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By Charles Burney

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A General History of Music

This can be an actual replica of a ebook released ahead of 1923. this isn't an OCR'd e-book with unusual characters, brought typographical error, and jumbled phrases. This booklet could have occasional imperfections equivalent to lacking or blurred pages, terrible photos, errant marks, and so on. that have been both a part of the unique artifact, or have been brought by means of the scanning strategy.

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In his section of the Canon (x), p. 37, Edit. Meibom. he the whole string: so that, if any represents Proslambanomenos by be made certain, it is, that this can music ancient concerning thing whole string represented the lowest sound was in the Hyperdorian mode, which, (u) See Meibomius's note upon Arist. Quintil. p. n, which seems in the Greek equivalent scale, to the solid. a single string, which being intersected by moveable (*) By Canon must here be understood musical intervals, and the exact proportion of sound to bridges, serves as a rule or law, for determining sound.

And still to these divisions, Aristides Quintilianus, and some other musical writers, add Odicuwi, or the Art of Singing; which, indeed, seems of more importance to In order to Music, than either the Organic or Hypocritic art. C. at Alexandria* His Introduction to Music which was by Meibomius in 1652 contains very valuable information on the subject of Greek musical It is, however, only a part of the original work, the remainder having been lost. reprinted notation. D. He wrote a work in nine volumes, an essay on music.

Meibomius Groves (vol. i, p. D. 150. reprinted the DISSERTATION ON THE MUSIC OF THE ANCIENTS The enharmonic is the most refined and difficult of all, and has been received and practised only by the greatest artists. The ancients have related such wonders of this long-lost, and long-lamented genus, that a particular discussion seems necessary here concerning its existence and properties. There is nothing so the conception of modern musicians, as that pleasing should ever have been produced by intervals, which they themselves are unable to form, and to which, if they could form and introduce them into melody, no harmony could be given, that difficult to effects would be agreeable to the ear, or the rules of counterpoint.

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