(
Greek characters)
Now in order to understand this passage it will be ne-cessary to ascertain as nearly as we can, the precise meaning
of the terms made use of in it. (Greek characters) is explained by
being opposed to (Greek characters)
and clearly indicates that the sounds of the voice and lyre
were different, the nature of which difference is determined by
what follows, "the strings uttering one strain and the composer who arranged the song another :" it therefore cannot mean
merely the repetition of the same strain in different octaves.
(Greek characters) is explained by i(Greek characters) " frequency of notes"
sounding together with (Greek characters) "infrequency," i. e. the
striking of notes here and there on the lyre during a continued strain of the voice ; by quick notes in the one answering to slow in the other, and high notes in one to low in the
other. To (Greek characters) also are referred the (Greek characters) " all sorts of subtle combinations of the
cadences [1] ;"' I would then take (Greek characters) to include all the
ornaments, such as appogiaturas. &c. which the performer on
the lyre introduced while the voice sung the simple strain.
There is a paper on this passage in the Histoire de
l'Academie des Inscriptions, Vol. iii. p. 118, by M. Burette,
who contends that what we call counterpoint is not intended
here. He says this (Greek characters) and (Greek characters) might take
place in four ways; 1. By the performer on the lyre sounding
the same strain as the voice, but playing in a flowery and
artificial style. 2. By the voice singing in a different mode
from that in which the lyre was playing, as for instance the
lyre playing in the Lydian mode and the voice singing in
the Dorian, which was a third above. 3. By the lyre and
voice being pitched in different octaves. 4. By the voice
- ↑ (
Greek characters), Aristides Quintilianus, lib. i. p. 31. Ed. Meibom.
