toay-
P 3. 2 \ 5 f 3. W * /
Harstav ovk stow avrapketc. ov yap otov re
ÉX P {} P \ .. \ s
Teasov yewsquat uovoukov re kat kpurikov, £8.
3. * sº P •: - * * e/
avrov rov Sokoúvrov gival Hepwv tric ôAmc
gº º ſ º gº y f 3.
povoukmc, otov čk te rmg tow opyavtov su-
f \ * \ \ ;3 \ 3/ 8: pº {
treptac kal Tng trept rmv (pomv, stu ostmc trept
* y/ y P \ •
tiv aloônow ovyyvuvaouac. Aéyo 8è rmg
/ > \ * t P
ovvreuvovo mg tug Tnny Ts npuoguévov ščveaw,
\ 27 * * * º \ \ / 37
kau ETu Trily T3 pubuov. trooc 8è rotºrouc, čk
* e * \ * t *
Ta rmg pv6 utkmc kai tric applovukmg Tpay-
y \ * \ \ ~ y \ *
Maretac, kat rmg trept trivkpovolv rekat Aééiv
P \ 9/ #XX P X \
flewpiac, kai et rivec aaaal twyxavovou Aoitrat
º 2 eV > > p 3. * / 2 3 > º
OUO (Lùs 8t (IC 8 (117 LCLC ovX OLO1) T à OIUTC)1)
ON MUSIC. 95
to determine what is excellent or otherwise, in any
composition; the merits of which are not to be esti-
mated by the mere sounds, times, or letters taken
separately, and in the light in which they may be
regarded, as elementary principles; but in their ef-
fect, when united. Let this suffice, on the atten-
tion to be paid to the constituent parts of Song.
36. It is, however, to be observed further, that
an accomplished Musician is not formed by even
the most complete acquaintance with the technical
parts of his art. For though these, in the general
opinion, constitute the essentials of music, yet they
do not in any degree contribute to form the taste or
strengthen the judgment. By the ‘technical parts'
I mean skill on the instrument and in the manage-
ment of the voice; and correctness of ear, in respect
both to intonation and time. To these I may add
a knowledge of the principles both of Melody and
Rhythm, and of the theory of musical and poetical
composition; with whatever else is usually sup-
posed to belong to the art. These, I maintain, are
absolutely incompetent of themselves to communi-
cate the power of deciding whether their application
be judicious or not; for the following reasons;–
first, because, though some of the points on which
the judgment is exercised are plain and determi-
96 TIEPI MOYXIKHX.
/ A \ /
toūrov yevéoffat kpurikov, Tsiparéov Karaua-
6eiv.
gº y * © ºf & gº \ \ pº
TIgorov čk rg nuiv Jirokstoffat rā uév táv
A / \ 2 3. gº A \
kpwouévov réAsia, td 8' dre)m. TéAsia uév
> / * f t/ ºf \
avro re rov troumparov skaotov, otov to
töð •A jX / •A {} Čá *\
goouévov, m avaovuevov, m Kwapidouévov, m
e e f 9 * * / º f/ y/
m ékáorov aurs punveia, otov fi te at Amouc,
\ t > N \ \ \ W gº y º y gº
kai n $8m, kai rā \otird røv rototyrov’ areAn
\ \ \ gº p \ W /
83 rd Tpóc ravra ovvrstvovra, kai rā Tourov
t/ P * 8: \ A *
eveka yuuousya. Totavra of Ta usgn rmg
e / y 3. * , / ſº t P
spp.metac. 8strºpov čk rmg troumasoc' (joaú-
\ \ > / e / \ 5/
rwg yap kai avt.n. vTokpwélév yap av rug
y f 3. gº P / gº
dkočov avXmrov, Tórspóv Tore ovuſpovovow
t y \ *W A W / t 8 / \
oi avXol, 8, kai Tórspov m SuáAckroc gapric,
ºV » y y > ty / y \
# rouvavriov. Tourov 8 kaorov pspoc cott
gº? y gººd & f 3. f ÉX tXX’
tnc auxntucnc pumpsiac, 8 uévrot réAoc, a
ef * f P V ſº \
Évéka row réAovc yuáuevov. Tapd Taura yap
º \ W gº / {}} \ gº
av kai ta rowavra travra kotumo'erat to the
t f •y y y gº 3. / gº
spp.mvetac hôoc, 80, OUK8101) atroëtöorat rºp Tapa-
ON MUSIC. . . 97
nate, others on the contrary, by their number and
almost infinite variety, are incapable of being re-
duced to any definite rule. Among the former are
the poem itself, the manner in which the singers and
the instrumental performers execute their respective
parts; and other matters of this general kind. Of
the latter, or indeterminate, kind are those which,
though equally essential to the perfection of the
piece, are in practice considered as secondary and
subordinate. Such are all the various minute cir-
cumstances, which enter both into the composition
and the execution. (2dly, There is another reason
to the same effect in that branch of the composition,
which is the peculiar province of the poet.)*
For, in listening to the performance of a piece
accompanied by flutes, though it may not be diffi-
cult to determine whether the instruments accord
or not; and whether the expression of the per-
former be correct or the contrary, yet these are
only circumstantials. They are means simply, by
which the object of the performance is effected;
and not the object itself. In fact, it is by a clear
perception and perfect comprehension of the se-
parate powers and joint effect of these and all
[* Here is evidently a chasm. Burette thinks (Wyttem-
bach dissentient) that this paragraph should be omitted here,
and come in at the end of the section.] -
H
98 - ITEPI MOYXIKHX.
f P eV. p V e
troumbévri trouſſuart, 6 usraysºgicagflat Kat sp-
pº e * f
pumveudat o #v=pytov (3:30öXmrat. o avròc 8:
V \ * ºt * *
Aóyoc kai Ti riov traflov rov viró tric troum-
yoc K
* f y * /
Tukmg omuawouevov 8v Toug Toumºuaouv.
/ * . » () * /
XZ. "Are očv m66v uáAtara ºppovrièa re-
/ e \ \ \ \ 3 /
troumuévot ot traXavoi, to osuvöv kai airspiepyov
* 3. y * f 3. f
tnc àpyaiac uovo.uknc Tooeriuov. Apysiovc
V \ \ r 3. gº P / * >
pºv yap kai kóAaow Tiffivaí totá page tº sic
\ \ f * / \ 3.
tºv uovo.ukiv Tapavouíg, &muttoo'ai Ts rov tri-
P * º f º t \ P -r
Xeipno avta Tporov touc TAetoot rôv širrd Ypſi-
2 3. * * \
gaobal trap auroic Xopæðv, kal Tapapuśoxv-
y f P t
Suážen, âtrysipho avra. TIv0ayópac 8 o osºvoc
3. f \ f *. * V W
atrečokiuaſe Tāv kptow the uovo.uknc riv 8td
* 3. P we * \ \ W f
tmc atoſhigeoc' vig yap \etrºv triv raûrmc
> \ y? º: / wº \ y *
aperiiv packev cival. Toiyāptot tº uév akon
> x/ > \ * §§ 3. X ... : ! ... •
ouk ekptusv avrmy, tº os avaAoyukn appovig
2 / , 5 x y / gº w gº •
aúrapkéct évôut.sv učxpt ts Sud Taotov ornaal
W ºw * 5 p.
tmv rmg uovo.ukmc struyvoow.
ON MUSIC. 99
other parts of musical composition and execution,
that the character of the piece and its correspon-
dence with the design of the poet are ascertained.
We should arrive at the same conclusion, were we
to examine the poetical part of the piece; and it's
suitableness to the purpose, at which it aims, of ex-
pressing or affecting the passions of the mind.
37. On these accounts our ancestors, whose prin-
cipal regard was directed to the moral effects of
Music, encouraged and cultivated, beyond every
other, the grave and simple stile characteristic of
the music of their times. It is related, that the
people of Argos prohibited by law any extension
or alteration of their musical system; and imposed
a fine on the first person, who ventured to increase
the number of strings of the lyre beyond the seven,
which they admitted; and to excede the Mixoly-
dian Mode.* -
The venerable Philosopher Pythagoras would
not allow to the senses any share in the office of
judging and determining concerning Music. It
belonged to the understanding alone, he affirmed,
to comprehend and establish it's principles. All
musical sounds ought consequently, according to
* (Burette proposes to introduce here the passage omitted
in § 34.)
H 2
100 TIEPI MOYXIKHX.
f gº f tºº gº
An'. Oi è vov to utv KáA\torov rov yewtov,
e/ J 8 v f \ * y
ôtrep uáAlora èld osmyörnra Tapd toic ap-
P . * p
Xatoic ëatovčáčero, Tavrex®c trapyrigavro,
e/ 8: \ gº y {X gº 3.
Öare uměš riv Tvyovoav avrixmilw tow Švap-
P gº sº º y
povtov 8tag rmudrov toic troX\oic utrāpyetv.
eſ 8: y gº * 8 f \ t 05 e/ &
ovra, oe apywg otaketvrat Kat oguvuoc, wors
2 cy gº
p.m.8 ºupagu wouíčav trapéYew kaſ) 6\ov Tóv
y y w
Jiró riv atoffmotv Tutróvrov riv ëvaguávtov
3. 3. gº
8tsov, Šopičev 8 adriiv čk Töv učApèmuárov,
f V P / \ /
treb)\vapmkéval Te touc 86éavrác rv Tepitoörov,
gº / y y
kai tº yével rotºrp keypnuévovc. diróðstén 8 .
/ • 9 * - .
to Yvgoràrmy Ts ra)\m0m Aéysiv pépéty olovra,
y V \ y gº 3. y t , ºf e/
pud Mora uév triv aurov avaiſhnotav, ºc trav 6,
º 3. W y / * W \ P
Tu Tsp av avtovc skipūy), touro kai 8) Távroc
y \ * º:
diviſtrapkrov čv Tavre) ſoc kai ūypngrov' SUTOſ.
\ \ \ / *
Kaw To pum 8üvaoffat Ampônvas 8wd ovuſhoviac
\ / • P f e f V W
to uéyeſ}oc' ka0árep ré, re nutrövtov kai rov
f \ M X \ §§ * /
róvov, kal td Xotird & rov rouérow- 8taarm-
uárov.
y y 3 eſ \ V r /
Hyvoňkaat 8 &rt kai to Tpirov učystoc
e/ *\ \ \ / 3. / \ \
oùroc àv kai to Téutrov čkſłóAAouro kai to
ON MUSIC. 101
him, to be determined by the proportions of num-
bers, and not in any degree by the guidance of the
ear. He limited, also, the whole theory of the
science to the sounds, which lie within the com-
pass of the octave.
38. The most beautiful of the musical genera, the
Enharmonic, which on account of it's grave and
Solemn character was formerly most in esteem, is
now however wholly laid aside; and there are few
persons in the present day, who appear capable
of discerning the interval, which is its characte-
ristic. So obtuse are become the perceptive fa-
culties of the generality, that the Enharmonic
Diesis (; tone) is affirmed to be absolutely undis-
tinguishable; and on this assumption it is not only
denied a place in the musical scale, but brings
on all, who favor the use of it, the name of
triflers. Yet the most formidable argument of it's
opponents amounts to no more than this, that be-
cause their auditory organs are unable to discri-
minate the minute divisions of the tone which the
genus admits, there is therefore no foundation for
it in nature; and it consequently ought not to be
allowed in practice. Another argument, also,
urged by them, is the incompatibility of the Diesis
with symphony; which is not the case, they say,
102 IIEPI MOYSIKHX. t
e/ • ‘º * \ gº \ NV f \ \\
#38ouov tov to pusy Towv, TO §§ TrevTE, to §§
t W / / y V / F } ef
8TTCL 8téosºv 8OTL. KOlú. ka06Xov trav6 OOO.
W p gº - p y -
treputra ©aivetal T(z) hy 8taormuárov, atroëoki-
> ef 2 N \ y gº
9 OOTO1) ow8&v Olt)T(z)?)
M f ** 3. * y \ y/
Sud ovuboviac Xagsiv $ort. Tavra 8 &v &lm
/ > \ & 57
puděour àv og a Yomota, tra
e/ e \ gº y y / g=e Y-
ôoa Jiró rmc *XaXiarmc 8téostoc usrpstral trºpio-
W º 3. gº 3. f V \ W
adkic. oic alcoxov6siv avaykm kal to Amésuiav
tov terpaxopčucſov 8tapčasov Xongiumv tival,
P f º gº
TAñv uávnv raûrmv, 8 fic traow dorioic
gº p e
Xpnoffat ëtagrijuagw oupſ?iſbnkev. airm 8'
:};
*\ 3/ e/ gº / \ / V e gº?
a v Eun ?) Te T3 ouvrovs " Kal 8taróvs, KQu m T8
f /
Tovuals Xpwuaroc.
V gº t
X6'. To 83 rd rotaura Aéysiv Te Kai utro-
P y / * - -
Xaugävelv, 8 uðvov roic batvouévouc vavrus-
Al , 8 Ul Al
f 3. \ 9 V • \ t * /
pévov oriv, d\\d kāi auroic playouévov.
y W y \ W
Xpwuevot yag avrot rotavratc terpayépêov
/ º
AdXiara paivovrat 8taipéqsaw, §v aic rā troXXd
* f 27 / > *\ 27
tov 8tag rmudrov irot trepirrá čarw àAoya.
/ . \ > \ y \ \ \
paxárrovoſt yao atel tdc Te Atxavouc kai rac
y 3/ \ * t /
Tapavurac' #8m 8è kal Tov ordſtov rivac
gº f 5 f V y
trapavtaat 406-yyov, d\óyº rivi Staarijuart
P y * / f \ \
Tpogavisvréc autoug Tag TE Tourag Kau Tag
* Dele kai, inadvertently left in the text by Wyttenb.
ON MUSIC. 103
with the other intervals, viz. the semitone, tone, &c.
But they forget that they ought, for the same rea-
son, to discard from practice the third, fifth, and
seventh intervals, which consist respectively of
three, five, and seven dieses. And indeed all
the uneven intervals (or those which contain the
Smallest diesis an uneven number of times) ought
on the same ground to be rejected, since none of
them can be used in symphony. It is, in fact, a
necessary result of their doctrine, that no divisions
of the scale are applicable to practice except those,
in which the intervals are expressed by even num-
bers; the intense diatonic, for instance, and the
tonic chromatic.
39. But what is singular in the supporters of
these opinions is, that they not only contravene the
evidence of fact, but are also inconsistent in the
maintenance of their own principles. For we find
among them an extraordinary attachment to those
divisions of the tetrachords, in which many of the
intervals are either uneven or incommensurable.
They invariably flatten the lichani and paranetae;
and do the same even with some of the fixed tones,
to which they accommodate the tritae and para-
netae by incommensurable intervals. This prac-
tice they justify, and hold up to imitation; though
104 TIEPI MOYXIKHX.
º W w / 3. º f
TapavnTac. Kat rmv totavrmy evèokučiv pua-
/ / gº / gº
Atard trac oiovrat row ovarmudrov Yomou,
3. * W \ * f > \ y/
ev m ta troXXd rôv 8tag rmudrov ša riv ãMoya,
2. y gº gº / /
§ uóvov rov Kuveiaffat trequkórov $66 yyov,
3. \ y y P 3 / * 3/
dNAd kai twov dikwärtov divisuévov, toc art
gº * y P * /
ënëov roic atoflávsoflat rôv rototyrov 8v-
f
vapºsvotc.
H'. Xpnow 8: pisotknc Tpoofiksoav dvěpi o
ka)\oc "Oumpoc £8tèaše. 8nMov ydp &rt m
povouch troXAayot, X9mgium, tov "Ay AAéa
Tetroinke rºv opyńv Tétrovra rºv trgoc Tov
‘Ayaučuvova, 8td uovatknc fic ºuaffs trapd rs
goſporárov Xeipovoc.
Tövö sºpov, p.moi, ºpéva Tsotröuevov påputy yu
At yetm,
Ka}\m, 6avča)\én' trepi 6' doyſosov čvyöv jev.
Tāv doer’āā āvdpov TóAtv 'Hertovoc oxégaac.
Tā āys 6vuðvársotev, distós 3’ dioa k\éa divöpóv.
uá0s, ºmgiv"Ounpoc, Tóc 881 uovaucá Xonoffat'
Xé to avöoſov 88 \ tćsic muffé
Kasa Yap avopov gostv kat Tpassic mutusov
Éirperev "Ay AAéi tip IIm}\éog Ts 8tkatorárov.
Éri & kai row kapov ric Xpigeoc tov dp-
pétrovra êtêdokov "Oumpoc, apyouvrt yuu-
ON MUSIC. 105
it is evident (as has been already observed, and the
effect indeed is easily discernable to a good ear)
that many of the intervals are thus made irrational,
not only of those sounds, which are in their nature
variable, but of some of the fixed tones likewise,
which they diminish in order to suit their sys-
tem.
40. Of the resources, which great minds are able
to find in Music, the excellent poet Homer has
given us an illustrious instance. In order to show
the beneficial effects, which it is at all seasons ca-
pable of producing, he represents his hero, Achilles,
allaying the vehemence of his wrath against Aga-
memnon by the music, which he had learned from
the sage Chiron :
“Amused, at ease, the godlike man they found
Pleased with the solemn harp's melodious sound.
The well-wrought harp from conquered Thebae came;
Of polished silver was it’s costly frame.
With this he sooths his angry soul, and sings
. The immortal déeds of heroes and of kings.”
Pope.
Learn hence, he says, the proper use of Music.
Behold the son of the virtuous Peleus employed in
singing the praises of heroes, and the noble acts of
demi-gods. The poet designs, also, to intimate the
proper season for it, by exhibiting it as the occupa-
106 TIEPI MOYXIKHX.
P * 5 : , \ , ; Nº. \
váguov čásupev ºpéApov kai měč' troXsjukóc
\ \ \ * > \ W *
yap (ºv Kai Tpakrikóc O Axi}\\suc, 8td rºv
3 * \ V > º
'Yevouévmv aurº Tpóc to v Ayapéuvova unvu,
2 * * \ \ P /
§ usrsty's rov kard rov TóAsuov Kuwöðvøv.
3. {{} º: "O & s V \ grºw *
©ith Šv "Ounpoc Toštrov sival riv ilvyniv roic
kaAXi ov us\to 6; V ef
awatotoic row usagov Tapaumystv Tov nowa,
e/ > \ \ * \ , > *
iv širi riv usrd utkpov aurº yevnoopévnv
ſ º: º
Éočov trapeaksvaapévoc j. Touto & Toist
/ P º / ! &
8m) ovóru livnuovsúov tow ird Aat Todësov.
y º: t y \ \ y gº
rotatºrm iv m doxata povoukm, kai sic Touro
t \ > P
Xpmoium. Hoakxéa re yag dkočousv keypn-
* V 2 \ \
Hévov uovatkā, Kai AXAAéa, Kai Tox\ouc
* \ e /
âA\ovc, Öv Tatēsuric o goſpºratoc Xsipov
/ * e/ •N \
trapašč8oral, novatkmc re àua dºv Kai Sukat-
W \ 3 * f
ooivng kai tarpuknc évèdakaxoc.
/ ſ \ el • 57 3 *
M.G. . KafféXov 8: oys vouv *Xov, 8 TOs) ly
5 * 3/ / y 3/ 9 gº
striot mutov Éyk\mua Sitrov 6sim, stric auraic
\ as \ f º º iXX V –3 *
Am Kara Tpotrow Xpºto, aaaa Tng Tov X90-
y 3/ *: gº P
uévov Kakiac têtov siva touro voluto'stev.
3/ > º: \ V gº gº
sit ov ric Tov Tatēsurukov tric uovauknc
P º / f 3. / *
Tpotov skirovno ac, Tuyot âtrusXsiac tic Tpoo-
y 5. * gº \ t f \ \ \
mkovome sv tº ts Tatēoc m\tkia, to uév Ka}\ov
3. A \ 2 ! & / 8: \ 3 y
étrawáast re kai atroëéčeral, ilééet 8 TO 817Cl197' lony
ON MUSIC. 107
tion and amusement of Achilles in his hours of
leisure. For the warrior, under the influence of
his resentment against the King, had at that time
withdrawn himself from the hurry of the busy
field; and it appeared to the poet to be an employ-
ment worthy of his hero to keep alive, by means of
elevating and inspiring strains, the activity and
energy of his mind; and thus prepare for his speedy
re-appearance on the scene of action. This prepa-
ration was effected by his calling to view the deeds of
warriors of old times. Such was the Antient Music;
and such the uses, to which it was applicable.
Besides Achilles, we read too of Hercules, and
many others, who had prosecuted their early studies
under the same sagé instructer, Chiron, by whom
they were initiated in the knowledge of Music, as
well as of Morals and Medicine.
41. It is a universal truth that a wise man will
never argue against the usefulness of any pursuit
or acquirement from instances, should they occur,
of it's perversion; but will attribute them to the
folly of it's abusers. Whoever in early life has
by diligent exercise made himself a proficient in
that music, which aids the formation of the manners,
will not fail to experience afterwards the beneficial
effects accruing from it. He will have learned to
108 TIEPI MOYXIKHX.
57 º #XX \ 2 * \ \ ,
ev Te Toug aaa.oug Kat Ev toug Kara puovoſtkm v,
\ 27 t * \ / 9 gº
Kal EGTau O Tou8TOg ka0apóc Taong ayevvsc
f \ * \ f
Todëe0c. 8td povouknc re Tuv usytarmy
> * / / y/ •A /
6pé\etav Kapirogduevoc, čºoc àv učya
f 5 * V / \ f f
yevouro avrº Te Kal TóAct, pum0svi pumte *9)/(p
y / / 3. P f > \
pire X6 yp X96plewoc avapuágrº, ogº.ov atel
\ º V / \ * \
kal travrayov to trøstrov Kat owſppov KCIL
f
Koopuov.
\ gº 9 - º
uſ?". "Oru & Kai Taic sºvouſoráraic tww
f *
tróAstov ŠtrusXèc yeyévmrat ºppovrièa troustoffat
• f * \ \ \ 9/
tnc yewatac uovo.uknc, troXXd uév kai äAAa
f A > / / > 3/
paprºpta trapabéoffat £ort. Tiptravöpov 8 div
ric trapa)\dſ}ot rôv riv Yevouévny Torè trapd
f /
Aaks8auoviolc ordaw KaraXúgavra kai ea-
Al
* , f / /
Añrav Tów Kp"ra, 6v pagi karáti rv66xpmotov
f -
Aaksèanoviovc Tapayevöuevov 8td uovo.uknc
> z y / *& f - *
tdoagbat, attax\áša ts rs karao Xóvroc Aous
f \
Tāv >Táptny, ka0áirép pmol TIparivac. dAXd
\
yāp kai"Ounpoc rov karao Xóvra Aoudv touc
º 2/
"EXXnvac traigaoffat Aéyet bid uovouchc. Épm
youv,
Oi 3è travmuéovot poxtà 0sów i\dokovto,
Ka}\ov distöovreć taufova Kovoot 'Axalov,
Mé\tovres ékaspyov' 6 38 ºpéva répter' drovoy.
ON MUSIC. 109
approve and imitate that which is good, and to de-
spise and reject it's opposite, in other things as well
as in Music. He will disdain every motive of con-
duct, that is mean and unworthy. Music will have
inspired him with the desire, and imparted to him
the ability to be useful to the public, as well as to
himself. His words and his actions will uniformly
accord in pure and perfect harmony. In every si-
tuation, and on every occasion of life, his deport-
ment will be marked by the virtues of prudence,
justice, and order.
42. And that the true and genuine Music has had
the countenance and support of the best-regulated
states, we have many proofs on record, besides those
which have been mentioned. By means of it, we
read, Terpander quelled a furious sedition in La-
cedaemon; and Thaletas, the Cretan, (as is related
by Pratinas) being invited, on the direction of the
oracle, to Sparta during the ravages of a pestilence,
arrested and subdued the disorder by the efficacy
of his song. From Homer, also, we learn, that by
means of Music the Greeks were delivered from a
disorder of a similar kind :
“With hymns divine the joyous banquet ends;
The paeans lengthened till the sun descends.
The Greeks, restored, the grateful motes prolong;
Apollo listens, and approves the song.”
Pope.
110 TIEPI MOYXIKHX.
/ \ p /
Toàrove touc ariyovc, dyaff 8.8dokaxe,
KoMo pova Tov trepi tric uovatknc \6)ov tre-
W / \ t - t
Toimitat, irst p0daac oil riv uovoukiv 8 wantv
\ P t p- * f
8td toirov Tpoatrépºvac nuiv' rig ydp ôvrt
* gº \ - 27
ro Tpwrov airnc Kai KáAAtarov so yov n sic
5 f / /
toūc 0sočc sv Yaptoroc to riv duoſłł' #Tówevov
/ \ P gº * P
88 rodrºp kai 8stºrspov to tric ilvync kaflápotov
\ \ *
kai unexéc kai čvapuávtov giarmua. Taur'
3. W t / 3/ 3/ V y
sitov o Xoriptyoc, "Exsic, Épm, touc &nt-
f \ * / > \
kvk\tove Tºpi uovo.uknc Aóyovc, dyaſ): 8t-
8ágkaXs.
y º: t
uy. "E0avudoffm uév oëv 0 >wriptyoc #Ti
º * o \ \ > / \ ** y
TOug Aey:0slow kai Yap evépauve Šid Ts Tpooo-
* ~ \ P
trov kai tmc powmg triv Tepi povauctiv atovëhv.
68 ºudc 8,84akaAoc, Merd töv čAAtov, Épm,
* t gº e
kai rooro diroëYoual traripov waſov, 3rt riv
P e P V > * > * > , / e
ráčºv čkárspoc túv auroc aurs épij)\ašev. o
- f f *
uèv yao Avatac 60a uévov Ysgoup youvre
* * y y r º
kiðappèg Tpoonkey stěšvat, rotºroic muac
t W t \ / e/ \ V
startagevº o 88 Xoriptyoc 60a kai T90c
3. / \ \ / y \ \ \
wjpéAslav kai T90c flewptav, d\\d yap kai
8évauw kai Yphow povoukic ovvrcivet, 8t-
8āakov muſic iréaliXégaro.
ON MUSIC. 111
With these lines, my honored sir, evincing the
power which music possesses, you introduced the
subject of our present inquiries; and with the same
I conclude it. -
The first and noblest application of the art most
assuredly consists in offering the tribute of praise to
the immortals: the next is the purifying, regulating,
and harmonising of the soul.”
Soterichus then concluded by saying; “I have
thus, honored Sir, given you a comprehensive
sketch of the most interesting particulars relating
to the science of Music from it's origin to the pre-
sent time.”
43. This discourse of Soterichus, which, like one
greatly interested in his subject, he delivered with
considerable animation both of voice and manner,
was highly admired and applauded by his hearers.
The host now observed; “My obligation is great,
Gentlemen, to you both for your excellent dis-
courses; which with their other merits combine
that of a strict adherence to their respective pro-
vince. Lysias, as a practitioner in the art, has
treated us with observations relating to the practice
of it; while Soterichus, as a philosopher, has libe-
rally indulged us with remarks upon it's theory and
utility, it's powers and their application.
112 IIEPI MOYSIKHX.
2 gº ; : e y 9 * > *
Ekstvo 3 ouat Škóvrac aurouc pol Kara-
y w f 3 *
AsAoutréval. ow yap karayvoo'ouat avrov
p e > gº \
8siXiav, oc ato Yuv6évrov Kataotrºv provoukmw
3. V f y f • \ \
sic ta ovoo tria. et yap trov Kal Xpngium KQ V,
v y t t W ef > /
Tapa Tórov, 6c o kaxoc"Oumpoc atépyvs,
MoWTij (Yao Tov pnoiv) doxºgrºs Ts’ ra 'ydo
3.
r' diva.0% uqta èatróc.
/ \ & P e/ \ y
kai uot unbsic utoMagério &rt Todc répilw
/ p 3 y - \ e/ Š V
Movov Yomotſumu @#0m povoukmw Oumpoc U.C.
/ *s iXX \ \ 6 {} y SO f : gº : ..º.
tovtov awaa yap pauvrepoc sort vove syke
-o-, -, } ic regi. sic vdo ºdéAstav Kal
Kovupsvoc touc streat. etc Yap (opéAstav Kai
p V y . 3 * gº *
Bombstav tmv usylotmu avroic kapote TapéAage
W A V > V gº w \
plovotkmv, Aéyo 8è sic td 8sitva kai rāc ovvov-
p * y y / v s P
ovac Tov ap)(autov. ovvé9aws yap sigáyeoffat
& t \ y ſº \ - .A.
novatkiv, wg ukavny avriotgu kat Tpauveuv
* * >y t y r tº y -
Tny T3 ouvov viróðspuov 8üvapuv kafláirsp TOU
\ \ r * / y {{< • ? . . . " \
qmai kai o muérèpoc Aptoróševoc sketvoc Yap
3/ 5 y V > ef e W
éAsyev stodysg0at provouknv, trap. odov o usv
º: P * P 3 *
Ouvog opáA\ety Tépuke Töv 88my avrºp Xpm-
f f f --> --> 8 ! . . . .S 8:
oap.svgov Ta Ts owpata Kat tag ovavotag mos
\ * \ x \ A gº \ P
povouki tº trepi avriv raśćt ré Kai ovuuerpig
3. V 3. º / y \ •/.
aug Tny swavttav Kataotaouv âyst Te Kal trpauvet.
ON MUSIC. . 113
There remains however one suggestion, still to be
made, which I suppose has been designedly left
for me to supply; as I cannot believe, that either
of my friends thinks his subject degraded by the
avowal, that “ Music is a suitable attendant on con-
viviality.” In my judgment if on any occasion the
art is found beneficial, it is in seasons of festive re-
laxation and indulgence; as the excellent Homer
asserts;
“A richer treat the song and dance afford
Than choicest dainties of the social board.”
Not that the poet maintains the advantage of
music to consist in the mere pleasure afforded by
it. His words conceal a deeper meaning; being
intended to show, that in his days, (and it is of the
Music of that age that I would be understood to
speak) a most important benefit accrued from the
introduction of it in festal entertainments; a benefit
arising from it's power of allaying the stimulating
effects of wine. Such, also, is the sentiment of our
countryman and fellow-citizen Aristoxenus; ac-
cording to whom “music was introduced at feasts
for this reason, that by its inherent symmetry and
order (as wine, taken to excess, enfeebles and de-
ranges the faculties both of the mind and the body)
it might restore both to their natural strength and
I
114 TIEPI MOYXIKHX.
*
\ gº s V * t A
trapa Tourov ovv rov Kaipov we [3omóñuart
tg Hovourſ rojc dpxaiovc ºnal keypnoffat
e/
Oumpoc.
y V \ w \ P tº gº º
AS. 'AAAd 8m kai to uéytarov juiv, 6
& gº V P P y gº
eratpot, Kal AdXiara aspuuordrºv atroſpalvov
\ P V \ gº f
provoukmv trapaxéAsit rat. tnvºyap twv ôvrov
W \ V sº Q / y & \
popav, Kai Triv row aorépov kivmow ot trºpi
P V > P V P \
IIv0ayópav kai Apyūrav kai IIAarova, kai
• \ * 3. º P 5 3/
oi Xottrol rov apy awv ‘ptAogópov, OUK Cl1981)
gº y V y y tº
puovo.ukmg yivsoffat kai ouvêa ravau Épaokov
/ W y t p e \ gº gº
Tavra yap kaff approviav viro Ts 6sov ka-
/ ſ 3/ } \ y/ gº
Tsoksváoffat baoiv. akaupov 8’ av stn vov
3. P \ \ y / ve 3. f
strekretvstv Tovc irspi tourov Aóyovc avotatov
\ \ p \ \ v gº
8è kal povoukoratov, to Tavri to Tpoonkov
3. J
pérpov Štruri0éval.
es 2 3. W 5 y \ y gº
Tavt eitrov Štrauðviae, kai atratorac tº
Kpóvº kai roig Tourov travai 6soic tragi, kal
P > / V t P
provoaç, attáMvo's tovg sorwpuswovg.
TEAOX.
ON MUSIC. 115
composure. This, then, doubtless is the effect
which Homer ascribes to music, when he says, “the
antients had recourse to it as a useful auxiliary at
those seasons.
44. But after all, my friends, the most important
point relating to Music, and that which is most il-
lustrative of it's dignity and excellenice, you have
altogether omitted to specify. Pythagoras, Archy-
tas, Plato, and all the Philosophers of former times
unanimously agree, that it's power extends to every
part of nature; that all motion is regulated by it;
and that it accompanies and influences the revolu-
tions of the spheres. “For the universe,” say they,
“ was framed and constituted by it's Author on
principles of harmony.” But it would be unsea-
sonable at present to protract our discourse. For
it is a rule of supreme importance, and recognised
most especially in this subject of ours, that “to
every thing be allotted it's proper measure.” Thus
saying, he sang a hymn to Apollo; and having
poured out a libation to Saturn, and all the Dei-
ties his children, and the Muses, he broke up the
party.
THE EN D.
C. WHITTINGHAM, CHIS WICK .




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