CHAPTER XXVII.
At Alexandria.
THE FINAL SETTLEMENT OF THE SCALE.
The structure of the Scale so far as was necessary for the development of the Greek modes was comprised in The Disjunct or Greater System Complete; yet at various times the extent of the diatonic scale by degrees was increased, tetrachord was added to tetrachord until in the days of Plato its compass was stated to have been made to comprehend four octaves, a fifth, and a tone.
Archytas and Aristoxenus were both of Tarentum, a noted Greek colony in Southern Italy, founded by Sparta about 705 B.C. Archytas was a contemporary of Plato (_b_ 429 _d_ 347). The period was one of artistic luxury, the Parthenon had been completed, and Greece had her golden age of Art, Science, and Philosophy. Here Praxiteles, the great sculptor, second only to Phidias, comes upon the scene, and we may with confidence accept his design of Apollo’s Lyre as a true representation of the instrument as it existed in his day, and, it may be assumed as used in Apollo’s Temple, and by the master-musicians. The date of this sculptor has not been ascertained precisely, Prof. E. A. Gardner gives in a guarded way 400 B.C.
Aristoxenus was a musician, the son of a musician, he came at a time when great mathematicians were engaged in battle over fine distinctions in Pythagorean systems, to them of superlative interest and importance. Aristoxenus opposed the Pythagoreans and held that “it was absurd to aim at an artificial accuracy in gratifying the ear beyond its own power of distinction,” a decision very natural, coming from a musician. He was a great writer and theorist, wrote it was said more than four hundred treatises, all of which have been lost except three on “Harmonic Elements,” and this is the oldest musical work at present known.
In those years from Archytas to Aristoxenus the evolution of Greek music had passed from the poet-musicians, the real masters of the lyre, into the hands of philosophers and disputants, men learned in all the subtleties of Pythagorean lore, who busied themselves with recondite demonstrations of the proportions of numbers, and applied them to the theoretical division of the octave, to an extent which transcended altogether the range of the practical art of the cithara players, nevertheless the labour was not wholly lost, since it went to the strengthening of the foundations of the _science of music_.
A new era had arrived, Greece lost her position and became a dependency in the Macedonian empire. The centre of Greek life and thought had been transferred to Alexandria, and here at the great library which had been founded B.C. 332 by Alexander the Great, Eratosthenes was librarian, and his name figures largely in the mathematics of Music. His lifetime extended from 276 to 196 B.C.
Two other Alexandrians complete the record so far as the present simple treatment of the development of the scale is concerned. They lived within the Christian era.
Didymus, A.D. 60, introduced the minor tone into the scale, and consequently the practical major third. He demonstrated the lesser or _minor tone_ to be necessary to the right division of fourths and fifths.
Claudius Ptolemy, A.D. 130, accepted the scheme, but altered the arrangement of the tones.
Didymus and Claudius Ptolemy, the two latest philosophers who sought to perfect the diatonic scale, achieved highly important results by simple means; whereas the octochord as left by Pythagoras, comprised but two kinds of divisions, the tone and the hemitone (not exactly half a tone, it was the overplus after the measurement of the two whole tones in the tetrachord)—and these, taking C as the starting point for our convenience, may be represented thus:—
C......D.......E......F.......G.......A.......B.....C major major hemi major major major hemi tone tone tone tone tone tone tone
this was constructed from a series of fifths.
Didymus shewed that the stricter mathematical division (not by fifths) required a lesser or minor tone in place of _one_ major, and the amount of decrease went to increase the hemitone to a semitone, thus:—
C.......D.......E......F.......G.......A.......B......C minor major semi minor major major semi tone tone tone tone tone tone tone
Claudius Ptolemy seventy years later altered this, transposing the minor tone to the second place,—
C D E F G A B C I I I I I I I I major minor semi major minor major semi tone tone tone tone tone tone tone
as he left the _diatonic octave scale_, so it remains, practically the same in the teachings of the theorists since: some scholiasts have thought that preferably the minor tone should be placed between A and B, transferring the major tone between G and A.
This distinguished astronomer and mathematician Ptolemy, like Pythagoras, was the child of his time, given to much fanciful speculation and mysticism, finding music analogies in the virtues, and the sciences, in the parts of the human soul, and in the zodiac. He wrote largely, and completed the foundations upon which European music had been constructed, yet he had no conception of the structure that would be raised by coming generations. The Greeks had in their scale the elements of harmony yet they fell short of the realization, and it must ever be a wonder that, intellectual as they were, they missed it. Evolution was the destined way,—but it is so slow—so slow.
Except to the chosen few these questions of the scales fail to maintain their interest, however fascinating such studies of the calculation of theoretical niceties of numbers and ratios undoubtedly are to some minds, gifted with an aptitude for figures, yet with the general body of musicians a broad survey tells that old formalisms in study are fast becoming obsolete. The advance of the System of Equal Temperament in these later years throughout the two worlds will render necessary a reconcilement between theory and practice, now widely at variance.
Historically the settlement of scale had its importance, although it came too late in time to be for the Greeks an effective force in their national music. The glory of Greece was fast departing, century after century in the course we have looked upon during our survey, empires had risen, empires had fallen, and in the disrupted state of social conditions, chaos often came, the Greek race itself was worn down and ultimately became absorbed amongst strangers, conquering races, and in the end we have to speak of her Art as Greco-Roman. Out of all these world changes we have isolated Music. To apprehend aright the slow march along the path of progress, we should now and then lift our thoughts to take account of the atmosphere and glance at the environment.
The final scale was the triumph of the mathematicians, they gained their ideal. Beyond this, however, nothing was accomplished,—nothing for actual Music. Harmony was not discovered, no great composer arose, certain lyrists and auloi-players we know of, whose deeds excited enthusiasm, but in what kind of display their art consisted no evidence exists, beyond the music to a few hymns, the melodic phrases of which do not commend themselves to us as examples of musical genius or talent. The irresistible charms exercised by the citharists upon the multitudes assembled to hear them, whether they sang by rule or improvised their melodies must be attributable in the main to the character of the singer’s voice, combined with the purport of the words sung. When with the modern knowledge of musical instruments we examine the nature of those which they had in their command, we have every reason to doubt the practical application of those fine distinctions of the pitches of the musical notes insisted upon by their learned theorists. The instruments simply could not give them, the exactness was beyond their staying and playing powers. The strings of a lyre had not the delicate permanence of pitch requisite for such claims, and certainly the flutes could not have rendered intervals so accurate. To set the intervals by bridges on the Kanon or monochords, by patient adjustment to marked divisions, was quite another matter, a mental recreation.
The trophy secured in the long march of music the thousand upon thousand years is the simple diatonic scale of five major tones and two semitones,—that is all. Up to the setting in of the Christian era that was the utmost attainment of the human race in the art of music, two formal tetrachords with a disjunct tone between; and if you will think of it this one fact has a mighty significance. What instinct of the race brought out this particular selection and arrangement, what in-dwelling demand of the ear impelled the choice, apparently from earliest impulses, we cannot tell,—there it is—the bed-rock upon which our system of harmony is founded; and the curiosity of the thing is that other races have for ages settled down upon a pentatonic system and still manifest an inborn aversion to harmony. We adjudge tones by means of calculated vibrations, ascertained by mechanism, the Greeks made their determinations by the measuring of strings, the artist is always satisfied by the verdict of the ear.
To have established a tetrachord, and after centuries of intellectual strife to have secured a double tetrachord forming merely a simple scale of one octave, and that, the scale of _A minor_, may seem a small matter as a record of human history and of mental achievement. There is a saying of Aristotle which will justify a more inspiriting estimate,—the philosopher wrote,—
“The true nature of a thing is whatsoever it becomes when the process of its development is complete.”
To use a familiar illustration, expressing potentiality,—As the oak lies in the acorn, so all the after developments of our European music, their beauty, grandeur, massiveness, lie in that little scale of A minor; repeat it in transpositions of pitch from each note, repeat it in duplications above and below, and we know that we have therein the whole range of tones comprehensible by the human ear. Mr. W. Chappell, it is true, shews that the Greeks had no major scale, yet all conceivable scales are there, that one being the plasmic germ of all.
The process of the development of music from the reed pipe and from the string of a bow may seem insignificant as a subject of enquiry, but the philosopher will not think so. There is an apt parallel or analogy in “_wheat_”—“the staff of life,” which I cannot omit reference to. Wheat was not found in the predynastic tombs of Egypt nor was it indigenous to that land, but was introduced into the Nile valley from the East. De Candole in his botanical researches, “The Origin of Cultivated Plants,” has shewn that the indigenous home of wheat was in the western slopes of the Persian mountains. Thence the cereal has spread in the course of ages over the whole earth. To this centre of human origin, to Iran and Media (now called Persia) the indications of my search all point for the source of music, here in this primal region the rude beginnings of the art of music were first heard, and the sounds thereof have gone out into all lands.
Greece, as was fitting, has occupied a large share of attention in these pages, her history seems a part of ours; her heroes are our heroes, her philosophers our philosophers, her poets our poets. The names of Homer and Pindar have come down the great highway of time, hailed and recognised as the names of chief Masters in Song, givers to whom the world is indebted; yet I think that to the man in the street who cares for music, there are two other names that would come to mind to stand first as the representatives of Greek song,—Sappho and Anacreon,—the man may not have known even the sound of the language in which they sung, yet English Song has made these names household words.
So when I see Sappho with her lyre pictured on the vases, and memory revives her story, or when, on an amphora, I see Anacreon depicted, trudging along, with his lyre slung on a stick across his shoulder, like a rustic traveller carrying his day’s provender, and with his dog following,—they appeal to me as familiar friends. Then, too, I remember how a Greek poet apostrophised Anacreon,—
O lover of the lovely lyre, Who as thy sweet will sped, Hast sailed through all the seas of life, With passion and with song.
Still we linger over the land of Greece, its haunting charm persists from youth to old age. Mr. F. G. Frazer, in his Pausanias, recalls the beautiful thought of Schiller, how, like that poet, the traveller,
“Might have seen as in a vision The bright procession of the Gods Winding up the long slope of Olympus, Sometimes pausing to look back sadly At a world where they were no longer needed.”
A glance at the map of Asia will show you a long trend of mountains from the Caspian Sea to the Persian Gulf. This vast plateau lies like a great backbone across Asia; the Caucasus, the Armenian mountains, the Zagros mountains, the Iranian mountains; on the eastern slope of these the Hindoo Cush, and the great Divide.
It is a curious fact worth thinking about that the Lute crossed over the ranges of the Hindoo Cush to the Valley of the Indus and to the Ganges and became the parent of the Ravanastron, or Indian Violin, and other tribes of bowed string instruments. The Lyre and the Harp never passed, nor the double flutes (except as left by Alexander the Great after his conquest) and the same with China. The feeling of the Hindoos has settled upon instruments with many frets and moveable bridges, and unfortunately the relics of the real old days of that land have not been preserved.
On the Western side of this mountainous range I have shewn the type of stringed instruments that prevailed, from Chaldea and Babylonia to Egypt, from Assyria and Asia Minor to Greece, the chief feature of the lyre and the harp being an _open frame_ with a body that is founded on a boat-shape. These open-frame instruments are not found on the Eastern side. Why? it remains an open question. Yet the long-necked Lute or Nefer became acclimatised there in India. Was the instrument the cause of the character developed in their music? It is easy to see how it would lend itself to minute division, originating twenty intervals within an octave. Race, climate, and geography, are the great factors in the developments of the art of music.
Here, with reluctance I bring this volume to a close, for its pages have already extended in number much beyond the limit of the original intent. During the progress of the work new materials have come to hand giving an additional interest to the subject, information and illustrations acquired too late for incorporation in their relevant places, and too important in their bearing upon the investigation to be lightly sketched in, with but scant recognition of value. There is much yet to be added to the search for the origin of the Apollo Lyre; both the three-stringed and the four-stringed I have found depicted on a vase, of a date at least 900 B.C., and Dr. A. J. Evans has favoured me with a drawing of a pictograph seal, representing an eight-stringed lyre, found in his explorations at Knossos in Crete, and he writes me that he now places the date 2,000 B.C. From Egypt there comes a picture of large cross-string harps, a construction undreamt of as an ancient idea, but veritably so, discovered by Dr. Flinders Petrie at Abydos, in the Tombs of the Kings. The illustration which he has given me is of great interest.
Then the American explorers in Babylonia have unearthed a tablet sculptured in relief showing musicians, and one sitting, playing a harp of eleven strings; Mr. St. Chad Boscawen gives the date of this slab _circa_ B.C. 3,000, it was found at Tel-lo, the ancient Sirpurra. Another valuable find, much earlier in date, was a terra-cotta relief depicting a shepherd seated playing his lute, and his dog with a curly tail standing beside him (probably this lute-lover was an earlier Anacreon), the lute so like the Egyptian Nefer, and the attitude in holding the instrument exactly the same; for so remote a time the drawing of the figures is little less than marvellous. This relic was found in the schoolroom attached to the temple library at Nippur, it confirms the conjecture I put forth that the Nefer form was derived from Babylonia—I called it the paddle form.
Each year fresh treasures may be unearthed, so energetic are the new explorers, sons of nations, all rivals in archæological work, each emulating the other in adding new riches to the Museums to hold in trust for the world’s coming ages, adding to the known past other more distant millenniums.
With so much material accumulating throwing new light upon the subject, I contemplate a sequel to this volume, to be ready, if health aids the fulfilment of my wish, by the coming Christmas, and to be entitled “Our Musical Inheritance.”
INDEX.
A, the master note in Greek pitch, 335
Aalst, Van, on Migration of the Chinese, 8, 163 Semi-tonal scale, 160 on Gong chimes, 162 Stone chimes, 163 diagram of Lüs, 173-5 Books destroyed, 186 ideas of, 189
Abydos Tombs, Petrie’s discovery of cross-string Harps, 351
Abysinnian Kissar Harp, 294
Adonis, Phœnicean, 33
Afghanistan, carvings of double flutes, 9
Agriculture, of early Chinese, 168
Akkad, the early settlement, 167-172
Akkadean Language, 169 religion, 169 Hymn, 172 tetrachord surmised, 331
Alexander the Great, 350
Alexandrian Library, 10, 342-3, philosophers, 343-4
Alypius, his scales, 149 characters used for notes in Greek music, 334 transposition of his scales by Ptolemy, 146
Amenhotep, 111 Statue of called the Memnon, 322
Amiot, Pere, Chinese Music, 158 reeds of Cheng, 173, 187 misled A. J. Ellis, 201 on flutes, 240
Amphoræ, Vases for oil, 78
Anacreon, his ten stringed lyre, 312, 335 his songs, 349
Ancestor Worship the religion of China, 168-9 orchestra for the rites, 275 Confucian Hymn, Music of, 282
Antigenedes on reed growth, 119-121
Apollo, his invention of the lyre, 14 statue of, 15 oracle of, 130 hymns to, 130 his temples, 130 the Delphic tablets and hymn, 146-150 lyre by Praxiteles, 323-342 tetrachord scheme of his lyre 336, Cretan seal of lyre 350
Arabia the Divine land 11, 161
Archilochus, musician 339
Archytas, his major third 340, contemporary with Plato 342-3
Arghool, Egyptian reed flute 35-36, its reeds 71, description 55
Arica, Peruvian flutes from 18
Aristophanes on flutes 73
Aristotle, on the Bombyx flutes 99, on _Mese_ 103, Aristoxenus his pupil 341, on development 348
Aristoxenus, musician and philosopher 341, his works 343
Art is the superfluous 285
Arunda Donax, for reeds 49
Ashmolean Museum, the Lady Maket pipes now in 41
Asia Minor 238, minstrels in 337
Asiatic music distracting 21
Assur-ban-ipal, slabs at British Museum 295
Assyrian, Double pipes 55, 60, Dulcimers 253, harp, representation of 262, route to Greece 350
Athenæus Pronomus 92
Athene, the Goddess, 128, 138
Athens, founding of 327
Athens Museum, Apollo 322
Auletris, flute player 73
Auloi, Greek flutes 73
Babylon, Berosus on 170
Babylonia 304, 314
Bach, J. S., use of the thumb 85
Bailey, J., Festus quoted 133
Ball, Rev. J. C., Turano Sythic speech 169
Bamboo Books, The ancient Chinese 276
Bamboo Forests in China 193
Bark, boats made of 286
Beethoven, his folk song themes 83, his melodies 180, his famous three knocks of Fate 273
Berlin Museum, Egyptian lyre in 298
Berosus on Babylon 170
Bird’s Nest or Chinese Sheng 10, 182
Blaikley, J. D., experiments on Egyptian flutes 57
Bombyx flutes 99, 102
Book of Changes, Chinese 191
Borneo, Cane Harps from 303-4
Boscawen, St. Chad, on Chaldea 4, on Persia 6, metal working 208, Lute on slab from Tello 352
Bow with boat form of early lyres 285, 289
Boxing, Etruscan to sounds of flutes 78
British Museum, relics in: Apollo, Statue of 15 Pans Pipes or Syrinx 17 Peruvian Pan pipes 18 Peruvian Stone Syrinx 17 Egyptian Gingras, part of 28-33, 48 Cymbals found in Egyptian mummy 29 Wall painting of Egyptian ladies playing the double pipes 46 Copy of a Corneto painting 60-67 Song on a Chaldean tablet 62 Fragment of flute bulb 80 Greek Monaulos, two specimens 84 Chinese Encyclopia shelved there 190 Leva flute pipe 246 Harps on Assyrian slabs 262 Roman Cornu and Trumpets 270, Litmus 271 Egyptian Boated lyres, 288 Three thousand gems, 311 Bronze of Hermes, 308 Chelys lyre, parts of, 310 Herculanæum, painting of Apollo with harps, 318 Calliope, Hymn to the Muse, 145, 163
Bruce, the Traveller, Grand Harp painting found by, 290
Brussels Museum, Catalogue of, 240 Krena Flute from, 246
Buddha and Confucius, 256
Bulb found by Maspero, 124-5
Bulbs for flute mouthpiece shewn on vases, 121 fragment of, in British Museum, 80
Burney, Dr., on Hermes lyre, 308 his picture of one kind of lyre, 318
Caspian Sea Mountains, 350
Capistrum for flute player, 70
Caucasian Mountains, 219, 350
Cecrops, founder of Athens, 65, 327
Cephisis, River of, 128-9
Cesnola collection at New York, 71, 100 his Salamis flute, 115
Chaldea, land of, 6, 8 Songs, 62
Chaldean Race, 170, 350 Sculpture by, 4, 208
Chappell, W., on fragment of Egyptian pipe, 33 on the tongue box, 43 reed growth, 120 Greek hymns, 143-4 harmony in Egyptian music, 302 Cleonidas quoted, 312 no Greek major scale, 348
Charites, City of, 128, 137
China, her past, 3, 4
Chinese Musical Instruments. Outspread Phœnix, 18, 157, 160 Bird’s Nest or Sheng, 152, 176, 203 Stone Chime, 160, 163 Gong chime, 162, 235 Yellow Bell and Forest, 175 Tetrachord of Bells, 216 Clarionet or Kwant-ze, 219 Monster Bell, 233, 234 Flutes, 236, 237, 244, 246 Dragon flute, 239 Se, 227, 251, 257 Hwang-chong-tche, 241, 243 Guitars, 250, 280 Violin of gourd or cocoanut, 251 Dulcimers, 253 Kin or C’hin, 259, 260, 261 Trumpets, 264, 268 Rattling Tiger, 272 Drums, 272
Chinese Notation, 10 Flat-fourths, 39, 53, 177, 205 Confucian hymn, 151 Ear for pitch, 159 Scale of P’ai-hsiao, 159 Chronology, 170 Foot measures, 172, 177 Measures and Weights, 178, 197 Enormous Encyclopedia, 190 Book of Changes, 191 Yellow Emperors foot, 196 Old Ritual, 228 Bell foundry, 232-233 Coins, 242 Strings, 252 Classics, 276 King Seang Wei, his buried books, 276 Duke Tan Foo ancestral temples, 276 Ritual Music, 277 Sect of the learned, 277 Love songs, 279 Orchestras, 280 Oldest written music, 282
Chord, as a musical term, 332
Chorebus, the poet musician, 335
Citharist players, The charm of, 346
Civilization, Primitive, 168 Origin of, 171
Clarionet, Japanese, 112 Chinese, 219
Cleonidas on seven stringed lyre, 313 His writings, 341
College of Mandarins, 190
Confucius, Hymn to, 151 on music, 190 his favourite instrument the Kin, 255, 259 ancient celebrations, 277 sacrificial hymn to, 282
Corneto Etruscan painting, 60, 67
Cretan Seal of Apollo’s Lyre, 351
Crete, stepping stone to Greece, 328
Crissa, Plains of, 130
Cromornes, their caps, 224
Cyprus, held by Egypt, 328
Danaus, founder of Argos, 65, 327
Dayr-el-Bahari Temple of, 10
De Candole, origin of wheat, 348
Debrett’s peerage Ancestor Worship, 283
Delphi, Temple of, 131 Pindar, his Iron chair at, 132 Pythagorus Sophocles Æschylus and Phideas at, 132 Music Tablets, 143 lyre, 306
Demaratus, Merchant of Corinth, 68 in Terpanders time, 334
Dennis on Etruscan Vases, 71
Diagram of Nations, 5
Diatesseron, The Greek fourth, 332
Diaulos, Greek flutes, 49, 80-85
Didymus, his minor tone, 344 his diatonic scale, 344
Dion, Statue of Hermes, 130
Dionysius on rhythm, 144 Greek hymn by, 146
Diosopolis Parva, Horn from, 225
Dirce, Fountain of, 129
Disjunct or Greater System, 341
Dragon, Chinese, 3 flute, 239
Dulcimer, Chinese, 253
Ear, Artists habit of reliance on, 333
Edkins, Dr., Akkadian and Chinese languages, 169
Edwards, Miss, at a Nubian funeral, 61
Egypt, Exploration Fund, 225
Egyptian Music unwritten, 304 Egyptian chant of Thotmes IV., 276 player on the Nay, 59 method compared with Chinese, 245
Egyptian Musical Instruments. Mamms or Twin flutes, 47, 62 Nay, 58 Seba, 58 Lyres, 13, 287-289, 297 Zummarah, 38, 57 Arghool reed flute, 35-36 its reeds, 55, 71
Elam, Land of, 167
Elgin, Lord, Lyre from Athens, 319, 323
Ellis, Dr. A. J., on Persian Scale, 7 the lutist Zalzal, 22 Arabic music, 22 test of Gong Chimes, 162 scale of Kublai Khan, 188 on Amiot, 201 scales of various nations, 201 on Japanese scales, 216-217 Greek scales founded on the fourth, 218
Emerson on the Builder, 181
Emperors Chinese. Fu-Hsi, 183, 188, 253, 263 Huang Che, the destroyer of books, 186 Hwang-ti, 171, 188, 197, 257 Shun, 188, 276 Yao, 171
Empress, Chinese, Nu-wo, 188
Encyclopedia of the Chinese, 190
Engel, Carl, on the Sheng, 201
Equal Temperament System of, 346
Erato, The Muse her Psaltery, 317 and Trigon, 321
Eratosthenes, writings on music, 344 on flutes with boxing, 78
Erech, city of the dead, 283
Etrurian Kings of Rome, 67
Etruscan double flutes, 60 Subulones, 69 tomb opening of, 66 vases, 68
Euphrates Valley and River, 167, 168, 169-170, 307
Euterpe, the Muse playing her flutes, 77
Evans, A. J., Knossos lyre seal, 351
Experiments with the Sheng pipes, 199
Ezra and Moses, 190
Feng tribes early in China, 163
Filmore, J., on Indian melodies, 247
Finding the Chinese Lüs, 165
Fingers, the fates of music, 21, 33
Flageolet pipe, 98
Flute of Ismenias, 93
Flute player with Phorbia, 70
Flutes. Diaulos, 49, 75 Subulo, 69 Bombyx, 93, 99, 102-5 Plagiaulos, 97, 104 Cyprian, 115 Egyptian, 11 holed, 122 Pindar’s, 129 Midas, 129, 139 Pompeian, 99, 106, 110 Bronze ringed, 135 Sycamore, 105 Meledosa’s, 79 Wailing, 28, 31 Theban, 129 Pronomus, 73, 92
Fourths, Ancient flat, 30, 53
Free reeds, Midas flutes, 138 Weber’s laws of, 140
Funeral in Nubia, Wailing music at, 61
Galpin, Rev. F. W., his museum, 246
Gardner, E. A., date of Praxiteles, 343
Garibaldi’s welcome, 133
Gaudentius on rhythm, 144
German flute, conical, 219
Gingroi, Lady Maket’s, 4, 28, 33
Glossocomeia, reed box, 43
Gods, Sleeping, 233 procession on Olympus, 350
Goethe, J. W., on May of life, 153
Greco-Etruscan flutes, 69
Greek Church, Music of, 106
Greek Music, Modes their growth, 84 tonal division, 91 notation, letter note, 144, 334 Doric scale, 201 twofold strain of, 330
Greek people, composite race, 65
Greek Vases. Greco-Etruscan, 66, 72 Lekythos for funeral oil, 76 Krater for mixing wine with water, 77, 81 Hydria for drawing water, 78 Amphora for Prize Winners Oil, 78 Kylix, wine cup, 83
Guitar, Chinese, 251
Hall, H. R., oldest Athens, 329
Harp, Evolution of, 285
Harps, Chaldean, 4 Egyptian Assyrian, 262 Abyssinian, 294 Abydos, cross string, 351, 290 Borneo cane, 302
Hathor, The Goddess beautiful, 11
Hautboy, reed, 35 Asiatic, 57
Hellenes or Greeks, 65
Helmholtz on harmonics, 159 scale of Olympos, 201 Ellis’s notes to on scales, 218 on Terpanders, 335
Hemitone of Pythagoras, 336
Hermes, God on the Nile, 309, 312 Statue of, 130
Herodotus, Song of Maneros, 64
Hichi-richi, Japanese Clarinet, 112, 220
Hindoo Cush, 350
Hindoos, frets and bridges, 350
Hipkins, A. J., Scale of Gingroi, 53
Hippocrene water, 325
Homer and Pindar, 127, 349 on the lyre, 308, 311 Trojan War, 329
Hope, Costume of Greeks, 316
Horn, pipe of, 225
Horns, Assyrian, Egyptian, 266 Greek and Roman, 267
Houscheng, Persian King, 8
Hunt, Leigh, on old Nile, 24
Hyagnis, Poet Musician, 330, 335
Hydria, Greek vase, 78
Hymettus, glow of, 325
Hymn to Calliope, 145 to Nemesis, 146 to Confucius, 10, 288 to Hermes, 308
India, carvings of flutes, 9 Ravanastron on violin, 350
Indians, North West Americans, flutes of, 246 in Bolivia, 245
Indus and Ganges rivers, 350
Ion of Chios, his conjunct system, 340
Iranian Mountains, 167, 349, 350
Iscariot, Judas, a musician, 43
Ismenias, his costly flute, 93
Jade, Chinese, 161
Japanese clarionet, 112, 220, 223 flat fourths in their music, 177 fine work, 225, 227 the Sho, 209 its scale, 215, 226 pitch pipes, 212 reed curve of, 225 Koto, 216, 227, 258
Jebb, Prof. on Delphian tablet, 152
Johnston, Sir H., Uganda boat, 286 the Kavibondo Harp, 293
Jubal, pipes of, 4, 209
Kanon or monochord, 347
Keats, John, on a Grecian Urn, 76 on beauty, 81 on cool vintage, 81 treasures hid, 117 teasing thought, 305 Delphic Festival, 324 Apollo, 325
Kin or Scholar’s Lute, 253 cork soundboard of, 255 its softness of sound, 256
Kissar, Abyssinian Harp, 294
Kissirka lyre, 295
Knife Grinders Chinese Trumpet, 271
Koto, Japanese, 227
Krater Greek Vase, 71, 81, 83
Krena, pipe, 245
Krishna, a flute player, 9
Kuênlun Mountains, 172
Kylix, Greek Vase, 83
Lacroix, Decadence of Greek Musical Art, 4
Lamia and her flutes, 73
Lang, Hymn of Hermes, 308
Languages. Chinese and Akkadian, 169
Lekythos, Satyr and flutes on, 76
Lesbian Lyre, 340
Leslie, Prof., on the Ear, 231
Leyden Museum, Harp at, 291, 299
Lichanos, finger for, 334
Ligature of Japanese Clarionet, 219
Ling-lun, his quest, 121 the Chinese lüs, 173, 176, 178 his twelve bells, 232
Linus, Song of, 63, 331
Lucretius on wind and reeds, 153
Lute or Nefer, form of, 289, 299, 351 from Nippur, 352
Lychanos, his added string, 335
Lyres. Queen Hatasu’s three stringed, 13 at British Museum four stringed, 288 Upright form, 289 boated and cross bar, 289 in Paris Collection, 292 open frame lyre of the Stranger’s, 293, 294, 307 Abyssinian, 294 Magadis, 297 Hermes, 308, 312 Greek Chelys, 309 Act of Tuning, 316 subordinate to Voice, 333 Lesbian, 340 Apollo’s, 14, 318 by Praxiteles, 323, 336, 342, 350
Maclean, Dr., on Greek music, 153
Magadis lyre, 297
Mahaffy, J. P., on Delphic Tablet, 149
Mahillon, C. V., on Pompeian flutes, 99, 110, 112, 114, 116 Siamese scale of Phan, 211 Chinese Dragon flute, 240 Apollo lyre, 318
Maket, the Lady, her Egyptian flutes, 50
Malagasy braiding, 313
Malay pipes, 246
Mamms or Twin flutes, 47 Goddess Mama, 63
Man a measurer, 19
Mandarin’s College at Pekin, 190
Maneros, Song of, 64
Mantinea in Arcadia, 323
Marsyas, the elder, 330
Marsyas contest with Apollo, 323
Maspero, on bulb forming for flutes, 122, 123 flute found with eleven holes, 124
Measures of Organ pipes, 179-197
Medea founded by Mongols, 168 home of early races, 349
Meledosa the Muse, her flutes, 79
Memnon, Singing Statue of, at Thebes, 322
Mercury, scale of lyre, 331
Mese or middle note, Aristotle on, 103 called the Sun, 336
Mesopotamia, 167, 169, 308, 328
Midas the glorious, 126 statue of, 134 flutes, 134 brass reed, 138
Migrations of Chinese, 8
Milton on noise, 230
Minor tone of Didymus, 344
Monaulos, the single flute, 86 specimen in British Museum, 89
Mongolian race, 168
Mongols new home, 165
Monochord of Pythagoras, 103, 105, 347
Murray, A. S., on Tomb treasures, 43 his help, 88
Musæus, poet musician, 330
Museums. Ashmolean, 41 Athens, 323 Berlin, 48, 299 British, 17, 33, 45, 59, 62, 70, 71, 86, 87, 134, 189, 246, 270, 287, 295, 298, 308, 310, 311 Brussels, 211 India, 59 Leyden, 48, 291, 299 Munich, 320 Naples, 99 Paris, 48, 292 South Kensington, 232, 240, 294
Musical Scale by Measures, 19, 20 by Vibrations, 347
Mycenœan Greece, 329
Napoleon, work on Egypt, 225
Nations, diagram of, 5
Nauman, History of Music, 317
Nay, Egyptian flute, 58 player on, 59
Nefer or lute, 299 player on, 300 dancers with, 301 Shepherd with, 351
Neith, the goddess Egyptian, 327
Nemesis, Hymn to, 146
Neuter Third, 53
Newton, Sir C., flute from Halikarnassos, 97
Nile, Leigh Hunt on, 24
Nineveh, slabs from, 304
Noah, era of, 163
Noise love of, 229 Milton on, 230
Notation, Greek method of, 144, 334
Nubian funeral wailing, 60 Kissirka lyre, 295
Olympos, his scale, 201, 216, 311, 330
Olympus Mountain, 325 procession of the Gods, 350
Olympus, the Phrygian, disjunct scale, 339
Orestes of Euripides, 151
Organ pipes, 16 measuring of, 179
Orpheus, cithara of, 311 hymn to, 330
Oscan people, 116, 142
Osiris Egyptian God, 23
Ouseley, Sir F. G., ear for pitch of Chinese Bells, 216
Outspread Phœnix, Chinese, 17
Oval holes of ancient pipes, 224
Panopolis, flute from, 122
Pan’s pipes, 16, 164, 201, 237, 246
Parnassus, 325
Parthenon, Friezes, 75 harps on, 298 Temple completed, 342
Pausanias on Greece, 321 on the Memnon, 322 on history, 326 Frazer on, 350
Pelasgians, 67
Persia fire worship, 8
Persian scale from the Greek fourth, 113 mountains, 6, 350
Pentatonic scale origin in the tetrachord, 248
Peruvian Pan’s pipes, 17-18 Stone Syrinx, 18
Petrie, J. Flinders, discovery of flutes, 27 specimen of Zummarah, 57 cross-string harps, 351
Phan, Siamese reeds, 208
Phideas, sculptor, 342
Phœnician Adonis, 33
Phœnix, 164, 201
Phorbia or Capistrum, 70, 140
Phrygian mode, 335
Phrynis, added string, 312
Pindar, Ode to Midas, 126 at Delphi, 109 city of Charites, 138 pipe of brass, 138 and Homer, 349
Pipes, pastoral, 34 primitive, 168 how played, 224, 248
Pitch pipes of Japanese, 214
Plagiaulos Greek pipe, 97, 133
Plato, many stringed lyres, 321 compass of lyres, 342
Pliny on reed growth, 119 on Terpander, 335
Plutarch, on song of Maneros, 64 reciting pipes, 333
Polyphemus, fingers, 19
Polytheistic ideas, 171
Pompeian flutes, 107 Mahillon’s discovery, 110-117
Pompeii, buried city, 107, 320
Praxiteles, Sculptor, his Apollo, 322, 342
Pronomus, his flutes, 73, 92
Proslambanomenos, 340
Ptolemy, Claudius, on minor tone, 91 transposition of Alypius scales, 146 diatonic complete scale, 345
Ptolemy Philadelphus, his Band, 58
Punt, the land of, 11
Pythagoras, on intervals, 7 at the Nile, 33 his added string, 312, 335 songs he loved, 331 his disjunct scale, 339, 340 his fancies, 345
Pythic games, 126, 130, 334
Quechas, Indian pipe of, 245
Queen Hatasu, her Temple, 10-12 ships of, 12 her lyre, 13, 287
Ravanastron, Indian, 350
Red Sea, Canal to, 11
Reed, the arghool, 35, 55
Reed, Hautboy, 35
Reeds and pipes earlier than strings, 23 growth of, 119
Reinach, harmonization of Delphic music, 147
Religion of Akkadians, 169 of Chinese, 168
Rhodians ode to Pindar, 129
Rhomaides, his photo of Apollo, 323
Rivers, Euphrates and Tigris, 170 Cephisis, 128
Rosellini’s Egypt, 300
Rowbotham, J. T., Musical History, 120
Russians, their Bells, 232
Sacadas, the flute player, 130
Sappho, her lyre, 312 songs, 349
Sarasate, Jubilee at Athens, 130
Satyr playing Double pipes, 74
Sayce, A., on Tel Amarna Tablets, 64
Scales in music by finger measure, 19 Chinese Lüs, 174 early, 188 traditional Greek, 327
Schiller’s procession of the Gods, 350
Schubert Music, 180 Symphony, 256
Seba, Egyptian flute, 58
Sepulchres of Etruria, 65
Shelley, on Egypt, 323
Sheng, Chinese, 9 scale of, 176, 182, 200, 209, 244 compared with Greek scale, 205 evolution of, 192, 203 primitive maker, 193 free reeds, 185, 196 experiments with the pipes, 199 Chinese tetrachord, 200 pipes described, 184 order of, 202
Sho, Japanese reeds, 227
Siamese Phan, 208, 211
Silkworm flutes of bronze, 94, 96 scale of, 105
Simcox, E. J., on early Chinese, 168 worship of spirits, 169 Chinese classics, 277
Solomon, King, his musicians, 304
Song, of the goddess Mama, 62 of Linus, 63 of Miriam, 279 of Sappho, 349
Southgate, T. L., experiment with flutes, 51 Panopolis flute, 122 Bulb from M. Maspero, 124
Spartan lyre, 335
Spirit of Earth and Heaven, 169, 171, 275
Stainer, Dr. J., on Reed Box, 43
Sticks, the true prophets of Sheng, 206
Stradivarius, 94
Subulone flutes, 69 players, 73, 82
Sumerian Race, 167 religion, 170
Sycamore flutes, Greek, 89, 95
Tak-Koto, Japanese, 208
Tarentum in Sicily, 342
Temple of Dayr-el-Bahari, 10 of the God Uras at Urasalem, 65
Terpander, prize lyre, 311, 312, 315, 329 Pythic games at, 334, 345 his scheme for scale, 336, 337, 339
Tetrachord Greek, 34 Egyptian, 39, 329 early, 332 meaning of, 332 conjunct and disjunct, 336 trichord added, 336 laws of, 338 instinct for, 347
Thaletes poet musician, 331
Thamyris poet musician, 331
Thebe, foundress of the Theban Nation, 129 flutes of, 129
Thebes, tomb painting, 46
Theodosius, Emperor, 5
Theophrastus on reed growth, 119
Thibet no evidence, 9
Thotmes, 60, 111 his wars, 327
Timotheus, poet musician, lyre of, 312 strings added, 335, 340
Tokio Musical Institute, 219
Tonic, Greeks had not, 334
Tope at Jumal Garlic, 9, 60
Traditions of the Scale, 327
Trigon, Greek Harp, 321
Trojan War, 329, 331
Trombone, infantile, 137
Trumpets, Assyrian and Egyptian, 264 Chinese, 268, 271
Tuning of lyres, 314
Tyrtæus, poet musician, 339
Uganda Boat, 286 Kavibondo Harp, 293
Violins, Chinese, 251 Indian Ravanastron, 350
Wagener, Dr., Chinese weights and measures, 178, 197
Wagner, Procession of the Gods, 229
Wailing flutes or Gingroi, 28
Weber, law of Free Reeds, 140
Wheat, De Candole upon its origin, 348 not in pre-dynastic Egypt, 349
Wilkinson, Sir J. G., Egypt, 290, 293
Williams, Abdy, Euripides Chorus, 151
Yellow Bell, Chinese, 175
Yellow Emperor, 172, 197
Yellow River, 166, 168
Zagros Mountains, 350
Zummarah, Egyptian, 38 description of the, 57
Printed by W. REEVES, 83, Charing Cross Road, London, W.C.
ERRATA.
Page 5 line 16 _for_ kythara _read_ lute.
” 22 ” 28 ” B.C. ” ago.
” 43 ” 21 ” glossoocmeia ” glossocomeia.
” 52 ” 15 ” B 233 ” B♭ 233
” 72 ” 11 _after_ length, _add_,—out of the whole number.
” 75 ” 2 ” indellible _read_ indelible.
” 87 ” 19 ” worn ” warm.
” 92 ” 8 ” third century ” 440 B.C.
” 219 ” 17 ” Cancasus ” Caucasus.
” 225 ” 7 ” Diosopolis ” Diospolis.
” 230 ” 22 ” physical ” psychical.
” 312 ” 11 ” poem _insert_,—as spoken.