2.V. On Music. 1. A certain Gaudentius, writing on music, says that Pythagoras discovered the first principles of this art from the sound of hammers and from the striking of stretched strings; and this work the most eloquent man Mutianus translated into Latin, so that the quality of the work he had undertaken might display his genius. But Clement of Alexandria, a presbyter, in the book which he published against the pagans, says that music took its beginning from the Muses, and he carefully sets forth for what cause the Muses themselves were invented. For the Muses themselves were named 'apo tou masō,' that is, 'from seeking,' because through them, as the ancients held, the power of songs and the modulation of the voice were sought.
卷二第五。論音樂。一、有一位高登提烏(Gaudentius)，論述音樂時說，畢達哥拉斯是從鎚子敲擊之聲與拉緊琴弦被彈撥的振動中發現了這門技藝的起源；這部著作經那最雄辯的穆提安努(Mutianus)譯為拉丁文，好使他所承擔之作品的優劣顯出他的才智。但亞歷山大的長老革利免(Clement)在他駁斥外邦人所出版的書中說，音樂起源於繆斯女神，並仔細闡明繆斯本身因何緣由被想出。因為繆斯之名取自「apo tou masō」，即「出於尋求」，因為照古人所主張的，藉著她們，歌曲的力量與聲音的旋律得以被尋求。
We find also Censorinus, who wrote to Quintus Cerellius concerning the day of his birth, where he discoursed upon the discipline of music, and upon another part of mathematics not to be neglected; since it is profitably read, that the things themselves may be stored in the inner chambers of the soul by frequent meditation. 2. The discipline of music, therefore, is diffused through all the acts of our life in this manner: first, if we do the commandments of the Creator and serve with pure minds the rules appointed by Him. For whatever we speak, or are inwardly moved by the pulses of the veins, is proved to be associated, through musical rhythms, with the powers of harmony. For music is indeed the science of modulating well; and if we conduct ourselves in good converse, we are proved to be ever associated with such a discipline.
But when we commit iniquities, we have no music. The heavens too and the earth, and all things that are accomplished in them by the heavenly dispensation, are not without the discipline of music; for Pythagoras testifies that this world was founded and can be governed through music. 3. In religion itself, too, it is greatly intermingled, as are the ten-stringed instrument of the Decalogue, the tinkling of the cithara, the timbrels, the melody of the organ, the sound of the cymbals. The Psalter itself, too, there is no doubt, was named after the likeness of a musical instrument, in that there is contained in it the exceedingly sweet and pleasing modulation of the heavenly virtues. 4. Now let us proceed concerning the parts of music, as it has been handed down by our forefathers.
Music is a science, a discipline which speaks of numbers that are relative to those found in sounds—such as the double, the triple, the quadruple, and the like, which are called relatives. 5. The parts of music are three: harmonics, rhythmics, metrics. Harmonics is the musical science which distinguishes the high and the low in sounds. Rhythmics is that which inquires into the concurrence of words, whether the sound coheres well or ill. Metrics is that which knows by a probable method the measure of the various meters, as for example the heroic, the iambic, the elegiac, and the rest. 6. The kinds of musical instruments are three: percussive, stringed, and wind.
Percussion instruments are the cymbals of bronze and silver, or others which, struck in their metallic hardness, give back a ringing sound with sweetness. Stringed instruments are the threads of cords bound together by art, which, struck by the plucking quill, delightfully soothe the sense of the ears; among these are the various kinds of lyre. Wind instruments are those which, filled by the breath that blows through them, are quickened into the sound of a voice, such as trumpets, reed-pipes, organs, the pandura, and others of this sort. 7. It now remains for us to speak of the symphonies. A symphony is the blending of a deep sound with a high one, or of a high with a deep, producing harmony whether in the voice, in wind, or in percussion. Now the symphonies are six:
primadiatessaron, secundadiapente, tertiadiapason, quartadiapasonsimuletdiatessaron, quintadiapasonsimuletdiapente, sextadisdiapason. I. diatessaronsymphoniaestquaeconstatexrationeepitritaetfitexsonisquattuor, undeetnomenaccepit. II. diapentesymphoniaestquaeconstatexrationeemioliaetfitsonitibusquinque. III. diapasonsymphoniaestquaeetiamdioctodicitur. constatexrationediplasia, hocest, dupla; fitautempersonitusocto, undeetnomenaccepitsivedioctosivediapason, quiaapudveterescytharaeexoctocordisconstabant; diapasonergodictaestquasiexomnibussonisconstans. IIII.
the first the diatessaron (fourth), the second the diapente (fifth), the third the diapason (octave), the fourth the diapason together with the diatessaron, the fifth the diapason together with the diapente, the sixth the disdiapason (double octave). I. The diatessaron is a symphony which consists of the epitritic ratio (4:3) and is formed from four sounds, whence also it took its name. II. The diapente is a symphony which consists of the hemiolic ratio (3:2) and is formed from five sounds. III. The diapason is a symphony which is also called the diocto. It consists of the diplasian ratio, that is, the double (2:1); and it is formed through eight sounds, whence too it took its name, whether diocto or diapason, because among the ancients lyres consisted of eight strings; the diapason therefore is so called as though composed of all the sounds. IIII.
diapasonsimuletdiatessaronsymphoniaestquaeconstatexrationequamhabetxxiiiinumerusadoctonariumnumerum; fitautempersonitusxi. V. diapasonsimuletdiapentesymphoniaestquaeconstatexrationetriplasia; fitautempersonitusxii. VI. disdiapason, idestdupladiapason, symphoniaestquaeconstatexrationetetraplasia; fitautempersonosxv. 8. Tonusesttotiusconstitutionisarmonicaedifferentiaetquantitas, quaeinvocisaccentusivetenoreconsistit. toniverosuntquindecim: hypodoriushypoiastiushypophrygiushypoaeoliushypolydiusdoriusiastiusphrygiusaeoliuslydiushyperdoriushyperiastiushyperphrygiushyperaeoliushyperlydius. I.
The diapason together with the diatessaron is a symphony which consists of the ratio that the number 24 has to the number 8; and it is formed through eleven sounds. V. The diapason together with the diapente is a symphony which consists of the triple ratio (3:1); and it is formed through twelve sounds. VI. The disdiapason, that is, the double diapason, is a symphony which consists of the quadruple ratio (4:1); and it is formed through fifteen sounds. 8. A tone is the difference and quantity of the whole harmonic constitution, which lies in the accent or pitch of the voice. Now the tones are fifteen: hypodorian, hypoiastian, hypophrygian, hypoaeolian, hypolydian, dorian, iastian, phrygian, aeolian, lydian, hyperdorian, hyperiastian, hyperphrygian, hyperaeolian, hyperlydian. I.
hypodoriustonusestomniumgravissimesonans, propterquodetinferiornuncupatur. II. hypoiastiusautemhypodoriumhemitoniopraecedens. III. hypophrygiusesthypoiastiumhemitonio, hypodoriumtonopraecedens. IIII. hypoaeoliusesthypophrygiumhemitonio, hypoiastiumtono, hypodoriumtonosemispraecedens. V. hypolydiusesthypoaeoliumhemitonio, hypophrygiumtono, hypoiastiumtonosemis, hypodoriumditonopraecedens. VI. doriusesthypolydiumhemitonio, hypoaeoliumtono, hypophrygiumtonosemis, hypoiastiumditono, hypodoriumduobussemistonis, hocestdiatessaronsymphonia, praecedens. VII.
The hypodorian tone is the deepest-sounding of all, on account of which it is also called the lower one. II. The hypoiastian, however, surpasses the hypodorian by a semitone. III. The hypophrygian surpasses the hypoiastian by a semitone, and the hypodorian by a tone. IIII. The hypoaeolian surpasses the hypophrygian by a semitone, the hypoiastian by a tone, and the hypodorian by a tone and a half. V. The hypolydian surpasses the hypoaeolian by a semitone, the hypophrygian by a tone, the hypoiastian by a tone and a half, and the hypodorian by a double tone. VI. The dorian surpasses the hypolydian by a semitone, the hypoaeolian by a tone, the hypophrygian by a tone and a half, the hypoiastian by a double tone, and the hypodorian by two-and-a-half tones, that is, by the symphony of the diatessaron. VII.
The iastian surpasses the dorian by a semitone, the hypolydian by a tone, the hypoaeolian by a tone and a half, the hypophrygian by a double tone, the hypoiastian by two-and-a-half tones, that is, by the symphony of the diatessaron, and the hypodorian by three tones. VIII. The phrygian surpasses the iastian by a semitone, the dorian by a tone, the hypolydian by a tone and a half, the hypoaeolian by a double tone, the hypophrygian by two-and-a-half tones, that is, by the symphony of the diatessaron, the hypoiastian by three tones, and the hypodorian by three-and-a-half tones, that is, by the symphony of the diapente. VIIII.
The aeolian surpasses the phrygian by a semitone, the iastian by a tone, the dorian by a tone and a half, the hypolydian by two tones, the hypoaeolian by two-and-a-half tones, that is, by the symphony of the diatessaron, the hypophrygian by three tones, the hypoiastian by three-and-a-half tones, that is, by the symphony of the diapente, and the hypodorian by four tones. X. The lydian surpasses the aeolian by a semitone, the phrygian by a tone, the iastian by a tone and a half, the dorian by two tones, the hypolydian by two-and-a-half tones, that is, by the symphony of the diatessaron, the hypoaeolian by three tones, the hypophrygian by three-and-a-half tones, that is, by the symphony of the diapente, the hypoiastian by four tones, and the hypodorian by four-and-a-half tones. XI.
The hyperdorian surpasses the lydian by a semitone, the aeolian by a tone, the phrygian by a tone and a half, the iastian by two tones, the dorian by two-and-a-half tones, that is, by the symphony of the diatessaron, the hypolydian by three tones, the hypoaeolian by three-and-a-half tones, that is, by the symphony of the diapente, the hypophrygian by four tones, the hypoiastian by four-and-a-half tones, and the hypodorian by five tones. XII. The hyperiastian surpasses the hyperdorian by a semitone, the lydian by a tone, the aeolian by a tone and a half, the phrygian by two tones, the iastian by two-and-a-half tones, that is, by the symphony of the diatessaron, the dorian by three tones, the hypolydian by three-and-a-half tones, that is, by the symphony of the diapente, the hypoaeolian by four tones, the hypophrygian by four-and-a-half tones, the hypoiastian by five tones, and the hypodorian by five-and-a-half tones. XIII.
The hyperphrygian surpasses the hyperiastian by a semitone, the hyperdorian by a tone, the lydian by a tone and a half, the aeolian by two tones, the phrygian by two-and-a-half tones, that is, by the symphony of the diatessaron, the iastian by three tones, the dorian by three-and-a-half tones, that is, by the symphony of the diapente, the hypolydian by four tones, the hypoaeolian by four-and-a-half tones, the hypophrygian by five tones, the hypoiastian by five-and-a-half tones, and the hypodorian by six tones, that is, by the symphony of the diapason. XIIII.
The hyperaeolian surpasses the hyperphrygian by a semitone, the hyperiastian by a tone, the hyperdorian by a tone and a half, the lydian by two tones, the aeolian by two-and-a-half tones, that is, by the symphony of the diatessaron, the phrygian by three tones, the iastian by three-and-a-half tones, that is, by the symphony of the diapente, the dorian by four tones, the hypolydian by four-and-a-half tones, the hypoaeolian by five tones, the hypophrygian by five-and-a-half tones, the hypoiastian by six tones, that is, by the symphony of the diapason, and the hypodorian by six-and-a-half tones. XV.
The hyperlydian is the last and highest of all, surpassing the hyperaeolian by a semitone, the hyperphrygian by a tone, the hyperiastian by a tone and a half, the hyperdorian by two tones, the lydian by two-and-a-half tones, that is, by the symphony of the diatessaron, the aeolian by three tones, the phrygian by three-and-a-half tones, that is, by the symphony of the diapente, the iastian by four tones, the dorian by four-and-a-half tones, the hypolydian by five tones, the hypoaeolian by five-and-a-half tones, the hypophrygian by six tones, that is, by the symphony of the diapason, the hypoiastian by six-and-a-half tones, and the hypodorian by seven tones. From this it is clear that the hyperlydian tone, the highest of all, surpasses by seven tones the hypodorian, the deepest of all.
In these things, as Varro recalls, so great a power of usefulness has been shown that they calm agitated minds, and even draw the very beasts, and also serpents, birds, and dolphins, to listen to their melody. 9. For, to pass over in silence as mere fables the lyre of Orpheus and the song of the Sirens, what shall we say of David, who by the discipline of a most healthful melody rescued Saul from the unclean spirits, and by a new manner conferred health upon the king through hearing, which the physicians could not effect by the powers of herbs? Asclepiades too, a physician most learned by the testimony of our forefathers, is recorded to have restored a certain frenzied man to his former health by means of harmony.
There are, moreover, many miracles which are read to have been wrought upon sick men through this discipline. The very heaven itself, as we mentioned above, is said to revolve under the sweetness of harmony; and, to embrace everything briefly, whatever in things heavenly or earthly is fittingly carried out according to the arrangement of its Author is shown not to be exempt from this discipline. 10. Therefore most pleasing and most useful is this knowledge, which both lifts our sense toward things above and soothes the ears with sweet melody. Among the Greeks, Alypius, Euclid, Ptolemy, and the rest taught it with commendable instruction;
but among the Latins the distinguished man Albinus wrote a book on this subject with a summary brevity, which we recall having had in the library at Rome and having read with diligence. If perchance it has been carried off by some barbarian incursion, you have Gaudentius, whom, if you read attentively, will open to you the halls of this science. It is also reported that Apuleius of Madaura set forth the principles of this art in the Latin tongue. The father Augustine likewise wrote six books on Music, in which he showed that the human voice can naturally possess rhythmic sounds and modulated harmony in long and short syllables.
Censorinus too disputed subtly concerning the accents, which are very necessary to our voice, and which he says pertain to the discipline of music; and I have left him among the others, transcribed for you.