Critical and Historical Essays - Edward MacDowell (most important books to read txt) 📗

different successions of quarter-tones, are practically inexhaustible, and the 16,000 keys of Krishna are quite practicable. The differences in tone, however, were so very slight that only a few, of them have been retained to the present time.

The Hindus get their flute from the god Indra, who, from being originally the all-powerful deity, was relegated by Brahminism to the chief place among the minor gods-from being the god of light and air he came to be the god of music. His retinue consisted of the gandharvas, and apsaras, or celestial musicians and nymphs, who sang magic songs. After the rise and downfall of Buddhism in India the term raga degenerated to a name for a merely improvised chant to which no occult power was ascribed.

The principal characteristics in modern Hindu music are a seemingly instinctive sense of harmony; and although the actual chords are absent, the melodic formation of the songs plainly indicates a feeling for modern harmony, and even form. The actual scale resembles our European scale of twelve semitones (twenty-two s'rutis, quarter-tones), but the modal development of these sounds has been extraordinary. Now a "mode" is the manner in which the notes of a scale are arranged. For instance, in our major mode the scale is arranged as follows: tone, tone, semitone, tone, tone, tone, semitone. In India there are at present seventy-two modes in use which are produced by making seventy-two different arrangements of the scale by means of sharps and flats, the only rule being that each degree of the scale must be represented; for instance, one of the modes Dehrásan-Karabhárna corresponds to our major scale. Our minor (harmonic) scale figures as Kyravâni. Tânarupi corresponds to the following succession of notes,

[G: c' d-' e-' f' g' a+' b' c'']

Gavambódi, to [G: c' d-' e-' f+' g' a-' b-' c'']

Máya-Mâlavagaula, to [G: c' d' e-' f' g-' a' b-' c'']

It can thus easily be seen how the seventy-two modes are possible and practicable. Observe that the seven degrees of the scale are all represented in these modes, the difference between them being in the placing of half-tones by means of sharps or flats. Not content with the complexity that this modal system brought into their music, the Hindus have increased it still more by inventing a number of formulae called ragas (not to be confounded with those rhapsodical songs, the modern descendant of the magic chants, previously mentioned).

In making a Hindu melody (which of course must be in one of the seventy-two modes, just as in English we should say that a melody must be in one of our two modes, either major or minor) one would have to conform to one of the ragas, that is to say, the melodic outline would have to conform to certain rules, both in ascending and descending. These rules consist of omitting notes of the modes, in one manner when the melody ascends, and in another when it descends. Thus, in the raga called Mohànna, in ascending the notes must be arranged in the following order: 1, 2, 3, 5, 6, 8; in descending it is 8, 7, 5, 4, 2, 1. Thus if we wished to write a melody in the mode Tânarupi-raga Mohànna-we could never use the fourth, F, or the seventh, B, if our melody ascended; if our melody descended we should have to avoid the sixth, A[sharp], and the third, E[double-flat]. As one can easily perceive, many strange melodic effects are produced by these means. For instance, in the raga Mohànna, in which the fourth and seventh degrees of the scale are avoided in ascending, if it were employed in the mode Dehrásin-Karabhárna, which corresponds to our own major scale, it would have a pronounced Scotch tinge so long as the melody ascended; but let it descend and the Scotch element is deserted for a decided North American Indian, notably Sioux tinge. The Hindus are an imaginative race, and invest all these ragas and modes with mysterious attributes, such as anger, love, fear, and so on. They were even personified as supernatural beings; each had his or her special name and history. It was proper to use some of them only at midday, some in the morning, and some at night. If the mode or raga is changed during a piece, it is expressed in words, by saying, for instance, that "Mohànna" (the new "raga") is here introduced to the family of Tânarupi. The melodies formed from these modes and ragas are divided into four classes, Rektah, Teranah, Tuppah, and Ragni. The Rektah is in character light and flowing. It falls naturally into regular periods, and resembles the Teranah, with the exception that the latter is only sung by men. The character of the Tuppah is not very clear, but the Ragni is a direct descendant of the old magic songs and incantations; in character it is rhapsodical and spasmodic.


IV

THE MUSIC OF THE EGYPTIANS, ASSYRIANS, AND CHINESE


In speaking of the music of antiquity we are seriously hampered by the fact that there is practically no actual music in existence which dates back farther than the eighth or tenth century of the present era. Even those well-known specimens of Greek music, as they are claimed to be, the hymns to Apollo, Nemesis, and Calliope, do not date farther back than the third or fourth century, and even these are by no means generally considered authentic. Therefore, so far as actual sounds go, all music of which we have any practical knowledge dates from about the twelfth century.

Theoretically, we have the most minute knowledge of the scientific aspect of music, dating from more than five hundred years before the Christian era. This knowledge, however, is worse than valueless, for it is misleading. For instance, it would be a very difficult thing for posterity to form any idea as to what our music was like if all the actual music in the world at the present time were destroyed, and only certain scientific works such as that of Helmholtz on acoustics and a few theoretical treatises on harmony, form, counterpoint and fugue were saved.

From Helmholtz's analysis of sounds one would get the idea that the so-called tempered scale of our pianos caused thirds and sixths to sound discordantly.

From the books on harmony one would gather that consecutive fifths and octaves and a number of other things were never indulged in by composers, and to cap the climax one would naturally accept the harmony exercises contained in the books as being the very acme of what we loved best in music. Thus we see that any investigation into the music of antiquity must be more or less conjectural.

Let us begin with the music of the Egyptians. The oldest existing musical instrument of which we have any knowledge is an Egyptian lyre to be found in the Berlin Royal Museum. It is about four thousand years old, dating from the period just before the expulsion of the Hyksos or "Shepherd" kings.

At that time (the beginning of the eighteenth dynasty, 1500-2000 B.C.) Egypt was just recovering from her five hundred years of bondage, and music must already have reached a wonderful state of development. In wall paintings of the eighteenth dynasty we see flutes, double flutes, and harps of all sizes, from the small one carried in the hand, to the great harps, almost seven feet high, with twenty-one strings; the never-failing sistrum (a kind of rattle); kitharas, the ancestors of our modern guitars; lutes and lyres, the very first in the line of instruments culminating in the modern piano.

One hesitates to class the trumpets of the Egyptians in the same category, for they were war instruments, the tone of which was probably always forced, for Herodotus says that they sounded like the braying of a donkey. The fact that the cheeks of the trumpeter were reinforced with leather straps would further indicate that the instruments were used only for loud signalling.

According to the mural paintings and sculptures in the tombs of the Egyptians, all these instruments were played together, and accompanied the voice. It has long been maintained that harmony was unknown to the ancients because of the mathematical measurement of sounds. This might be plausible for strings, but pipes could be cut to any size. The positions of the hands of the executants on the harps and lyres, as well as the use of short and long pipes, make it appear probable that something of what we call harmony was known to the Egyptians.

We must also consider that their paintings and sculptures were eminently symbolic. When one carves an explanation in hard granite it is apt to be done in shorthand, as it were. Thus, a tree meant a forest, a prisoner meant a whole army; therefore, two sculptured harpists or flute players may stand for twenty or two hundred. Athenaeus, who lived at the end of the second and beginning of the third century, A.D., speaks of orchestras of six hundred in Ptolemy Philadelphus's time (300 B.C.), and says that three hundred of the players were harpers, in which number he probably includes players on other stringed instruments, such as lutes and lyres. It is therefore to be inferred that the other three hundred played wind and percussion instruments. This is an additional reason for conjecturing that they used chords in their music; for six hundred players, not to count the singers, would hardly play entirely in unison or in octaves. The very nature of the harp is chordal, and the sculptures always depict the performer playing with both hands, the fingers being more or less outstretched. That the music must have been of a deep, sonorous character, we may gather from the great size of the harps and the thickness of their strings. As for the flutes, they also are pictured as being very long; therefore they must have been low in pitch. The reed pipes, judging from the pictures and sculptures, were no higher in pitch than our oboes, of which the highest note is D and E above the treble staff.

It is claimed that so far as the harps were concerned, the music must have been strictly diatonic in character. To quote Rowbotham, "the harp, which was the foundation of the Egyptian orchestra, is an essentially non-chromatic instrument, and could therefore only play a straight up and down diatonic scale." Continuing he says, "It is plain therefore that the Egyptian harmony was purely diatonic; such a thing as modern modulation was unknown, and every piece from beginning to end was played in the same key." That this position is utterly untenable is very evident, for there was nothing to prevent the Egyptians from tuning their harps in the same order of tones and half tones as is used for our modern pianos. That this is even probable may be assumed from the scale of a flute dating back to the eighteenth or nineteenth century B.C. (1700 or 1600 B.C.), which was found in the royal tombs at Thebes, and which is now in the Florence Museum.

Its scale was

[G: (a a+ b c' c+' d') (a' a+' b' c'' c+'' d'') (e'')
f'' f+'' g'' g+'' (a'' a+'' b'' c''' c+''' d''')]

The only thing about which we may be reasonably certain in regard to Egyptian music is that, like Egyptian architecture, it must have been very massive, on account of the preponderance in the orchestra of the low tones of the stringed instruments.

The sistrum was, properly speaking, not considered a musical instrument at all. It was used only in religious ceremonies, and may be considered as the ancestor of the bell that is