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Concerning music (37-40)

urn:cts:greekLit:tlg0094.tlg002.perseus-eng2:37-40
Refs {'start': {'reference': '37', 'human_reference': 'Section 37'}, 'end': {'reference': '40', 'human_reference': 'Section 40'}}
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The ancients now made principal account of the moral impression, and therefore preferred that fashion of the antique music which was grave and least affected. Therefore the Argives are said to have punished deviation from the ancient music, and to have imposed a fine upon such as first adventured to play with more than seven strings, and to introduce the Mixolydian mood.[*] Pythagoras, that grave philosopher, rejected the judging of music by the senses, affirming that the virtue of music could be appreciated only by the intellect. And therefore he did not judge of music by the ear, but by the harmonical proportion, and thought it sufficient to fix the knowledge of music within the compass of the diapason.

But our musicians nowadays have so utterly exploded the most noble of all the moods, which the ancients greatly admired for its majesty, that hardly any among them make the least account of enharmonic distances. And so negligent and lazy are they grown, as to believe the enharmonic

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diesis to be too contemptible to fall under the apprehension of sense, and they therefore exterminate it out of their compositions, deeming those to be triflers that have any esteem for it or make use of the mood itself. For proof of which they think they bring a most powerful argument, which rather appears to be the dulness of their own senses; as if whatever fled their apprehensions were to be rejected as useless and of no value. And then again they urge that its magnitude cannot be perceived through its concord, like that of the semitone, tone, and other distances; not understanding, that at the same time they throw out the third, fifth, and seventh, of which the one consists of three, the other of five, and the last of seven dieses. And on the same principle all the intervals that are odd should be rejected as useless, inasmuch as none of them is perceptible through concord; and this would include all which by means of even the smallest diesis are measured by odd numbers. Whence it necessarily follows, that no division of the tetrachord would be of use but that which is to be measured by all even intervals, as in the syntonic diatonic, and in the toniaean chromatic.

But these opinions are not only contrary to appearance, but repugnant one to another. For they themselves chiefly make use of those divisions of tetrachords in which most of the intervals are either unequal or irrational. To which purpose they always soften both lichanos and paranete, and lower even some of the standing sounds by an irrational interval, bringing the trite and paranete to approach them. And especially they applaud the use of those systems in which most of the intervals are irrational, by relaxing not only those tones which are by nature movable, but also some which are properly fixed; as it is plain to those that rightly understand these things.

Now for the advantages that accrue to men from the use of music, the famous Homer has taught it us, introducing

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Achilles, in the height of his fury toward Agamemnon, appeased by the music which he learned from Chiron, a person of great wisdom. For thus says he:—
Amused at ease, the god-like man they found,
Pleased with the solemn harps harmonious sound.
The well-wrought harp from conquered Thebe came;
Of polished silver was its costly frame.
With this he soothes his angry soul, and sings
The immortal deeds of heroes and of kings.
[*]
Learn, says Homer, from hence the true use of music. For it became Achilles, the son of Peleus the Just, to sing the famous acts and achievements of great and valiant men. Also, in teaching the most proper time to make use of it, he found out a profitable and pleasing pastime for ones leisure hours. For Achilles, being both valiant and active, by reason of the disgust he had taken against Agamemnon withdrew from the war. Homer therefore thought he could not do better than by the laudable incitements of music and poetry to inflame the heros courage for those achievements which he afterwards performed. And this he did, calling to mind the great actions of former ages. Such was then the ancient music, and such the advantages that made it profitable. To which end and purpose we read that Hercules, Achilles, and many others made use of it; whose master, wisest Chiron, is recorded to have taught not only music, but morality and physic.

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