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2. Disjunct without the highest note. In diatonic this is e f g a b c' d'; compare the Phrygian scale attributed to Olympus.55 |
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3. Disjunct without the third note from the top: diatonic e f g a b d' e', as in Philolaus' scale. Terpander is credited with substituting this, or an enharmonic version of it, for (2).56 |
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Among the surviving musical fragments the greatest number have the compass of an octave or a ninth. A few have a wider range, up to an eleventh or in three cases a twelfth. One complete little song of late date, the anonymous invocation of the Muse (16), has an ambitus of only a minor seventh, and there are several papyrus fragments in which, so far as they go, the melody is confined within an even smaller range, though if we had longer excerpts it might well become apparent that the limitation was only temporary. |
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The old scales set forth by Aristides Quintilianus and identified as Dorian, Phrygian, and so on, are described as harmoniai. The word means literally 'tunings, attunements'. It is often translated as 'mode', a term which in music implies above all a distinctive series of intervals in the scale, though it usually has other connotations in addition, as in Western music the major mode is generally felt to be sunnier and more extrovert than the minor. |
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In fifth- and fourth-century literature we encounter numerous references to musical harmoniai. The differences between one and another in respect of their aesthetic and emotional qualities, and their effect upon the disposition of the listener, were considered a subject of great interest and importance. The ones most often mentioned are the Dorian, Phrygian, and Lydian, but we also hear of Ionian, Aeolian, Locrian, Mixolydian, and others. Some of the names were established early in the Archaic period. Alcman and Stesichorus already refer to a 'Phrygian melody'.57 |
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What did the names stand for? The solidest information comes from that passage of Aristides with the details of six fifth-century |
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55Pr. 19. 7; above, n. 49. |
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56Pr. 19.32, cf. 7; ps.-Plut. De mus. 1140f, cf. 1137bc. According to Suda iv. 361. 8 the missing c' was supplied by Simonides. |
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57PMG 126, 212. The use of the word 'melody' (melos) with reference to a particular mode is paralleled in Pratinas, PMG 712 (a). 4, Pind. fr. 67, Aristox. Harm. 2. 39. A composition ascribed to Sakadas or Klonas with sections in three different modes was called the trimelés nomos (ps.-Plut. De mus. 1134ab, cf, 1132d). |
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