REMARKS ON MUSIC.
(Continued from [page 124].)
Some Historians affirm that music was first known in Egypt, and by comparing the accounts of Didorus Siculus, and of Plato, there is reason to suppose, that in very ancient times the study of music in Egypt, was confined to the Priesthood, who used it only on religious and solemn occasions; that, as well as sculpture, it was circumscribed by law: that it was esteemed sacred, and forbidden to be employed on light or common occasions; and that innovation in it was prohibited; but what the style or relative excellence of this very ancient music was, there are no traces by which we can form any accurate judgment. After the reigns of the Pharoahs, the Egyptians fell by turns under the dominion of the Ethiopians, the Persians, the Greeks, and the Romans. By such revolutions, the manners and amusements of the people, as well as their form of government, must have been changed. In the age of the Ptolemies, the musical games and contests instituted by these monarchs were of Greek origin, and the musicians who performed were chiefly Greeks. The most ancient monuments of human art and industry, at present extant at Rome, are the obelisks brought there from Egypt, two of which are said to have been erected by Sesostris at Heliopolis, about 400 years before the siege of Troy. These were by the order of Augustus brought to Rome after the conquest of Egypt. One of them called guglia rotta, or the broken pillar, which during the sacking of the City in 1527 was thrown down and broke, still lays in the Campus Martius. On it is seen the figure of a musical instrument of two strings and with a neck. It resembles much the calascione still used in the kingdom of Naples.
This curious relict of antiquity is mentioned, because it affords better evidence than, on the subject of ancient music, is usually to be met with, that the Egyptians at so very early a period of their history, had advanced to a considerable degree of excellence in the cultivation of the arts. By means of its neck, this instrument was capable, with only two strings, of producing a great number of notes.
These two strings if tuned fourths to each other, would furnish that series of sounds which the ancients call heptichord, which consist of a conjunct tetrachord as B. C. D. E; E. F. G. A; if tuned in fifths; they would produce an octave, or two disjunct tetrachords. The annals of no other nation than Egypt, for many ages after the period of the obelisk at Heliopolis, exhibit the vestige of any contrivance to shorten strings during performance by a neck or finger board. Father Montfaucon observes, that after examining 500 ancient lyres, harps, and citheras, he could discover no such thing.
A. O.
(To be continued.)
For the New-York Weekly Magazine.