I. In ancient times, if we believe Plutarch, music was used only in
temples, and that afterwards it passed to theatres. Formerly, it
served as an ornament to divine worship; afterwards, it was used to
stimulate vice. Heretofore, the melody of sacred hymns only were heard;
afterwards, we began to listen to profane songs. Music originally,
was used as an obsequies to the Deities, it was afterwards applied to
inflame the passions. In old times, it was dedicated to Apollo, but it
seems as if afterwards, Apollo had divided the protection of this art
with Venus; and as if to poison the soul, and paint on the theatres
the charms of vice, the finest colourings of rhetoric, joined to the
harmony of poetic numbers, were not sufficient, they, to render these
charms more attracting, and make the venom more active, confectioned
and compounded rhetoric, poetry, and music together.
II. This diversity of uses to which music was appropriated, induced
a difference in the composition of it: and as it was necessary in
the temple, and in the theatre, to excite distinct affections, they
contrived distinct modes of melody, to correspond, as their echoes,
with the different affections of the soul. The Dorian mode, as grave,
majestic, and devout, was reserved for the temple; and in the theatres,
they adopted different modes, suited to the diversity of the matters.
In the amorous representations, they used the Lydian mode, which was
soft and tender; and when they had a mind to give the movement a
stronger effect and expression, they applied the mixed Lydian, which
was more pathetic and striking than the Lydian by itself. In warlike
representations, they used the Phrygian mode, which is terrible and
furious; and in affairs of mirth and jollity, or favouring of the
Bacchanalian, they adopted the Æolian, which was sprightly and comic.
The Subphrygian mode, was appropriated to calm the transports, raised
by the Phrygian; and thus, to produce other effects, they had other
modes of melody.
III. Whether these modes of the antients, corresponded with the
different tones used by the moderns, is not clearly ascertained. Some
authors affirm they do, others doubt it. I myself, am inclined to
think they do not, because the diversity of our tones, have not that
influence to vary the passions, which was experienced in the different
modes of the antients.