FOOTNOTES:
[1] In his work “The Power of Sound” Gurney has taken up in detail Herbert Spencer’s theory of the origin of music.
[2] Stainer, in “Music of the Bible,” inclines to believe that the Sambuca was a large harp of the kind used in Egypt.
[3] Maspéro, the Egyptologist, says that after the tomb has been sealed, the family and guests return to the house of the deceased, to a banquet, after which the “last link which holds the dead to the family is broken. The sacred harpist plays a prelude, then, standing before a statue of the deceased, chants the dirge first sung long ago at the funeral of the Pharaoh Antouf: ‘The world is but perpetual movement and change.... Not all the lamentations in the world will restore happiness to the man who is in the sepulchre; make then a good-day and do not be idle in enjoying thyself.’”
[4] Smith.
[5] This treatise is now attributed to Cleonidas, writing about 120 A. D.
[6] By this is meant that all intervals of the major second, so-called, are not equally large and cannot be, if a correct division of fourths and fifths be desired. Didymus made the interval from C to D smaller than the other seconds of the scale; Ptolemy put the “minor” tone between D and E, where it is now placed.
[7] Some investigators claim that some of these melodies were part of the Temple service at Jerusalem, making the specific statement that the melody used in some liturgical services, and known as the Tonus Peregrinus, is based on a Temple chant.
[8] A fine account of their methods is found in Robert Louis Stevenson’s novel “Kidnapped.”
[9] Mention of prominent American organists and teachers is made in Lesson LIX.