Page:Polynesian Mythology by George Grey (polynesianmythol00greyuoft).djvu/364

In proof that a system of modulation like the above still survives, I shall produce, as nearly as my ear could discern, the modulation of some of the New Zealand melodies; and shall show a still nearer approach to the system of the real Greek enharmonic, in a Chinese air which I heard and noted.

A few remarks on the system itself, the intervals, and the notation.

First, that an enharmonic modulation might exist is admitted by many modern writers. Mr. Donkiu, for instance, author of the able article on Ancient Music in Dr. W. Smith's "Dictionary of Greek and Roman Antiquities," observes (under the title of "Music") of the different genera less frequently named,^[1] "that it would be wrong to conclude hastily that the others would be impossible in practice, or necessarily unpleasing;" and of the enharmonic he says, "but it is impossible to form a judgment of its merits without a much greater knowledge of the rules of composition than seems now attainable."

Mr. Lay Tradescant having shown the differences of interval of the Chinese instruments from the intervals generally in use in Europe, adds—"It will therefore very readily appear from the respective rules, that the character of the music, or, if you please, the mood (he should have said "genus"), must be very different from our own, and that none of our instruments (he should have said keyed or bored) are capable of doing justice to any air that is played on the kin" (or scholar's lute). He subjoins: "In my travels I sometimes wrote down the airs that I had heard among the natives, but though I took much pains to learn them accurately, I