The Modes of Ancient Greek Music. D. B. Monro

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СКАЧАТЬ of an article on Greek music which the author contributed to the new edition of Smith's Dictionary of Greek and Roman Antiquities (London, 1890–91, art. Musica). In that article the long-standing controversy regarding the nature of the ancient musical Modes was briefly noticed, and some reasons were given for dissenting from the views maintained by Westphal, and now very generally accepted. A full discussion of the subject would have taken up more space than was then at the author's disposal, and he accordingly proposed to the Delegates of the Clarendon Press to treat the question in a separate form. He has now to thank them for undertaking the publication of a work which is necessarily addressed to a very limited circle.

      The progress of the work has been more than once delayed by the accession of materials. Much of it was written before the author had the opportunity of studying two very interesting documents first made known in the course of last year in the Bulletin de correspondance hellénique and the Philologus, viz. the so-called Seikelos inscription from Tralles, and a fragment of the Orestes of Euripides. But a much greater surprise was in store. The book was nearly ready for publication last November, when the newspapers reported that the French scholars engaged in excavating on the site of Delphi had found several pieces of musical notation, in particular a hymn to Apollo dating from the third century B.C. As the known remains of Greek music were either miserably brief, or so late as hardly to belong to classical antiquity, it was thought best to wait for the publication of the new material. The French School of Athens must be congratulated upon the good fortune which has attended their enterprise, and also upon the excellent form in which its results have been placed, within a comparatively short time, at the service of students. The writer of these pages, it will be readily understood, had especial reason to be interested in the announcement of a discovery which might give an entirely new complexion to the whole argument. It will be for the reader to determine whether the main thesis of the book has gained or lost by the new evidence.

      Mr. Hubert Parry prefaces his suggestive treatment of Greek music by some remarks on the difficulty of the subject. 'It still seems possible,' he observes, 'that a large portion of what has passed into the domain of "well-authenticated fact" is complete misapprehension, as Greek scholars have not time for a thorough study of music up to the standard required to judge securely of the matters in question, and musicians as a rule are not extremely intimate with Greek' (The Art of Music, p. 24). To the present writer, who has no claim to the title of musician, the scepticism expressed in these words appears to be well founded. If his interpretation of the ancient texts furnishes musicians like Mr. Parry with a somewhat more trustworthy basis for their criticism of Greek music as an art, his object will be fully attained.

	Page
§ 1. Introductory. Musical forms called harmoniai or tropoi	1
§ 2. Statement of the question. The terms Dorian, Phrygian, Lydian, &c.	3
§ 3. The Authorities. Aristoxenus—Plato—Aristotle—Heraclides Ponticus —the Aristotelian Problems	4
§ 4. The Early Poets. Pratinas—Telestes—Aristophanes	5
§ 5. Plato. The harmoniai in the Republic—The Laches	7
§ 6. Heraclides Ponticus. The three Hellenic harmoniai—the Phrygian and Lydian— the Hypo-dorian, &c.	9
§ 7. Aristotle—The Politics. The harmoniai in the Politics	12
§ 8. The Aristotelian Problems. Hypo-dorian and Hypo-phrygian	14
§ 9. The Rhetoric. The harmonia of oratory	15
§ 10. Aristoxenus. The topoi or keys	16
§ 11. Names of keys. The prefix Hypo-—the term tonos	19
§ 12. Plutarch's Dialogue on Music. The Platonic modes—Lydian—Mixo-lydian and Syntono-lydian— the Mixo-lydian octave—the keys of Sacadas—tonos and harmonia	20
§ 13. Modes employed on different instruments. Modes on wind-instruments—on the water-organ— on the cithara—on the flute	27
§ 14. Recapitulation. Equivalence of harmonia and tonos	28
§ 15. The Systems of Greek music. The musical System (systêma emmeles)	30

§ 16. The standard Octachord System. The scale in Aristotle and Aristoxenus	31
§ 17. Earlier Heptachord Scales. Seven-stringed scales in the Problems—Nicomachus	33
§ 18. The Perfect System. The Greater and Lesser Perfect Systems— Aristoxenus—enlargement of the scale—Timotheus— Pronomus—the Proslambanomenos—the Hyperhypatê	35
§ 19. Relation of System and Key. The standard System and the 'modes'— the multiplicity of harmoniai	40
§ 20. Tonality of the Greek musical scale. The Mesê as a key-note—the close on the Hypatê—archê in the Metaphysics	42
§ 21. The Species of a Scale. The seven Species (schêmata, eidê) of the Octave—connexion with the Modes	47

§ 22. The Scales as treated by Aristoxenus. Advance made by Aristoxenus—diagrams of the СКАЧАТЬ В начало < 1 2 3 4 5 6 > В конец