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Music, in the time of Aristides Quintilianus, education, since it was divided into the following must have formed a considerable branch of branches, viz,

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The music of the ancient Romans being confined principally to declamation and dancing, or rather saltation, they added nothing to the principles of Grecian music, but merely translated the Greek authors upon the subject; and, as the principles of their declamation were expressed by accentuation, accents were adopted for its notation. Thus, when words were set to music, the Romans as well as the Greeks had only to conform to the quantity, and to place an accent upon each syllable. These accents, 'therefore, determined the degree of acuteness as well as that of the duration of sounds employed in the singing or recitation of their verses. Nevertheless the actor had the privilege of declaiming more or less slowly; since Cicero, writing to Atticus, observes, that, relaxing in the time of his declamation, he obliged the person who accompanied him to relax also in the time of the sounds of his flute. Kircher pretends to have preserved many compositions of Horace and Sappho, and to have given a key to the translation of them, but neither one nor the other are much to be relied upon. Of the genuineness of the melody, Jam satis terris,' however, we are assured by many learned writers in matters of polite literature antiquity.

The most ancient instrument upon record is the Chinese hiscen, or hinen, in form of an egg pierced with five holes, without reckoning the embouchure three at the bottom and two at the top. Vere Amiot traces this instrument 3000 years before the Christian era, i. e. before the reign of Koang-ty. Other ancient instruments are, the testudo, having the base made of the shell of a tortoise, and the sides occasionally of bull's horns, the origin of the lute, see plate VII. fig. 5. The nebel, an ancient Hebrew instrument strung with gut, supposed by Luther to be the psalter of twelve or more strings, plate VII. fig. 6; a Hebrew harp, figs. 7 and 8; a triangular lyre taken from a monument in the city of Medicis, fig. 9.

The tripod or Pythagorean lyre, representing the sounds of the three modes in which the Greek nome called trimeres was sung, is shown plate VII. fig. 10, viz. the Dorian, the Phrygian and the Lydian. The performer played upon this instrument seated, turning it, according to

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the mode required, with his foot, playing with the fingers of his left hand, and with a plectrum in the right. The plectrum was made of metal or other hard substances, as a dog's tooth, a jaw bone, or the horn of a goat. To these lyres succeeded others of the same species, but more sonorous from their forms, see plate VIII. figs. 1, 2, the latter being taken from a Sarcophagus, now in the British Museum.

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An antique lyre, fig. 3. origin of the guitar, fig. 4. The ancient lyre preserved in the British Museum clearly indicates, by its windlass, the manner with which the strings of this ancient instrument were tightened and slackened; the lyre, fig. 6, shows that short as well as long strings were used to ensure more effectually the various degrees of the octave. The levers attached to the lyre with a plectrum, fig. 5, could have been used for no other purpose than to wind the strings round the windlass.

These instruments were played with the points of the fingers. The word psallere signifying to touch with the extremity of the fingers; hence the psalterion, an instrument of thirty strings tuned in octaves, resembling the natural voices of men and boys blended together, termed magadizing. The kinner, upon which David played before Saul, in the shape of the Greek delta, is thus exhibited by Kircher after a specimen in the Vatican, plate VIII. fig. 7.

To these succeeded others provided with scrolls and necks, as the Egyptian dichord, to tighten or slacken the strings. The violin, supposed of modern invention, appears to have been common even in the time of Caligula, and was played with a bow, mounted with horse hair. The neghinoth of the Hebrews, mounted with three strings only, has also been supposed of the same species. The form of the violin appears upon some medals of Nero, and in Argolis's account of the ancient games of the circus, mounted with four strings and a bridge to elevate them for the bow. In the paintings of Philostratus, Orpheus is represented holding a bow in the right hand, and a violin in the left. The appearance of this instrument upon ancient marbles is of rare occurrence, probably from its less picturesque form as compared with the lyre.

Although the little figure of Apollo playing upon a kind of violin with something like a bow, and supposed by Addison and others to be an antique, may have been disproved by Winkleman, it does not follow that the violin should have been unknown to the ancients; on the contrary the nature of the hurdy-gurdy, the sambuca or barbiton of the ancient Greeks, sufficiently attests the previous adoption of the violin or some such instrument: the bow was drawn by the hand across the string long before the friction of a wheel was fixed upon for that purpose. The ancient violin differed from the modern one only in the neck, which was much shorter.

The flute, by having been ascribed to Apollo, Pallas, Mercury, and Pan, sufficiently vindicates its own antiquity. Hyagnis, 1500 years before Christ, is named as the first performer of celebrity. Athenæus gives to Numidius the invention of the flute of one tube; to Silenus that of several tubes; to Marsyas the flute with a reed. Phrygian flutes, as the Monaulos of Egypt, were curved and intonated with a reed, as the modern hautboy, see fig. 8, plate VIII. The ancients kept their reeds in boxes called glossocomeia, reed or tongue boxes. Another species of Egyptian flute, taken from a dancing figure found at Eschmin, is seen in fig. 9. The avena, made of an oaten straw, was blown at the top. The aolamus pastoralis composed of reeds united together, fig. 10, plate VIII.; to this a horn was sometimes attached, as in fig. 11, in the shape of a lituus. The fistula Panis composed of reeds tied together as in plate IX., fig. 1. Foster in his voyage round the world found an instrument of this kind in the Friendly Islands. The Chinese have a similar one called the Ching. See CHING. Various ancient flutes are shown, plate IX. figs. 2, 3, 4, 5, 6, 7. Fragments of flutes formed of bones have been also discovered in the ashes of Herculaneum, and preserved in the vatican, and are represented in figs. 9, 10, plate

IX.

When the process of forming artificial tubes was known, flutes were made of box wood, ivory, copper, and even gold. The most ancient flute of the Hebrews was the agada, the form shown plate IX. fig. 11. This instrument, being used at ceremonies of a different nature from that in which the lyre was employed, was made also with a view of imitating the various compasses of the human voice, varying in size as shrill or deep sounds were required. Wind instruments possessing deep tones, increasing in size towards the bottom, were termed horns, as the seven mentioned in Joshua, made of a bull or a ram's horn. A species of lituus made of metal is shown plate IX. fig. 12, another of the monaulos, derived probably from the Chinese husciend, shown fig. 1, plate X.. The cornu venatorium, the origin of the serpent, made of metal, was of nearly the modern form, see plate X. fig. 2. A curious specimen of a horn with two mouthpieces, as if to be blown by two persons, is seen fig. 3. Bass flutes, or kinds of bassoons, the two latter with one key each, are shown in figs. 4, 5, 6, plate X. The singular instrument fig. 7 is supposed to have been a flute. Dr. Burney considers the instrument fig. 8, to nave been the elangor tubarum, used by Alex

ander the Great. This as well as the next specimen, fig. 9, was dug from the ruins of Herculaneum, and is made of ivory, much in appearance of an organ pipe. The projections or keys, originally termed bombykas, upon these tubes, were moveable, to alter their diapason or extent, as shown in figs. 10 and 11. Figs. 1, 2, 3, plate XI., are other flutes of the ancients.

From instruments having no such projections, different degrees of sound were produced by the motion of the mouth, as from the trumpet. The sackbut, of the trumpet species, was also found among the ruins of Herculaneum or Pompeii, the lower part made of bronze, the upper part and mouth-piece of solid gold. In quality of tone it has not been equalled by any of modern manufacture. This instrument is in the possession of his present majesty. A lituus or octave trumpet, late in the possession of Sir Joseph Banks, is shown in fig. 4, plate XI.

At the Olympic games the trumpet-players expressed an excess of joy, when they found their exertions had neither rent their cheeks nor burst their blood-vessels; some idea may be formed of the noisy and vociferous style of music which then pleased.

On the precise nature of the ancient double flutes, derived from the Egyptians, and of which varieties specimens are shown in figs. 5, 6, 7, 8, 9, 10, 11, 12, authors are by no means agreed. The symphony, a concert resulting from two equal flutes, was composed of unisons, when the fingers of each hand stopped the same holes. From expressions annexed to the titles of some of Terence's comedies, we learn that they were represented to the sound of equal and unequal flutes, right and left. The Andria was accompanied with equal, flutes right and left; the Self-tormentor with unequal flutes. The performer played upon two flutes at the same time, and placed round his mouth a bandage, that the cheeks might not protrude, and for the better management of the breath. The right flute with two bores produced low sounds, the left had several bores and produced high sounds. Double flutes, the tubes of which were of different lengths, as seen in figs. 13, 14, if intonated together would produce sounds of different pitch. Some authors consider the larger tube to act as the drone of a bagpipe, others that both tubes were used to represent together the sounds of two different modes, EFGABCDE thus : harmonic producing CDEFGABC combinations of thirds. But, as the subject of the piece performed often required a change of mode, others consider that these tubes were sounded alternately, and that they were joined together, because that was the most expeditious way of accompanying the actor or singer.

The traverse or German flute was known to the ancients. The flute used by Ismenias, a celebrated Theban musician, cost at Corinth three talents, or £581 5s. The ancients were not less extravagant in gratifying the ministers of their pleasures than ourselves. Amabæus, a harper, was paid an Attic talent, or £193 15s. per day for his performances. Roscius had 500 sestertia, or £4036 9s. 2d. sterling a-year. The beautiful Lamia, who was taken captive by Demetrius, when he vanquished Ptolemy Soter, and

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