Principles of Greek music: the tetrachord, heptachord, octachord;
scale of fifteen notes, 102, 103, _note_. History of music, 104,
_et seq._ The lyre, 105. Amphion, Linus, Anthes, Pierus, Philammon,
Thamyras, &c., 105. Terpander, an inventor, 105, 106, 109, 112, 122.
Olympus, 107, 109, 123; Hyagnis, 107; Clonas, 107. History of wind
instruments, 108; the flute, _ib._ Three musical moods,—the Dorian,
the Phrygian, the Lydian, 109. Makers of paeans, 110. The enharmonic
species of music, 110. Its relations to the diatonic and chromatic,
111. Varieties of rhythm, 112. The harp an invention of Apollo, 113.
His statue at Delos a proof of this, _ib._ Manly and grave music
used by the ancients for its worth, 114. The moderns have introduced
an inferior sort, 114. The Lydian mood, 114; the Dorian, 115. The
chromatic more ancient than the enharmonic scale, 116; though many
of the ancient musicians did not use it, 117. Plato’s remarks
on harmony, 118. Music a mathematical science, 119. Harmony as
related to the senses, 121. Why the Greeks were so careful to teach
their children music, 121. The high purposes of music, 121, 122.
Archilochus, his improvements, 122, 123. Improvements of Polymnestus,
107, 123. Improvements of Lasus, 123. Decline of the ancient music,
123-125. To learn music, philosophy is needful, 126. Music too
much a thing of chance, 126. A sound judgment is necessary, 127. A
perfect judgment of music not derived from a partial knowledge, 129.
Degeneracy of modern music, 130. Benefits of a proper acquaintance
with music, 132; facts in proof of this, 133.