Jubal, the son of Lamech, is mentioned as the inventor of musical instruments, though, of what kind, translators are not agreed. Laban, in Mesopotamia, complained that he had no opportunity afforded him of conducting Jacob and his family out of the land "with mirth and with songs, with tabret and with harp." The lyric odes of the Hebrews, as the name implies, were set to music. The glorious triumph of the Lord was sung by Miriam on the banks of the Red Sea. Music, vocal and instrumental-they are never separated-formed an important feature in most of the festivities and religious services of the Jews, whether public or private. It enlivened their march in the annual pilgrimage to Jerusalem;1 and music is still employed for this purpose in oriental processions. Not that music of any kind-except the blowing of the two silver trumpets-was ever enjoined on the Jews as part of their ceremonial services. In the directions given to Moses there is no other allusion to music. This was altogether unnecessary; for being in perfect ac-. cordance with man's moral and physical constitution, applicable to all time, and affording the highest medium for the utterance of praise, it was joyfully and naturally rendered by the sanctified heart, as a free-will offering to the Lord-the Divine sanction subsequently showing that it was acceptable and well-pleasing in HIS sight. When the Ark was brought up, "David and all Israel played before God with all their might, and with singing, and with harps, and with psalteries, and with timbrels, and with cymbals, and with trumpets."2 It accompanied the prophets, was employed in funeral ceremonies, at I Isaiah xxx. 29. 21 Chron. xiii. 8. marriage festivals, and was closely interwoven with all their feelings, manners, and customs. The skill of David in sacred music, and his regal direction of choirs and orchestras, are recorded in the Books of Chronicles. Many of the Psalms are arranged for different choirs and choruses; and frequently with directions to "the chief musician." The twenty-fourth Psalm would seem to be intended for such alternate singing, which is called antiphonal or responsive. It is thus given by Professor Eadie: "Both Choruses. Jehovah's is the earth and its fulness; The world and its inhabitants; For he founded it upon seas, He established it upon streams. First Chorus. Who can go up into the mount of Jehovah ? He whose hands are clean, whose heart is pure, Who lifts not his soul to vanity, and swears not in deceit ; And righteousness from the God of his salvation. This is the generation which seek him; Jacob's generation, who seek thy face. First Chorus. Raise your heads, doors; Lift up yourselves, everlasting (venerable) gates, that the king of glory may enter. Second Chorus. Who is the king of glory? First Chorus. Jehovah, the strong one and mighty; Jehovah, the mighty one in battle. Second Chorus. Raise your heads, doors; Lift up yourselves, venerable gates, that the king of glory may enter. First Chorus. Who is the king of glory? Both Choruses. Jehovah, Zebaoth, he it is; he is the king of glory.” Sweet As a nation, the Hebrews were musical. singers, they sang very lovely songs, had pleasant voices, and could play well on instruments-(Ezek. xxxiii. 33.) Captive by the rivers of Babylon, they were importuned to sing the songs of Zion for the entertainment of their oppressors, from which circumstance may be inferred their superior musical skill. Daniel describes the musical establishment of the Chaldeans at the Court of Nebuchadnezzar as being magnificent, for which, some think, he was indebted to the Jews. Ezra (ii. 65) records, that among those who returned from the captivity were "two hundred singing men and singing women.' It may also be remarked that under the impious reigns of some kings, their musical services fell into disuse, but were again revived by the good kings Hezekiah and Josiah. وو In Egypt music was cultivated in the most remote ages, and many are of opinion, that what has been generally thought the beginning of the arts and sciences, in that interesting country, was only their revival. The arts had long been declining in Egypt, ere their infancy in Greece. The oldest known representation of a musical instrument is one of two strings, on an Egyptian obelisk now standing at Rome, and known by the name of the guglia rotta. It was brought there, by Augustus, from Heliopolis, where it had been first erected by Sesostris, 400 years before the siege of Troy. The peculiar interest of this instrument is derived from its having a neck or finger-board like a lute; a contrivance which enables the performer to obtain, by fingering, a succession of notes from each string. This invention affords facilities and powers to instrumental music which were unknown to the Greeks in the best period of the Arts. This, in connection with those fresco representations of harpplaying, in the sepulchres adjoining Thebes and elsewhere, described by Bruce and other travellers,1 in which harps, almost equalling those of our modern drawingrooms in size, graceful form, highly finished ornament, and great compass, would seem to indicate a high state of perfection both in "geometry, drawing, mechanics, and music;" the latter in all likelihood reaching a higher degree of excellence than that to which even the Greeks subsequently attained. Latterly, according to Plato, they were restricted by their laws-as in other arts relating to form and colour-to certain fixed melodies which they were not permitted to alter, and these were handed down traditionally, by the ear alone. The Egyptians would seem to have had no original theatrical performances, although they had wandering singers, players upon instruments, dancers, and story tellers, as in modern times: the study of music as a science, however, was chiefly confined to the priesthood. In early ages the position of the poet or musician in Greece somewhat resembled that of the northern Scalds, Minstrels, and Bards of a later time-singing on the street 1 See Wilkinson's "Ancient Egyptians," vol. i., pp. 125–130—more particularly the representation at p. 109. or in the palace. Regarded as inspired, he was welcomed and respected by all. Homer's numerous allusions, glowing descriptions and fine appreciation of music are only excelled by Shakspere, who in this respect, as indeed in almost all others, is unapproachably alone. Music, however, in Homer is always mentioned in connection with poetry; those instruments most frequently named by him being the lyre, the flute, and the syrinx or Pan's pipe. In later times we have seen that melody and poetic song-regarded as the grand medium of instruction in religion, morals, manners, and the laws-constituted the chief part of the national education, being taught to all; and, deemed a useful and valuable accomplishment, music was assiduously practised alike by the warrior, statesman, judge, or philosopher. When we say taught to all, we refer only to the educated classes; for unmusical among the Greeks was the equivalent for uneducated, Much learned research has been bestowed upon ancient music, particularly upon that of the Greeks, but with very little result as to its actual character, although much is known of its use, influence, connection with manners, customs, &c. It would seem to have been "a rhythmical recitation, with a simple accompaniment, less musical than rhetorical." We do not find that harmony, in its modern acceptation, was known to the Greeks, their technical use of that word only signifying melody, or successive intervals in unison or octave.. There are several ancient treatises on acoustics, the theory of music in a mathematical point of view,—and others which have reference to its practice; but from the want of material to illustrate them, they are now quite unintelli |