ii. 16 (scales of the cithara), 84-86, 102

Seikelos inscription, 89, 132

Telestes ap. Athen. xiv. p. 625 _f_ (Phrygian and Lydian), 6

Theon Smyrnaeus, c. 8 (enlargement of scale), 37

THE END

_Note on the Seikilos Inscription_ (pp. 89-91, 133).

Since the publication of this work, the Seikilos inscription has been examined afresh by Mr. J. A. R. Munro (of Lincoln College, Oxford). The result of his examination is to show that the last note of the melody has been misread. From a squeeze which he has kindly placed at my disposal it appears that the word [Greek: apaitei] is written--

[Symbols: c x] [Greek: APAITEI]

The line drawn under the three notes [Symbols: C X I] has caused the last to be read as [Symbol: 3], which has no meaning here. In fact it is a reversed Gamma ([Greek: g apestrammenon]), and answers to our _e_ natural.

Hence the last line of the transcription on pp. 89-90 should be as follows:

[Music: [Greek: to te-los ho chro-nos a-pai--tei]]

The importance of this correction is obvious. The scale employed is now seen to be the octave--

_e f# g a b c# d e_

If, as I ventured to suggest on p. 90, the mode is the Hypo-phrygian (the scale of our Major mode, but with a flat Seventh), the key-note will be _a_. The close on the Dominant _e_ will then have to be noted as a fact supporting the belief that in Greek music the close on the Dominant or Hypatê was the usual one (see p. 45).

The line drawn under the three symbols [Symbols: C N1] is found in several other cases where the melody gives more than one note for a syllable. So [Symbols: 1K] (l. 2), and [Symbols: 04)] (l. 3), [Symbols: K1] and [Symbols: 04)] (l. 4). It does not appear however under [Symbols: K I Z] (l. 1).

D. B. M.