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.