On the whole it would seem that the only mode (in the modern sense of the word) of which the new discoveries tell us anything is a mode practically identical with the modern Minor. I venture to think this a confirmation, as signal as it was unexpected, of the main contention of this treatise.

It does not seem to have been observed by M. Weil or M. Reinach that in all these pieces of music there is the same remarkable correspondence between the melody and the accentuation that has been pointed out in the case of the Seikelos inscription ([pp. 90, 91]). It cannot indeed be said that every acute accent coincides with a rise of pitch: but the note of an accented syllable is almost always followed by a note of lower pitch. Exceptions are, aiolon, hina (which may have practically lost its accent, cp. the Modern Greek na), and molete (if rightly restored). The fall of pitch in the two notes of a circumflexed syllable is exemplified in manteion, heilen, Galatan, Phoibon, ôdaisi, klytais, bômoisin, homou: the opposite case occurs only once, in thnatois. The observation holds not only of the chief hymn, but of all the fragments.

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]