FOOTNOTES
[1]Krause.—Geschichte der Musik.
[2]The Raagni is the popular mode of singing in India; it is a free Fantasia, or improvisation.
[3]Wm. Jones; Music of India.
[4]Ambros.
[5]Krause.
[6]Plutarch, of Isis and Osiris.
[7]Herodotus, Hist.
[8]Plutarch, of Isis and Osiris.
[9]Petronius.
[10]Champollion.
[11]Lepsius, Abt. 2 Pl., 86e.
[12]Wilkinson, p. 240.
[13]Wilkinson, v. 2, p. 222.
[14]V. 3, p. 83.
[15]Abtheilung, 3, page 106.
[16]Hist. Gen. de la Mus.
[17]Doubts have been expressed concerning the genuineness even of these.
[18]Lloyd.
[19]Lloyd, Age of Pericles, Vol. II., p. 222.
[20]Ambros, Gesch. d. Musik, p. 237.
[21]Olympia, p. 106.
[22]The nome, or hymn for which Chrysothemis, gained the prize, celebrated the victory of Apollo over the serpent Python.
[23]Gevært, Mus. de l’antiquite, p. 45.
[24]Chappell, Hist. of Mus., p. 32.
[25]Diodorus.
[26]Ambros Ges. d musik, p. 265, v. 1.
[27]Later there were more characters added, but at first, the whole action consisted of dialogues between a solitary actor and the chorus.
[28]Jullien however, thinks Sappho in common with many other ancient poets much overrated. Theses Supplementaires, p. 439.
[29]Geschichte der Griech. Lit.
[30]Lucian, Lapithæ.
[31]Ambros, Gesch. d. musik, v. 1, p. 260.
[32]Jullien, Theses Supplementaires, p. 130.
[33]The very title “philosopher” was of his own coining, for previous sages called themselves Sophos (wise), but he preferred the better name of Philosopher (lover of wisdom).
[34]Some of the pupils of Pythagoras, maintained that he only of all men had heard the harmony of the spheres.
[35]The sense of sound differs in different ears. In Chappell’s Histy. of Music, page 251, an account is given of a wire of sixty-four feet in length, arranged by Sir F. A. Gore Ouseley, to sound the C, four octaves below C in the bass clef. The note was inaudible, but when taken at half length some of the listeners heard it, while at quarter length it was audible to all.
[36]See Lucian, Auction of Philosophers. Some say two years.
[37]Women were also admitted, but probably only to attendance on lectures, not to membership.
[38]Legum II.
[39]Lloyd, Ages of Pericles, Vol. 2, p. 239.
[40]See Lucian, Lapithæ.
[41]Ottfried Müller, V. I, p. 343.
[42]Socrates intimates that the hiring of a large retinue of servants, and the purchase of an expensive flute, went very far towards establishing a reputation as a skillful flutist.
[43]Physcon was a nickname signifying thick belly.
[44]Müller, Gesch. d. Griech. Lit. v. 1, p. 380.
[45]Müller, Gesch. v. 1, p. 399.
[46]Müller, Ges. v. 1, p. 394.
[47]At seven years old the study was usually commenced.
[48]See O. Müller, Gesch. v. 2, p. 44
[49]The lips of the tragic mask were usually half open.
[50]Gesch. d. Griech. Lit. p. 44
[51]Some Dithyrambic poets kept a band of flute-players to accompany their choruses.
[52]There was, and possibly is still, in some parts of Italy, a custom analogous to this, when the director of the orchestra marked time by rapping his baton regularly on his music stand instead of simply waving it.
[53]Thucydides also gives an unfavorable picture of Cleon. Grote in his History of Greece, defends Cleon’s character.
[54]Müller, p. 207, v. 2.
[55]De Saltatione
[56]Czerwinski, Geschichte d. tanz kunst, p. 19.
[57]Lucian, de Saltatione.
[58]Czerwinski, Gesch. d. Tanz k.
[59]Phillina, in dialogues of the Hetaræ.
[60]O. Müller, Gesch. d. Griech. Lit. v. 2, p. 210.
[61]Valerius Maximus, Book 2, x.
[62]Book 2. s. iv
[63]These are still used in Italy, and their performers are called Zam pognari. The derivation is obvious.
[64]Chappell, in his History of Music, is the most lucid of these.
[65]See Fetis’ Hist. Gen. de la Musique.
[66]Fetis, Hist. v. 8.
[67]Gevært, Hist. de la Mus. de l’ant. p 56.
[68]Tacitus, Bk. IV.
[69]Gevært, Mus. de l’ant. p. 58.
[70]Tacitus, Bk. I.
[71]Lucian, de Saltatione.
[72]Lucian, de Saltatione.
[73]Lucian, ibid.
[74]Seneca.
[75]Suetonius, Calig. LIV.
[76]Suetonius, Vesp. XIX.
[77]Letters of Julian, No. 56.
[78]Tacitus, Bk. XX.
[79]Suetonius, XX.
[80]Tacitus, XV.
[81]Suet. Nero, XXI.
[82]Tacitus, Bk. XXI.
[83]Suetonius, Nero. XXIII.
[84]See chapter on Games of Greece.
[85]Nero however sometimes took part in other contests, he was as poor and persistent a charioteer as magician.
[86]Tacitus, Book XVI.
[87]In the early historical part of this article, we have mainly followed the dates used by La Fage.
[88]Ambros, Gesch. d. Mus. p. 20, v. 1.
[89]Amiot, Abrege Chron. p. 201.
[90]Chinese annals claim that their empire was founded 80,000 or 100,000 years B. C. Fo-hi’s reign is fixed by some at about 2,250 B. C.
[91]Amiot, De la Mus. des Chinois, p. 54.
[92]Amiot, p. 57.
[93]It is singular that a similar personage exists in the Hindoo mythology.
[94]Quoted by La Fage, Hist. de Mus., p. 47.
[95]La Fage, p. 50.
[96]Amiot, de la Mus. des Chinois, p. 11.
[97]P. 63. Mus. des Chinois.
[98]La Fage, 69. De Mailla, 191.
[99]Amiot, de la Mus. de Chin., p. 33.
[100]Ambros, Gesch. der Musik, p. 27, v. 1.
[101]Ambros, Gesch. d Mus. p. 32.
[102]Pieces for the Clavichord in the style of Rameau.
[103]Amiot, Mus. des Chinois, p. 3.
[104]Cibot, Essai sur les Caracteres Chinois.
[105]Amiot, de la Mus. de Chin., p. 35.
[106]Figures 2 and 3, pl. 1, Amiot, des Chin.
[107]Figures 4 and 6, pl. 2, Amiot.
[108]Figure 7, pl. 2, Amiot.
[109]Amiot, Essai sur les pierres sonores.
[110]L’Abbé Roussier, Annotations sur Amiot.
[111]The chronicle says “it was mute forever,” but this was meant as hyperbole.
[112]De la Mus. des Chin., p. 60.
[113]There are two kinds of siao, the great and the small. The latter has the same number of tubes, but pitched an octave higher.
[114]Fetis, Hist. Gen de la Mus. VI. 1, p. 66-67.
[115]Fetis, p. 73.
[116]“Les Chinois ont remplacé les voix des femmes par celles des casrats. Les chirurgiens Chinois sont arriveés a pratiquer l’operation avec une addresse singuliere et presque sans souffrance pour le sujet.” La Fage, Mus. des Chin., p. 150.
[117]La Fage, Mus. des Chin., p. 241.
[118]Amiot, Mus. des Chinois, p. 179.
[119]In singing this the chorus speaks in the name of the emperor.
[120]Amiot, des Chin., p. 180.
[121]The offerings are viands, libations, and perfumes, the latter being burnt as incense by the emperor.
[122]Copied by Ambros, in Gesch d mus. v. 1, p. 34-5.
[123]Quoted by Fetis, Hist. Gen. de la Mus. v. 1, p. 62.
[124]Amiot, p. 171.
[125]La Fage, des Chinois, p. 269.
[126]First it was Haydn, then Handel, then Mozart, then Beethoven and to-day Wagner (a few years ago, Schumann) whose bold eagle-flights dismayed the more timid owls.
[127]“Among the Chinese themselves, society chiefly consists of certain stated forms, and expressions, a calm, equal, cold deportment, hypocritical attentions, and hyperbolical professions.” Barrow’s Life of Macartney, v. 2, p. 414. The curious reader will also find a very full description of Chinese social etiquette, in the “Description de la Chine,” by Pere Du Halde, pages 115 to 154, vol. 2. Rules are given for set formalities, even on the slightest occasions, such as, the opening of a conversation when visiting (p. 126), the exit, the rising from table after meals, (138), etc., etc. It is possible, that in the customs of this people, we may see a living reproduction of some traits of the ancient Egyptians
[128]Barrow’s life of Macartney, v. 2, p. 231.
[129]Ibid, v. 2, p. 217
[130]Desc. de la Chine. T. II. p. 132. In La Fage’s quotation the page is given as 112, probably an oversight, or a later edition.
[131]Account of Lord Macartney’s embassy, by Sir George Staunton.
[132]Musical Myths and Facts, vol. 2, p. 163.
[133]La Fage Mus. des. Chinois T. 1. p. 302
[134]Leit motiven however the Chinese have not!!
[135]De Guignes, Voyage a Peking v. 2, p. 325.
[136]It would however, be as unjust to judge average Chinese plays by this one instance as to judge of the Shakesperian drama by “Titus Andronicus.”
[137]Voyage to Cochin China, p. 295.
[138]In like manner physiologists at one time endeavored to account for the peculiar singing of the Tyrolese peasantry (called the “yodel”) by the theory that the Tyrolese throat was shaped differently from throats in general. Anatomy exploded the assumption.
[139]La Fage, Mus. des Chinois, v. 1, p. 311.
[140]Edward Brown, Adventures In Cochin China, p. 221, quoted by Engel Mus. Myths and facts, vol. 2, p. 157.
[141]DuHalde, Description de l’emp. de la Chine. T. 2, p. 156.
[142]LaFage, Mus. des. Chin., T. 1, p. 313.
[143]Barrow’s life of Macartney, v. 1, pp. 341-2
[144]Ibid, p. 337.
[145]Ainsworth, around the world, p. 102.
[146]The following is a short synopsis of Chinese education. “When choosing a wet-nurse, the mother must seek a modest, virtuous, affable, discreet, respectful, exact and prudent woman. When the boy can carry his hand to his mouth he is weaned, and taught to use his right hand in eating; at the age of six, teach him the simplest numbers, and the names of most important parts of the globe; at the age of seven separate him from his sisters, and let him neither eat nor sit with them; at the age of eight teach him the rules of politeness and civility, which he must observe when entering or leaving a house, or when he is with his elders; at nine teach him the calendar; at ten send him to the public school and give him no more cotton-stuffed garments, they will be too warm for his age. The school-master is to give him knowledge of reading, writing and arithmetic. At thirteen, let him study music, that he may sing poetry, and that the wise maxims contained in the verses, be engraven on his memory. At fifteen he is to learn archery and riding. As for girls, when they have attained the age of ten years, they are not to be allowed to go out of doors; teach them to speak sweetly, to have an affable air, and to understand all household duties.” Book of ancient rites quoted in Pere du Halde’s Descrip. de la Chin., T. 2, p. 438.
[147]Ainsworth, p. 102.
[148]A good example of the ludicrous side of this over politeness, may be given here. The host in China will constantly press his guest to accept of things which the latter is expected to refuse; the host is also required by etiquette to depreciate himself and extol his guest, which the latter returns in kind. An English gentleman having resigned himself to his interpreter, the following dialogue (like that in Kinglake’s “Eothen,”) takes place:—
Interpreter. His excellency has long looked forward to this day.
Chinese Dignitary. I meet him now as an old friend, and request to know his honorable age.
Int. His excellency has profitlessly passed —— years.
Chinese Dig. The ears of his excellency are long, and betoken great ability.
Int. Ah! oh! he is unworthy of the compliment.
Chinese Dig. You have had an arduous journey.
Int. We deserved it, etc.
A similar “call” is described in Ainsworth’s “all around the world,” p. 106.
“At last we begged to take our leave, and began violently to ‘tsing-tsing,’ a ceremony which consists in clasping your hands before your breast, and making a crouching baboon-like gesture; it is the equivalent of shaking hands, only one shakes one’s own hands.... Our host insists on following us to our chairs. We remonstrate; ‘stop! stop! we are unworthy,’ say we. ‘What language is this’ he replies. ‘We are really unworthy’ we reiterate. ‘You are in my house,’ he insists; and so we back to our chairs, perpetually imploring him not to accompany us, which he vehemently resists, until at last, when we are in our chairs, he reluctantly consents to return, apologising to the last, for being so rude as to leave us even then.”
[149]Japan, Aime Humbert, p. 173.
[150]Ambros, Gesch. d. Mus. v. 1, p. 38.
[151]Ibid, 39.
[152]See Article on Egypt.
[153]Fetis, Hist. de la Mus. v. 1, p. 84.
[154]Humbert’s Japan, p. 174.
[155]Siebold, Pantheon of Nipon, part C, plates
[156]Or more properly, agglutinate.
[157]Humbert, Japan, p. 42.
[158]Abbe Huc, Travels in Thibet.
[159]S. Osborne, Japanese Fragments.
[160]Mr. Oliphant, in Elgin’s Mission to Japan.
[161]Thunberg, Voyage to Japan, p. 351, Sherwood’s Edition.
[162]Kaempfer, Hist. of Japan (Pinkerton), p. 745.
[163]Kaempfer, Hist. of Japan, p. __.
[164]Dr. Müller, Journal of the German Eastern Asiatic Society.
[165]Letter to the “Leisure Hour,” June 9, 1877.
[166]Humbert, Japan, p. 248.
[167]Caron’s Account of Japan (Pinkerton), p. 633.
[168]Humbert, Japan, p. 295.
[169]Humbert, Japan, p. 258.
[170]Thunberg, Voyage to Japan (Sherwood’s Ed.), p. 293.
[171]Kæmpfer’s history of Japan, p. 815 (Pinkerton’s).
[172]Ibid, p. 818.
[173]Caron’s Account of Japan (Pinkerton’s ed.), p. 611. v. 7.
[174]Dr. Müller; paper read before the German Asiatic Society.
[175]Wood’s Natural History of Man, v. II, p. 849.
[176]La Fage, Hist. gen. de la musique, v. I, p. 376.
[177]Wood’s Nat. Hist. of Man, v. II, p. 850.
[178]Dr. Müller, German East. Asiatic Society.
[179]Japan and the Japanese. Capt. Golownin, v. II, p. 149.
[180]Worn one above the other. Sometimes six or seven dresses are worn in this manner by one fair fashionable.
[181]Humbert’s Japan, p. 336.
[182]Thunberg.
[183]La Fage, Hist. de la Mus. v. I, p. 375.
[184]Engel, Mus. Myths and Facts, v. II, p. 164.
[185]La Fage, Hist. de la Mus. v. I, p. 376.
[186]Humbert, Japan, p. 337.
[187]All Round the World, p. 206.
[188]Thunberg, p. 307.
[189]Ambros, Gesch. d. Musik, v. I, p. 4.
[190]Comettant, Mus. et Musiciens, p. 586.
[191]Fetis, Hist. gen. de la Mus., v. I, p. 26.
[192]Ambros, Gesch. d. Musik, p. 10, v. I.
[193]See Fetis, Hist. gen. de la Mus. v. I, p. 15.
[194]The effect of this in some Australian dances, is said to be very striking. The favorite device, is to draw the outline of a skeleton, on the front of the body, with white paint. As the dancers twirl round, the pattern is plainly perceptible when their faces are turned toward the spectator, but when their black backs are turned, the whole vanishes, and gives the impression of a number of ghastly skeletons, alternately appearing and disappearing, by the dim flicker of the firelight.
[195]Here we see one of the earliest traits of primitive music. The use of a plain, rhythmic accompaniment, without tune.
[196]From the “Illustrated London News,” Oct. 8, 1863.
[197]Wood’s Nat. Hist. of Man, v. I, p. 68.
[198]Meinicke, Inseln des Stillen Oceans, v. I, p. 329.
[199]Wood’s Hist. of Man, v. I, p. 162.
[200]Meinecke, Inseln d still. Oceans, v. I, p. 330.
[201]A conundrum from Java may be interesting to the reader. Here is one,—
Q.—What is lower than the knee, yet higher than the mountain?
A.—The road which crosses the mountain.
[202]De Backer, L’Archipel Indien, p. 185.
[203]De Backer, L’Archipel Indien, p. 207.
[204]Quoted in Ainsworth, Round the World, p. 246.
[205]Engel’s Musical Myths, e. c., v. 2, p. 150.
[206]A voyage round the World (Cook’s) Forster, p. 398, v. 1.
[207]Wood’s Nat. History of Man, v. 1, p. 285.
[208]An account of a Government mission to the Fiji Islands, p. 116.
[209]Fetis, Histoire de la Mus., v. 1, p. 96.
[210]Wood’s Nat. History, v. 2, p. 288.
[211]All Kaffir chiefs aspire to obesity as an emblem of rank.
[212]The Heart of Africa, v. 2, p. 29.
[213]Schweinfurth, Heart of Africa, v. 2, p. 30.
[214]Central Africa, or Naked Truths about Naked people, p. 278.
[215]Wood’s Nat’l History of Man, v. 2, p. 498.
[216]Journal of the discovery of the source of the Nile, by Capt. Speke, page 210.
[217]Captain Speke’s Journal, p. 222.
[218]Heart of Africa, v. 1, p. 287.
[219]Heart of Africa, v. 1, p. 289.
[220]Ismailia, By Sir S. W. Baker, page 391.
[221]Ismailia, p. 355.
[222]See “Ismailia,” p. 372.
[223]It will be recollected that the Abyssinians belong to a sect of the Christian Church.
[224]Coomassie and Magdala, by H. M. Stanley, p. 310
[225]Coomassie and Magdala, page 488.
[226]Ismailia, page 282.
[227]Baker’s “Ismailia,” page 351.
[228]Stanley’s “How I found Livingstone,” page 622.
[229]Brendel, Gesch. d. Musik, p. 7.
[230]According to Clemens Romanus, a contemporary of St. Paul.
[231]Tertullian, Apologia, 39. Evidently a custom derived from the skolion of Greece.
[232]Ambros, Geschichte d. Musik, v. II, p. 5.
[233]Gesch. d. Musik, v. II p. 11
[234]Marcillac, Histoire de la Mus. Modern, p. 25.
[235]Fetis, Histoire Gen. de la mus, v. 4, p. 6.
[236]Letters, v. 5, p. 7.
Affirmabent autem, hanc fuisse summan vel culpæ suæ, vel erroris quod essent soliti stato die ante lucem convenire; carmenque Christo, quasi Deo, dicere secum invicem; seque sacramento non in scelus aliquod obstringere, sed ne furta, ne latrocinia, ne adulteria committerent ne fidem fallerent, ne depositum appellati abnegarent, quibus peractis morem, sibi discedendi fuisse, rursusque coeundi ad capiendum cibum, promiscium tamen et innoxium.
[237]Quoted by Fetis, Histoire Gen. d. l. Mus., v. 4, p. 7.
[238]Fetis.
[239]Marcillac, Histoire de la Mus. Moderne, p. 27.
[240]Ambros, Geschichte d. Mus., v. 2, p 13.
[241]Fetis, Histoire Gen. de la Mus., v. 4, p. 17.
[242]A good explanation of the system is to be found in Fetis, v. 4, pp. 29-56.
[243]See Curzon’s “Monasteries of the Levant,” or Proust’s “Voyage on Mt. Athos.”
[244]Some excellent German translations of the hymns, have been made by Zingerle, and are to be found in the “Zeitschrift d. Deutschen Morgenl. Gesellschaft.”
[245]Fetis, Histoire Gen. T. 4. p 90.
[246]Rambosson, Harmonies du Son, p. 21.
[247]King’s “Ten Thousand Wonders,” p. 241.
[248]Marcillac, Hist. de la Mus. Moderne, p. 28, and Brendel, Gesch. d Mus. p. 9.
[249]Confessions, Book IX., Chap. 6.
[250]Ambros, Geschicht der Musik, vol. 2, p. 14. Fetis, Biographie Univ. v. 1. p. 85.
[251]Confess, IX., 7.
[252]Fetis, Hist. Gen de la Mus., v. 4, p. 135.
[253]Grove’s Dictionary of Music and Musicians, part 1, vol. 1, article “Ambrosian chant,” by Rev. Thomas Helmore.
[254]Ambros, Gesch. d. Mus., v. 2, p. 43.
[255]Ambros, v. 2, p. 45.
[256]These latter letters may however, only refer to the diagrams, and not to musical notes.
[257]Epoch men, by Sam’l Neal, p. 43.
[258]Vie de Charlemagne, Guizot, T. 3, p. 151.
[259]Ambros Gesch. d. Mus., v. 2, p. 94. We must remind the reader that “Gregorian” music, does not always refer to the compositions of Gregory, but simply means the singing used at Rome, as the “Ambrosian” means the style used at Milan.
[260]Monachus Engolismensis (the monk of Angouleme), an anonymous writer of this era, in his Vita Caroli Magni. quoted by J. J. Rousseau, in his Dictionnaire de Musique article “Chant,” also by Crowest, Mus. Anecdotes, v. 2, p. 239; Fetis, v. 4, p. 279; Ambros, v. 2, p. 94, etc., etc.
[261]It has been suggested by some recent writers on this subject, that even this should be met by forming the notes of various lengths, thus, a whole note ———, a half note ——, a quarter —, etc., but this difficulty can be obviated, in spacing, by any good music engraver, and does not require so radical a change.
[262]The semitone falling always between the second and third note, is the only regularity apparent.
[263]Stainer’s Dictionary, p. 311.
[264]There is some ambiguity regarding the title of this pontiff. Some authorities call him John XX., and the next John (1276) the XXI.
[265]Quoted by Stainer and Barrett, Dict. p. 314.
[266]Topog. Hibern., 3 C. 1.
[267]“The Troubadours,” F. Hueffer, p. 61.
[268]Quoted by Hueffer, “Troubabours,” p. 72.
[269]Hueffer, p. 274-5.
[270]Richard.
[271]Taylor’s “Lays of the Minnesingers,” p. 229.
[272]French.
[273]Those of the Troubadours.
[274]This line is vague in its meaning.
[275]Taylor’s “Minne-singers,” p. 98.
[276]Fabeln und Erzehlungen aus d. zeiten d. minne-sanger. Von Bodmer and Breitlinger Zurich, 1757, p. 247.
[277]Rambosson, Harmonies du Son, p. 46.
[278]Anglice—Master-singers.
[279]L’Opera Italien. Castil-Blaze, p. 20.
[280]L’Opera Italien. Castil-Blaze, p. 26.
[281]Curiosites Theatrales, Fournel (Paris), p. 17.
[282]Bibliotheque de Poche, v. VIII., p. 345.
[283]Ibid, vol. II., p. 811.
[284]Historiette d. la Marechale de Themines, book 5, p. 196.
[285]Edwards’ History of the Opera, vol. 1, p. 15.
[286]Curiosites Theatrales, Fournel, p. 161.
[287]See Annals Dramatiques, VII., p. 165.
[288]L’Opera Ital. Castil-Blaze, p. 128.
[289]Deldeves. Curiosites Musicales, p. 215.