A Popular History of the Art of Music / From the Earliest Times Until the Present

by W. S. B. Mathews

There were three great dramatic authors whose names have come down to us as the Shakespeares of the Athenian drama. They were Æschylus, Sophocles and Euripides. All were great poets, the first perhaps the greatest. Sophocles was a fine musician and an elegant poet, and for many years he remained the popular idol. All these men wrote not only the words of the plays, but the music as well, every phrase of every character having been noted for musical utterance, and all the choral effects carefully planned. Besides this he composed what was then called the "Orchestic," whence we have our word orchestra. By orchestic they meant an apparatus of mystical dancing or posturing and marching and certain gestures. We do not know precisely what this famous orchestic was, for no example of it has come down to us in intelligible form. But from the descriptions of it by contemporary writers, it seems to have formed the pantomimic complement of the acting, with a certain added grace of art in grouping and posturing, suited to attract and satisfy the eye of a public accustomed to national games, and the beautiful conceptions of Phidias upon the Parthenon frieze. Thus, as will be readily seen, this drama was essentially opera. For reasons to be hereafter detailed, the music is thought to have been of slight tonal value. This is inferred from the compass of the instruments and the general deficiency of the Greeks upon this side, although popular report assigns them a place entirely different. This mystical drama, leaving so much to the imagination, and supplementing its actual representation by the help of chorus and a sort of sanctity derived from music, lasted but a few years. Other causes were at work destined to bring it to a close.

Almost immediately after Euripides, appeared the great comedy writer, Aristophanes, about 420 B.C. This great artist was not simply a dramatist, but also a patriot and a philosopher. In several of his plays he satirizes the classical dramas effectively, parodies their effects, and in general pokes fun at them. He was, however, a well accomplished musician, who might, if he had chosen, have gone on in the steps of his predecessors. But the times were not favorable to this. Previous to the time of Socrates, orators in addressing popular assemblies, lawyers in pleading cases, and all public speakers, appear to have made use of the cithara as a sort of accompaniment, if for no other purpose than to assure themselves of securing a proper pitch of the voice. But Socrates drew attention to verbal distinctions, made words the image of exact concepts, and in general set in operation an era of scientific classification and purely intellectual development, into which music could not enter, especially in a form so poor upon the tonal side as Greek art then was, and always remained. Then came the great orators, of whom Demosthenes was the greatest, who seems to have been the first to speak without musical aids; and Plato, with his philosophy; and after him the great Aristotle, the father of scientific classification and orderly knowledge.

To a disciple of Aristotle, Aristoxenus, we are indebted for the first really musical work which has come down to us. It is true that the so-called Problems of Aristotle contain many of a musical character, showing that this great master observed tonal effects in a purely musical spirit, but he did not make a scientific treatise upon the art. In his Politics he has much admirable matter relating to music, and its influence upon the feelings and its office in life has hardly been better explained than by him. But music upon the practical side remained a sealed book.

Among the lucid musical questions of Aristotle's Problems (which, if not by Aristotle himself, are at least the product of his time or the succeeding century) he refers to the phenomena of sympathetic resonance; he asks further, why it is that when mese (the keynote of the lyre) is out of tune everything is out of tune; yet when any other string is out of tune it affects only the particular string which is not correctly adjusted. One of his most instructive, but also, as it turned out, most misleading questions was why they did not magadize (sing in) fourths and fifths as well as in octaves, since the consonances of the fourth and the fifth are almost as well sounding as those of the octave. This question appears to have led to the practice of what Hucbald called "diaphony." This question, it may be remarked incidentally, is conclusive that they did not use the third as a consonance in Aristotle's time, nor sing together in fourths, fifths, or any other intervals than the octave.

In spite of the talk about music by the Greek writers, musical theory, in an exact form, occupies but a small place in the volume of their works. The earliest theorist of whom we have any account was Pythagoras, who lived about 580 B.C. He was one of the first of the Greek wise men to avail himself of the opening of Egypt to foreigners, which took place by Psammeticus I in the year 600 B.C. Pythagoras lived there twenty years in connection with one of the temples, where he seems to have gained the confidence of the priesthood and learned much of his philosophy and so-called musical science. He defined the mathematical relation of the octave as produced by half of a given string, the fifth produced by two-thirds and the fourth by three-fourths. He also found the ratio of the major step by subtracting the fourth from the fifth. This was the ratio 9:8. With this as a measure he attempted to place the tones of the tetrachord, or Greek scale of four tones, which was the unit of their tonal system. This gave him two major steps, and a half step somewhat too small, being equal to the ratio of 256:243.

The most important part of Pythagoras' influence upon the art of music was of a sentimental character. From Egypt he acquired many ideas of a musical nature, such as that certain tones represented the planets, and that time was the essence of all things. It was one of the laws of his religion that before retiring at night his disciples should sing a hymn in order to compose their spirits and prepare them for rest. The verses selected for this use were probably of a devotional character, like what are now known as the Orphic hymns, of which the lines upon the next page may be taken as a specimen. Ambros well remarks that such hymns could only have been sung appropriately to melodies of a choral-like character.

"Thou ruler of the sea, the sky, and vast abyss, Thou who shatterest the heavens with Thy thunder peals; Thou before whom spirits fall in awe, and gods do tremble; Thou to whom fates belong, so wise, so unrelenting Thou; Draw near and shine in us."

Various musicians and theorists later are credited with having made additions to the musical resources of the Greeks, and it was a proverb, said of any smart man, that he "added a new string to the lyre." This was said of Terpander especially; but it is pretty certain that the lyre had six or seven strings some time before Terpander, and that the form of expression was purely symbolical, as if they had said of him "he set the river on fire." The first real contributions to musical science after the Problems of Aristotle, already cited, are the two works of his pupil Aristoxenus—one on harmony, the other on rhythm. These give a full account of the Greek musical systems, and are the source of the greater part of our information upon the subject. From them it appears that the basis of their scale was the tetrachord of four tones, placed at an interval of two steps and a half step. The outside tones of the tetrachord remained fixed upon the lyre, but the two middle ones were varied for the purpose of modulation. The Dorian tetrachord corresponded to our succession mi, fa, sol, la; the Phrygian re, mi, fa, sol; the Lydian from do. Besides these modes, the Greeks had what they called genera, of which there were three—the diatonic, to which the examples already given belong; the chromatic, in which the tetrachord had the form of mi, fa, fi, la, the interval between the two upper tones being equal to a step and a half; and the enharmonic, in which the first two intervals were one-quarter of a step and the upper one a major third. We are entirely ignorant of the practical use made of these different forms of scale. Whether the quarter tones were used habitually, or were glided like appoggiaturas, or passing tones, has been vigorously maintained on both sides by different writers. The evidence seems to point to the enharmonic as having been the most ancient, and the chromatic and diatonic gradually superseding it. In Plato, Aristotle and many of the Greek writers, especially in Athenæus, much is said about the characteristic expression of the different modes, but as they are mutually contradictory, one saying of a given mode that it is bold and manly, while another calls it feeble and enervating, we may leave this for the antiquarians to settle for themselves.

After Aristotle, there were several Greek theorists who devoted themselves to mathematical computations, the favorite problem seeming to be to find as many ways as possible of dividing the major fourth, or the ratio 4:3, into what they called super-particular ratios—that is to say, a series of fractions in which each numerator differed from the denominator by unity. They had observed that all the ratios discovered by Pythagoras had this character, 1/2, 2/3, 3/4, 8/9, and they attributed magical properties to the fact, and sought to demonstrate the entire theory of music by the production of similar combinations. The latest writer of the Greek school was Claudius Ptolemy, who lived at Alexandria about 150 A.D. In his work upon harmony he gives a very large number of tables of fractions of this kind—his own and those of all previous Greek theorists, and it is to his book that we principally owe all the exact knowledge of Greek musical theory which we possess. Among other computations, Ptolemy gives the precise formula of the first four notes of the scale as we now have it, but as this occurred only as one among many of a similar character, and is in no way distinguished from any of the others by any adjective implying greater confidence in it, we can only count it as a lucky accident. The eminence that has been awarded to Ptolemy as the original discoverer of the correct ratio of the major scale, therefore, does not properly belong to him.

This will more clearly appear from the entire table of the various determinations of the diatonic mode made by Ptolemy, taken from his work. (Edition by John Wallis, Oxford, 1682, pp. 88 and 172.) He gives no less than five of his own forms of diatonic genus, as follows: (The fractions give vibration ratios.)