THE DEVELOPMENT OF MUSICAL THEORY IN GREECE.
THE more closely the traditions and testimonies as to Greek music are considered the more difficult does it prove to entertain a doubt as to its genuine value and importance even in very early times. The specific dignity ascribed to it in the scale of the arts by a race which of all others was most sensitive to beauty, and the agreement of general descriptions of its styles and development with modern historical experience, may together be safely accepted as conclusive. We must accept the accounts of the excellence of Greek music as of Greek painting also, on what might have been our only ground for confidence in that of Greek sculpture. We have had proof and warning of the respect that is due to antique authority, in the absolute vindication by the recovered works of Pheidias of that supremacy in art which was so enthusiastically ascribed to him; precisely as in poetry, the ancient fame of Sappho, which might well seem extravagant if unsupported by evidence, is established for ever by the fragments that, few and short as they are, so fully justify the terms of her most unqualified encomiasts.
Our difficulties as to Greek music are perhaps increased in some directions to the full extent that they are relieved in others by the scientific or quasi-scientific treatises on the art