Page:Polynesian Mythology by George Grey (polynesianmythol00greyuoft).djvu/357

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Appendix.

which the best vocalists or performers are sometimes heard to introduce;[1] others again[2] declaring them to be in practice impossible; and all for the most part alleging that, whatever might have been the case in former times, no such modifications do exist in practice at the present day.

Now, with regard to the existence of them in ancient times, innumerable authorities might be quoted; but, not to exceed a reasonable limit, I shall only cite one or two testimonies, and shall confine myself to those referring to the enharmonic.

Vitruvius (lib. v. c. 5) says: "Diatoni vero quod naturalis est facilior est intervallorum distantia;" of the enharmonic he says: "Est autem harmoniae modulatio ab arte concepta, et ea re cantio ejus maximè gravem et egregiam habet auctoritatem." The graveness and seriousness are given as the striking characteristics of this genus.

We may here incidentally remark, that though he says, "ab arte concepta," it does not prove that it might not have been art imitating nature; and more, it is not impossible that these, at present so-called uncivilised and savage nations, might have retained this character of song from a period of the highest state of civilisation, at an epoch of great antiquity.

Plutarch (Πεϱὶ Μουσικῆς) remarks, that the most beautiful of the musical genera is the enharmonic, on account of its grave and solemn character, and that it was formerly most in esteem.

Aristides Quintilian tells us it was the most difficult of all, and required a most excellent ear.

Aristoxenus observes that it was so difficult that no one could sing more than two dieses consecutively, and yet the

  1. ↑ Smith.
  2. ↑ Burney.
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