TABLE OF CONTENTS
| 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 Enharmonic genus—reference in Plato's Republic—Aristides Quintilianus—the Philebus | [ 48] |
| § 23. The Seven Species. Aristoxenus—the Introductio Harmonica | [ 56] |
| § 24. Relation of the Species to the Keys. Use of the names Dorian, &c.—treatment of musical scales in Aristoxenus—Species in the different genera | [ 58] |
| § 25. The Ethos of Music. Regions of the voice—branches of lyrical poetry— kinds of ethos | [ 62] |
| § 26. The Ethos of the Genera and Species. Ethos depending on pitch—on the genus | [ 66] |
| § 27. The Musical Notation. The instrumental notes—original form and date | [ 67] |
| § 28. Traces of the Species in the Notation. Westphal's theory | [ 75] |
| § 29. Ptolemy's Scheme of Modes. Reduction of the Modes to seven—nomenclature according to value and according to position | [ 78] |
| § 30. Nomenclature by Position. The term thesis in Aristoxenus— in the Aristotelian Problems | [ 81] |
| § 31. Scales of the Lyre and Cithara. The scales on the lyre—on the cithara (viz. tritai, tropoi, parypatai, lydia, hypertropa, iastiaioliaia) | [ 83] |
| § 32. Remains of Greek Music. The hymns of Dionysius and Mesomedes—instrumental passages in the Anonymus—Mr. Ramsay's inscription— melody and accent—fragment of the Orestes | [ 87] |
| § 33. Modes of Aristides Quintilianus. The six Modes of Plato's Republic | [ 94] |
| § 34. Credibility of Aristides Quintilianus. Date of Aristides—genuineness of his scales | [ 95] |
| § 35. Evidence for Scales of different species. The Hypo-dorian or common species—the Dorian—the Mixo-lydian—the Phrygian and the Hypo-phrygian— Aristotle on Dorian and Phrygian—the dithyramb | [101] |
| § 36. Conclusion. Early importance of genus and key only—change in Ptolemy's time in the direction of the mediaeval Tones | [108] |
| § 37. Epilogue—Speech and Song. Musical nature of Greek accent—relation of musical and ordinary utterance—agreement of melody and accent in the Seikelos inscription—rhythm of music and of prose—the stress accent (ictus)—music influenced by language—words and melody—want of harmony—the non-diatonic scales | [113] |
| Appendix. | |
| Table I. Scales of the seven oldest Keys, with the species of the same name | [127] |
| Table II. The fifteen Keys | [128] |
| Music of the Orestes of Euripides | [130] |
| Musical part of the Seikelos inscription | [133] |
| The hymns recently discovered at Delphi: Hymn to Apollo—the scale—the changes of genus and key—the 'mode' identical with the modern Minor—the other fragments—the agreement of melody and accent | [134] |
| Index of passages discussed or referred to | [142] |