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TEE MUSIGALTIMES. APRIL19 1866.
261
degree deciphering the riddle. He says that he consideredrank heresy to admit it; for lllUSiC was
" tried the seriesof soundsin every key, and in every nursedby mathematicians;and if a Grecianearreally
almerthat the feet of the verses would allow; and did detect that this system of fourthswas contradicted
as it, has been the opinion of some that the Greek by nature herself, the possessor vf it was probably
scale and music should be readHebrew-wise,he even wise enough to hold his tongue. Be this as it may,
invertedthe order of notes, but without being able there can be little doubtthat the most ancientmusical
to reduce thele to the least grace or elegance." In instrurnentof the Greekswas a lyre; and we have
fact, he emphaticallysays, " I do not at all under- every reason to believe that it had four strings
stand the Greek music) and I neveryet nlet algbody although this fact, earen,is constantly disputed. I
who did.' am disposed,however, to think that, as their rnusic
Where then are we to turn for any actual speci- was regulated by their instruments,and not their
en of the so-called music of the Greeks? The instrumentsby their rnusic as we moderns are in-
Choruses,which formed an important part of their clined to do-the single tetrac7ordon the four strings
dramas, no doubt produced a powerful efiect upon of their lyre originatedtheir system, and that other
the audience; but in what manner they were aided tetrclchords were added as the strings of their lyre
by music remains still a mystery. A large body of increasedin number.
voices rnerelyregulated by that feeling for rhythm The musical characters of the Greeks were
which was the life and soul of Greek poetry, may merely the letters of their alphabet; but these were
have created all the effect about which their poets so distorted, inverted and abbreviated that it was
have rhapsodized. The united soices of a turbulent often almost impossible to recognize them. Of
Illob thirsting for vengeance, have a fearful inten- the idea of ascentand descentthey conveyed not the
sity: the cry of fire from a crowd m the stillness °f slightest notion; and indeed so thoroughly did each
nigrht,thrills through every nerve; and Gluck, the tone exist independentlyof its neighbours that we
composer?relates that the most painfully sublitne m.ayreadily imagine how little our modern notion of
chorushe ever heard was from a hungry multitude a ladderof soundswas at all necessary. The names
in the street? during a time of famule, uttering the of the several notes in their great scale of sounds
simple cry of "bread bread!' were enough to frighten any student: for instance,
With every respect for the alllount of illtellect the note at the hottoznof the scale although never
brollght to bear upon almost every subJectin ancient used in the tetrachord rwascalled Proslambanomerzos
Greece, I am almost mclmed to belleve, thereforeXwhich means literally "taken to begin with," and
that music, such as modern nations understandperhaps after giving this as a specimen,I ruay be
the word, was then perfectly unknown. Our at- excusedfrom naming the others. WVith this cumbrous
tempts to reduce their few remnantsof music to our methodof noting a few simple sounds,it is very easy
present notation are utterly £utile, since we do not to imagine that every alterationmust be in the right
even know the sounds produced by the strings of direction; for as it cou]d not very well be more com-
their lyres; or mdeed, what was really meant by plicated, a greater simplicity gradually-but very
any of the 1620 signs which they had to represent gradually crept in. Before I quit this part of my
their notes. It may be said that we can refer to subject, it will perhapslnake it clearerto my readers
allthoritieson the subJect; but where 1Sthe historian if they see the tetrachordsof the Greekswritten in
that can go to the source of Greek music, and g*e our present notation.
us facts from his own positiveknowledge? Hawkills
Burney, Fetis} all are authorities* but in how many Diatonic. Chromatic. Enharmonic.
instances have they based their information either 2
upon hearsay1 or upon the writings of those who
ol 4 ol r
F 11 J$tJ I " lxa3 rJ iv
s
0
have preceded them; and in how many instances It is necessaryhere to say that the Greeks had no
have they unravelled a Greek mystery according to method of denoting the durationof the sound by the
their own fashion, without one tangible fact to characterused to express the pitch the measureand
assist them? In poring over these works we are feet of the verse beingthe sole guide to the singer.
collstantly remindedof Washington Irvin's theories It will be foreign to my purpose to dwell upon the
of cosmogony,in Knickerbocker's" History of New meaning of the words Dorian, Phrygial:lX Lydiarl,as
York," where he says that many persons supposed applied to their severallnodesn and I will content
that the earth rested upon the back of a huge tor- myself, therefore, by merely saying that we have
toise; but not being able to discover, after lnuch every right to believe that they were merely so many
research,what the tortoise rested upon, the whole variationsof a mznorscale, and that our q7zajor scale,
theory fell to the ground for warlt of a proper as we understalldit, was entirely ullknown to them.
foundation. Many remnants of the (;reek musical terms are,
I have dwelt thus at length upon the history of however, familiar to modern ears; but it must be
Greek music because it is essential to understand carefully remembered that these terms are by no
that, although we are tolerablyacquaintedwith their means llOW used to express the same ideas. l'he
method of notation, we have very little- if any-letter Gzzmqna, placed at the commencementof the
eridence of what actual sounds were represented. scale, no doubt was the origin of our word Ga7nutt
In the first place, we know that the system of tetra- but they attached, as we have already seen, very
chords-or system of a fourth-ruled all others; for differentideas from our own to the words daatonic,
even their whole scale (as we are accustomedto call chromatic,and enharmo7?ic.iEteferringto the three
it) of eighteen notes was dividedinto five tetrachords.tetrachords,of which an examplehas been just given
I will show presently how this system of a fourth is it will be perceivedthat the only place where a note
usually rendered in our present notation. It may, lies between twowholetonesis in the first one, marked
however, here be explainedthat two of these tetra- Diatonic,the word diatone having reference to the
chords joined together, will form what we call a note D, and thus naming the tetrachord. The terre
" diatollic scale " thus: C D E F-G, A, BeC; CJtromatic (frole Chrona, colouz) I believe to have
but if the Greeks kllew this alsoS it was certainly originated with the coloured strings of the lyre,
T1IE 3;IUSICAIX r1'1X3£S.-APRIL 1, 1866. JtjB
which lnarkedthe half tonelike the black keys of{ Although we are now in the fourth century of the
our pianofortesand organs; but eventually it came] Christian era, it will be seen that we have not yet
to be used for the tetrachordwhere no diatonewasNthe slightest approach,not only to a staff,but to any
found, and no interval smaller than a semitonebmethod of determining the ascent or descent of
occurred. Enharmonic,proceeding by the diesis orrsounds. In Kieswetter's History of Music we are
quarter-tone(to expresswhich I have teen compeiled1told that before the introductionof lines, the sounds
to use an arbitrarycharacter),namedthe third tetra-*intendedby the Composer were so uncertainthat, (<s
chord,which containedthis peculiarity; and although John Cotton describesthem, " the samemarkswhich
I cannot say that this opinion, founded upon a con-"Master Trudo used to sing as thirds, were sung as
sultation of various authors7is certain to be theSfourths by Master Albinus; alld Master Salomo, in
correct one, I believe it to be at least as good an[ anotherplace, even assertsthe fifths to be the notes
explanationof these terms as can be advancedafter meant; so that at last there were as many methods
n