well remarks that
such hymns could only have been sung appropriately to melodies of a
choral-like character.

"Thou ruler of the sea, the sky, and vast abyss,
Thou who shatterest the heavens with Thy thunder peals;
Thou before whom spirits fall in awe, and gods do tremble;
Thou to whom fates belong, so wise, so unrelenting Thou;
Draw near and shine in us."

Various musicians and theorists later are credited with having made
additions to the musical resources of the Greeks, and it was a
proverb, said of any smart man, that he "added a new string to the
lyre." This was said of Terpander especially; but it is pretty certain
that the lyre had six or seven strings some time before Terpander, and
that the form of expression was purely symbolical, as if they had said
of him "he set the river on fire." The first real contributions to
musical science after the Problems of Aristotle, already cited, are
the two works of his pupil Aristoxenus--one on harmony, the other on
rhythm. These give a full account of the Greek musical systems, and
are the source of the greater part of our information upon the
subject. From them it appears that the basis of their scale was the
tetrachord of four tones, placed at an interval of two steps and a
half step. The outside tones of the tetrachord remained fixed upon the
lyre, but the two middle ones were varied for the purpose of
modulation. The Dorian tetrachord corresponded to our succession mi,
fa, sol, la; the Phrygian re, mi, fa, sol; the Lydian from do. Besides
these modes, the Greeks had what they called genera, of which there
were three--the diatonic, to which the examples already given belong;
the chromatic, in which the tetrachord had the form of mi, fa, fi, la,
the interval between the two upper tones being equal to a step and a
half; and the enharmonic, in which the first two intervals were
one-quarter of a step and the upper one a major third. We are
entirely ignorant of the practical use made of these different forms
of scale. Whether the quarter tones were used habitually, or were
glided like appoggiaturas, or passing tones, has been vigorously
maintained on both sides by different writers. The evidence seems to
point to the enharmonic as having been the most ancient, and the
chromatic and diatonic gradually superseding it. In Plato, Aristotle
and many of the Greek writers, especially in Athenaeus, much is said
about the characteristic expression