By Charles Burney
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Extra info for A General History of Music
From the seemingly aukward and uncouth melody scales ascending, been sometimes inclined the Greek produced by to think that if they were reversed with respect to intervals, it I have, indeed, would be much more agreeable to our ears, and explain away many but soon found that it would leave others stifl more put Proslambanomenos out of the question, insuperable behind as a note that might be added indifferently to the top or bottom of the scale, and compare the intervals of our diatonic scale in C natural descending, with that of the Greek in the Hypodorian mode ascending, and the intervals will be found to be the same.
As the only source of these assertions seems to be a passage which is really curious, I shall here it as possible. in Plutarch's Dialogue on Music, insert as faithful a translation of "Olympus, as Aristoxenus informs us (c), is thought by for before his musicians to have invented the enharmonic genus time, all was diatonic and chromatic. He is supposed to have hit upon the invention in some such way as this: while he was : preluding in the diatonic genus, it is imagined that passing frequently in his melody from Paramese, and from Mese to Parhypate Meson, skipping over the Lichanos, he observed the to xaMoe rov jj&ovs, effect, manner, or beauty of the effect expression, and forming then the whole system (of the octachord or : (a) Diet, de Mus.
A few DISSERTATION ON THE MUSIC OF THE ANCIENTS have done, yet to divide it into phrases, to accentuate, and to give it the original and true expression, are things, at present, impossible, and ever will remain so. For it is with the music of every country as with the language to read it with the eye, and to give it and we can arrive at no greater utterance, are different things certainty about the expression of a dead music, than the of a dead language. pronunciation " " that the It is astonishing, however," says M.
A General History of Music by Charles Burney