  In the anonymous treatise on music published by Bellermann 'The Phrygian mode (harmonia) has the first place on wind-instruments: witness the first discoverers—Marsyas, Hyagnis, Olympus—who were Phrygians. Players on the water-organ (hydraulai) use only six modes (tropoi), viz. Hyper-lydian, Hyper-ionian, Lydian, Phrygian, Hypo-lydian, Hypo-phrygian. Players on the cithara tune their instrument to these four, viz. Hyper-ionian, Lydian, Hypo-lydian, Ionian. Flute-players employ seven, viz. Hyper-aeolian, Hyper-ionian, Hypo-lydian, Lydian, Phrygian, Ionian, Hypo-phrygian. Musicians who concern themselves with orchestic (choral music) use seven, viz. Hyper-dorian, Lydian, Phrygian, Dorian, Hypo-lydian, Hypo-phrygian, Hypo-dorian. In this passage it is evident that we have to do with keys of the scheme attributed to Aristoxenus, including the two (Hyper-aeolian and Hyper-lydian) which were said to have been added after his time. The number of scales mentioned is sufficient to prove that the reference is not to the seven species of the octave. Yet the word harmonia is used of these keys, and with it, seemingly as an equivalent, the word tropos. Pollux (Onom. iv. 78) gives a somewhat different account of the modes used on the flute: kai harmonia men aulÊtikÊ DÔristi, Phrygisti, Lydios kai IÔnikÊ, kai syntonos Lydisti hÊn Anthippos exeure. But this statement, as has been already pointed out (p. 22), is a piece of antiquarian learning, and therefore takes no notice of the more recent keys, as Hyper-aeolian and Hyper-ionian, or even Hypo-phrygian (unless that is the Ionian of Pollux). The absence of Dorian from the list given by the Anonymus is curious: but it seems that at that time it was equally unknown to the cithara and the water-organ. There is therefore no reason to think that the two lists are framed with reference to different things. That is to say, harmonia in Pollux has the same meaning as harmonia in the Anonymus, and is equivalent to tonos. |
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