INDEX

OF PASSAGES DISCUSSED OR REFERRED TO.

  AUTHORPAGE
Anonymi Scriptio de Musica, § 28
  (the modes employed on different instruments),		[ 27]
Aristides Quintilianus (ed. Meib.):
 p. 10 (Lichanos),[ 31]
 p. 13 (ethos of music),[ 63],[ 66]
 p. 15 (kata dieseis harmonia),[ 53],[ 98]
 p. 21 (Modes in Plato's Republic),[94 - 100]
 p. 28 (topoi tês phônês),[ 63]
Aristophanes, Eq. 985-996 (Dorian Mode),[ 7],[ 42]
Aristotle:
 Metaphysics, iv. 11, p. 1018 b 26 (archê),[ 46]
 Politics, iv. 3, p. 1290 a 20 (Dorian and Phrygian),[105]
  viii. 5-7, pp. 1340-1342 (ethos of music),[ 9],[ 12],[ 13],[107]
  viii. 7, p. 1342 a 32 (Phrygian Mode),[ 12],[ 13],[107]
 Problems, xix. 20, p. 919 a 13 (Mesê),[ 43],[ 82],[102],[107]
       26, p. 919 b 21 (harmonia=System),[ 55]
       33, p. 920 a 19 (Hypatê),[ 44]
       36, p. 920 b 7 (Mesê),[ 44]
       47, p. 922 b 3 (heptachord scales),[ 33]
       48, p. 922 b 10 (modes used by chorus),[ 14]
       49, p. 922 b 31 (high and low pitch),[ 15]
 Rhetoric, iii. 1, p. 1403 b 27 (tonos and harmonia),[ 15]

Aristoxenus (ed. Meib.):
 Harm. p. 2, l. 15 (diagrams of harmoniai),[ 49]
    p. 3 (melody of speech),[115]
    p. 6 (nomenclature by thesis or position),[ 81]
    p. 6, l. 20 (species of the Octave),[ 50]
    p. 8 (speaking and singing),[115]
    p. 8, l. 12 (perfect System),[ 36]
    p. 18 (melody of speech),[ 90], [115]
    p. 23 (Chromatic and Enharmonic),[110]
    p. 26, l. 14 (Lichanos indefinite),[110]
    p. 27, l. 34 (diagrams),[ 52]
    p. 36, l. 29 (seven harmoniai),[ 51],[ 54]
    p. 37 (tonoi or keys),[17 - 19]
    p. 48, l. 13 (Lichanos indefinite),[110]
    p. 69, l. 6 (nomenclature by position),[ 81]
    ibid. (indefinite element in music),[111]
Bacchius (ed. Meib.), p. 11 (topoi tês phônês),[ 65]
         p. 19 (theseis tetrachordôn),[ 82]
Dionysius Hal.:
 c. 11, p. 58 Reisk. (accent and melody),[ 90],[115]
 c. 11, p. 64 Reisk. (rhythm and quantity),[115]
Euclid (ed. Meib.):
  Introductio, p. 19 (ten-stringed lyre),[ 38]
       p. 20 (modulation),[104]
  Sectio Canonis, Prop. xvii, xviii,[ 23]
Euripides, Orest. 338-343 (musical setting),[ 92],[130]
Heraclides Ponticus ap. Athen. xiv. pp. 624-626 (modes),[9 - 11],[ 76]
Lasus ap. Athen. xiv. p. 624 e (Aiolis harmonia),[ 6]
Nicomachus (ed. Meib), p. 4 (speaking and singing),[115]
          p. 7 (heptachord scales),[ 76]
Pausanias, iv. 27, 4 (Sacadas and Pronomus),[ 75]
Pherecrates ap. Plut. de Mus. c. 30,[ 38]
Pindar, Nem. iv. 45 (Lydian),[ 7]
Plato:
  Phileb. p. 17 (harmonia = System),[ 55]
  Laches, p. 188 (Dorian, Ionian, Phrygian, Lydian),[ 8]
  Repub. p. 398 (use of modes in education),[7 - 8]
     p. 399 (aulos—poluchordia).,[ 39],[ 41]
     p. 531 A (study of music),[ 53],[123]
  Laws, p. 669 (instrumental music),[120]
     p. 812 D (harmony),[122]

Plutarch:
  De Musica, c. 6 (harmoniai),[ 25]
       cc. 15-17 (Platonic modes),[21 - 25],[103]
       c. 19 (tonos, harmonia),[ 26]
  De gener. Mundi, p. 1029 c (Proslambanomenos),[ 39]
Pollux, Onom. iv. 78 (harmoniai aulêtikai),[ 22],[ 28]
Pratinas ap. Athen. xiv. p. 624 f (mête syntonon k.t.l.),[ 5]
Ptolemy:
  Harm. i. 13 (musical ratios of Archytas),[123]
     i. 16 (hêgemôn=highest note),[ 45]
     ibid. (scales of the cithara),[84 - 86],[102],[123]
     ibid. (Pythagorean division),[ 87]
     ii. 6 (modulation),[ 67]
     ii. 7 (pitch of scales),[ 80]
     ii. 16 (scales of the cithara),[ 84],[102]
Seikelos inscription,[ 89],[132]
Telestes ap. Athen. xiv. p. 625 f (Phrygian and Lydian),[ 6]
Theon Smyrnaeus, c. 8 (enlargement of scale),[ 37]

THE END

Note on the Seikilos Inscription ([pp. 89-91, 133]).

Since the publication of this work, the Seikilos inscription has been examined afresh by Mr. J. A. R. Munro (of Lincoln College, Oxford). The result of his examination is to show that the last note of the melody has been misread. From a squeeze which he has kindly placed at my disposal it appears that the word apaitei is written—

The line drawn under the three notes

has caused the last to be read as

, which has no meaning here. In fact it is a reversed Gamma (g apestrammenon), and answers to our e natural.

Hence the last line of the transcription on pp. 89-90 should be as follows:

to te-los ho chro-nos a-pai—tei
[Listen]

The importance of this correction is obvious. The scale employed is now seen to be the octave—

e f♯  g a b c♯  d e

If, as I ventured to suggest on [p. 90], the mode is the Hypo-phrygian (the scale of our Major mode, but with a flat Seventh), the key-note will be a. The close on the Dominant e will then have to be noted as a fact supporting the belief that in Greek music the close on the Dominant or Hypatê was the usual one ([see p. 45]).

The line drawn under the three symbols

is found in several other cases where the melody gives more than one note for a syllable. So

(l. 2), and

(l. 3),

and

(l. 4). It does not appear however under

(l. 1).

D. B. M.