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Άειδε Μούσά μοι φίλη,
μολπής δ’ εμής κατάρχου,
αύρη δε σων απ’ άλσεων
εμάς φρένας δονείτω.
Καλλιόπεια σοφά,
Μουσών προκαθαγέτι τερπνών,
και σοφέ Μυστοδότα,
Λατούς γόνε, Δήλιε, Παιάν,
ευμενείς πάρεστέ μοι.

C. S.

FOOTNOTES:

[32] Imitation ([Greek: monsikhê]) is a term commonly applied to the fine arts.

[33] Harmony here does not mean polyphony or heterophony, as will be seen hereafter.

[34] These poet-singers, indeed, chanted their verses—perhaps not to fixed melodies, but according to a recognized style of cantilation which varied according to the different species of poetry, and was emulated by the readers or singers other than the bards themselves.

[35] The word harmony ([Greek: harmonia]) was used by the Greeks in the sense of melody and was the name given to the so-called octave species or modes of which we shall speak hereafter. (Cf. Aristotle’s ‘Harmonics.’)

[36] The statement of Aristotle, that certain low-pitched modes suited the failing voices of old men, is misleading, as it assumes a fixed pitch for the modes, which at least in classic times they had not, and which was not their essential quality. It may be that in Aristotle’s time the ethical conception of modes had been lost and that they had all become practically transposition scales. But the theory advanced by H. S. Macran in ‘Grove’s Dictionary,’ which gives each mode an ‘intrinsic’ pitch character according to the high or low position of its mese, or tonic, is interesting. According to the laws of Greek music, this ‘tonic’ must be the predominating or constantly recurring note in every melody.

[37] The b♭ is known to have been the first chromatic string added to the kithara, or lyre, thus enabling players to use several modes without tuning the instrument especially for them.