Dictionary of Greek and Roman antiquities. Ed. by William Smith. Illustrated by numerous engravings on wood.

MUSICA. MUSICA. 777
4th.;, 1, 1, 1, l3, 1, 1 this view of them, and consider the quarter tones
Sth. 1, 1, 1, -;, 1, 1,;1 as unessential additions, it seems quite impossible
6th. 1, 1,,, 1, I, 2 1 to understand how they could be used at all.
7th. ], -;, 1, 1,;,O 1, 1 The difference of species; considered as the
This distinction of species is importnt, because characteristic distinction of modes, is evidently
it formed originally the chief difference between the spolen of as a thing antiquated and obsolete, not
modes (Tu'VOI). Unfortunately there are no means only by Aristides (who vwas certainly later than
of determining what was the real difference be- Cicero, see p. 70), but also by Euclid. As to
tween melodies written in these several scales; and Aristoxenus, the fragments which remain of his
the diffic-ulty of forming any probable hypothesis writings contain no allusion to such a distinction
on this subject is increased by what is said of at all. In hias time it appears that the number
in the passage quoted above from the Aristotelic of modes was thirteen; ald later writers reckon
Problemata, I&l'-era -yp T& XP'00 1-T& YEX-rox- a - fifteen. (Euclid. p. 19; Aristid. pp. 23, 24.) The
is' ypen) XPr ~, eael ra vres of CYa~eOe lron7r7al descriptions of these fifteen modern modes are very
sruviea lrphrs T?70V ses1rV ararZsTWlO Sca a~E- scanty, but they indicate pretty plainly that they
cw/l, IaJv ewavepXorar, were nothing more than transpositions of the
Owti, raXV EieravpXovraa, 7wpr 6i 6NXijs' osrwes
o8Eyi~av. For since the position of peaq wals de- greater perfect system; their names were Hypotermined (Euclid. p. 18) by the intervals adjacent dorian, iHypoian, Hypoplas gian, Hyponeolian,
to it, any series of sounds beginning or ending with ypolydian,, Dorian, Iastian, Phrygian, Aeolian,.utrE7 would give a system always of the same Lydian, Mixolydian, yperiastian, Hyperplrygian,
species. Possibly the author of the Problemata Hypereolioan, Hyperlydian. The Hypodorian was
does not use the term sued71 in the same sense as the lowest in pitch, and the 7rpoffayuavwrYer of
does not use the term i tuclid.hesame sense as the others were successively higher by a semitone;
End only that part of each scale was used which
However it is certain that the seven species of and only that part of each scale was used which
the Octachord above described were anciently ithin the compass of the oice. t see
(dio'rWiy hpXayeiu, Euclid. p. 15) denoted by the likely that the ancient modes mentioned by Euclid,
narmes hMixolydian, Lydian, Plrygian, Dorian, land described above, consisting of octachords taken,
IHypolydian, Hypophrygian, and Hypodorian; and as regards their speeies, from different parts of the
it seems likely that they always differed in pitch eveT71ha hiseadfoAoe, would, as regards pitch, be
as well as species, the Mixolydiall being the highest, each so laced as to lie between mhrri pfouV and
V/1T? 31-CEV'[EeuVCzVV of the modern mode of the
and the Ilypodorian the lowest. Hence it is conjectured that there were originally only three same name. For they certainly did always differ
modes, corresponding to the three species of tetra- in pitch, as the name rOe'os shows; and there is no
chord, and that these were the Dorian, Phrygian, reason to believe that their relative position was
and Lydian; because the Octachord in each of ever changed: the system of notation, moreover,
these three modes is made up of two similar dies confirms this supposition. But for details on this
junct tetrachords, which are of the first species in (iii 8), we it refer to the dissertation of B
the Dorian, the second in the Phrygian, and the iii. 8), where it is treated at length. The only
third in the PLydiaan. important results, however, are, first, that the
Aristides describes also six ennaarsonic modes modes did anciently differ in species; secondly,
of very ancient origin (als os enruv o mreiacorres that in process of time this difference either disapwrpos rams hpgosias t cEXp7qv'ar, p. 21) consisting of peared entirely, or ceased to be their distinguishing
different species of octachords, and quotes the well mark; and, thirdly, that their general pitch was
known passage in Plato (Rep. iii. c. 10) as refer- always different. The ideas conveyed by these
ring to them. The order of the intervals is given generl assertions of the rel character and effect
as follows (see the notes of Meibomius upon the Greek music are excessively vague and unpa~ssage): - satisfactory; but an examination into particulars
does not tend to make them at all more definite
Lydian..,, 2, 1, I,, 2, ~. or clear.
Dorian.. 1,,, 2, 1,,, 2. There can be little doubt that different rhythms
Phrygian ] i,,, 2, 1, I, 4, 1. and degrees of slowness or quickness, as well as
lastian.. 1,, 2, 1-, 1. different metres and styles of poetry, would soon
Mixolydian. 1, ~, 1, 1, i, 1 3. be appropriated to the modes, so as to accord with
Syntonolydian, I, 2, 1a, 2. their original musical character; and these difIt will be observed that these scales do not all ferences would in time naturally supersede the old
distinction of species, and come to be looked on as
cp rehend exactly an is coincident with and none rt of th their characteristic marks; so that at length all
except the Lydian is coincident with any part of
~the s a a~ohoy None of th~em is de- the species might even be used in each mode, for
the sake of additional variety. With regard to
cidedly unnatural, except perhaps the Mixolydian. the sake of additional variety. th regarticular
Of course it is impossible to recognise their charac- measures were considered appropriate to different
ters as described by Plato, in the absence of exam- measures (Plat. Leg. ii. p. 670), and propriate to differen
ples of their application in actual melody. Their bn attempted to divide Pindar's Odes into
principal interest therefore consists in the evidence Dorian olian and Lydian. (ickhiii. 15.)
which they afford of the antiquity of e72J~ar)Xz Dorian, Aeolian, and Lydian. (Boickh, iii. 15.)
which they afford of the antiquity of enharmzolc The rhvbm of the music must have depended
of systems formed by omitting cer The rhythm of the music must have depended
systems, i.of thediatonicscale. Fomitting certaesin wchiefly, if not entirely, upon that of the words, or
sounds of the diatonic scale. For unless we take else have bn of a ver simple and niform
else have been of a very simple and uniform
character, since there is no mention of a inotation
* That systems were not always restricted to for it as distinct fromn the metre of the poetry.
the immutable form is proved by what Euclid says Probably, therefore, nothing like the modern
of comlpound systems, with more than one UsE'7. system of musical rhythm existed; and if so, this