THE MODES OF ANCIENT GREEK MUSIC

BY D. B. MONRO, M.A.
PROVOST OF ORIEL COLLEGE, OXFORD
HONORARY DOCTOR OF LETTERS IN THE UNIVERSITY OF DUBLIN AT THE CLARENDON PRESS 1894

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TABLE OF CONTENTS
§ I. Introductory.
Musical forms called apfioviaL or rpoVot i
PAGE
§ 2. Statement of the question.
The terms Dorian, Phrygian, Lydian, &c 3
§ 3. The Authorities.
Aristoxenus— Plato — Aristotle —Heraclides Ponticus—the
Aristotelian Problems 4
§ 4. The Early Poets.
Pratinas—Telestes—Aristophanes 5
§ 5. Plato.
The apixovlai in the Republic—The Laches …. 7
§ 6. Heraclides Ponticus.
The three Hellenic apfioviai—the Phrygian and Lydian— the
Hypo-dorian, &c 9
§ 7. Aristotle—The Politics.
The dpfiovlai in the Politics 12
§ 8. The Aristotelian Problems.
Hypo-dorian and Hypo-phrygian 14
§ 9. The Rhetoric.
The dpfiovia of oratory 15
§ 10. Aristoxenus.
The TovoL or keys 16
§ II. Names of keys.
The prefix Hypo the term tovos 19
§ 12. Plutarchs Dialogue on Music.
The Platonic modes—Lydian—Mixo-lydian and Syntonolydian—
the Mixo-lydian octave—the keys of Sacadas
—rovo^ and dpixovia …….. 20
§ 13. Modes employed on different instruments.
Modes on wind-instruments—on the water-organ—on the
cithara— on the flute 27
§ 14, Recapitulation.
Equivalence of dpixovia and tovos 28
§ 15. The Systems of Greek music.
The musical System (ava-Trjixa e/A/xeXe?) 30
§ 16. T/ie standard Octachord System.
The scale in Aristotle and Aristoxenus 31
§ 17. Earlier Heptachord Scales.
Seven-stringed scales in the Problems—Nicomachus . . 33
§ 18. The Perfect System.
The Greater and Lesser Perfect Systems—Aristoxenus
—enlargement of the scale —Timotheus— Pronomus—
the Proslambanomenos—the Hyperhypate • • • 35
§ 19. Relation of System and Key.
The standard System and the ‘ modes ‘—the multiplicity of
upixoviai ………. 40
§ 20. Tonality of the Greek musical scale.
The Mese as a key-note—the close on the Hypate
—
dpxrj in
the Metaphysics 42
§ 21. The Species of a Scale.
The seven Species {a-xvf^aTa, cUr]) of the Octave—connexion
with the Modes 47
CONTENTS. XV
PAGE
§ 22. The Scales as treated by Aristoxenus.
Advance made by Aristoxenus—diagrams of the Enharmonic
genus—reference in Plato’s Republic—Aristides
Quintihanus—the Philebiis 48
§ 23. The Seven Species.
Aristoxenus—the Introductio Harmonica …. 56
§ 24. Relation of the Species to the Keys.
Use of the names Dorian, &c.—treatment of musical scales
in Aristoxenus — Species in the different genera . . 58
§ 25. The Ethos of Music.
Regions of the voice—branches of lyrical poetry—kinds of
ethos 62
§ 26. The Ethos of the Genera and Species.
Ethos depending on pitch—on the genus …. 66
§ 27. The Musical Notation.
The instrumental notes—original form and date … 67
§ 28. Traces of the Species in the Notation.
Westphal’s theory 75
§ 29. Ptolemys Scheme of Modes.
Reduction of the Modes to seven— nomenclature according
to value and according to position 78
§ 30. Nomenclature by Position.
The term Beats in Aristoxenus—in the Aristotelian Problems . 81
§ 31. Scales of the Lyre and Ciihara.
The scales on the lyre—on the cithara (viz. rpirai, Tporroi,
TrapvTrurat, \vdia, virepTpona, laa-Tiaiokiala) …. 83
§ 32. Remains of Greek Music.
The hymns of Dionysius and Mesomedes— instrumental
passages in the Anonymus—Mr. Ramsay’s inscription
—
melody and accent—fragment of the Orestes … 87
§ 33. Modes of Aristides Quintilianus.
The six Modes of Plato’s Republic 94
34. Credibility of Aristides Quintilianus.
Date of Aristides—genuineness of his scales . • • • 95
§ 35. Evidence for Scales of different species.
The Hypo-dorian or common species—the Dorian—the
Mixo-lydian— the Phrygian and the Hypo-phrygian
—
Aristotle on Dorian and Phrygian—the dithyramb . . loi
§ 36. Conclusion.
Earl}” importance of genus and key only—change in
Ptolemy’s time in the direction of the mediaeval Tones . 108
§ 37, Epilogue—Speech and Song.
Musical nature of Greek accent—relation of musical and
ordinary utterance—agreement of melody and accent in
the Seikelos inscription— rhythm of music and of prose
—the stress accent {ictus)—music influenced by language
—words and melody— want of harmony—the
non-diatonic scales 113
Appendix.
Table I. Scales of the seven oldest Keys, with the species
of the same name . 127
Table II. The fifteen Keys 128
Music of the 0r^5/^5 of Euripides 130″
Musical part of the Seikelos inscription 133
The hymns recently discovered at Delphi :
Hymn to Apollo – the scale—the changes of genus
and key—the ‘mode’ identical with the modern Minor
—the other fragments—the agreement of melody and
accent 134
Index of passages discussed or referred to …. 142

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