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2 CH INESE MUSI C. many a brave man is still racking his brains, and will succumb before having resolved · the question and having learned more on the subj ect than what has been handed down to us by PTOLEM.EUS, PLUTARCH, and PLATO. From what we know of Greek music we can infer that it was simply a system for regulating the .movements of dances, pantomimes, and poetry; so the mysterious influence spoken of may have been due more to the words and gestures than to the sounds themselves. The Greeks had several gamuts with an irregular distribution of intervals. Of those gamuts, some were used for music of a solemn character ; some were adapted to merry, lively, martial music; and some others to music of a soft and pathetic character. As for the notation, the alphabetical letters alone were used ; harmony, modulation, and even melody (as .we understand it) were unknown. Their music was divided into three principal kinds : the Eµµe AEta, or church music ; the 1 a-f Ktvvtr,, for grotesque occasions ; and the KopJat for dancing. All this is equally applicable to Chinese music, as will be shown hereafter. lVIusic is in principle romantic and fanciful, and therefore it is closely related to religion. Everywhere where polytheism or idolatry has existed we find music occupying only a subordinate position, the highest rank being given to the plastic art-to sculpture ; whereas among the nations whose worship was of a more spiritual character we find music occupying the first place. Indeed, the Hebrews, although often tainted with idolatry, possessed the most advanced system of their time; and the Chinese worshippers of Shang-ti have a kind of music unknown to the adherents of Buddha and Tao. On the other hand, the uncivilised, idolatrous nations have scarcely any musical system. It is an uncontested fact that music has gradually risen and progressed with Christianity. Through its character of ineffable spfritualism, the art of sounds alone was able to render the Christian idea of an uncreated God. Antiquity appealed to the plastic arts for representations of its gods, because those gods never ceased to affect the forms and passions of humanity ; but a religion of abnegation and mystic contemplation required as interpreter an art whose aspiration is unbounded, whose element is impalpable, as music. During the first three centuries of our era, when Christians were exposed to persecu– tions and had to conceal themselves to pray, music had of course but little place in worship ; but in the 4th centmy, when Christian perseverance had overpowered the crnel paganism, AMBROSIUS, archbishop of Milan, adopted four of the Greek gamuts for the liturgical music of the church. Some additions to the number of scales were made by Pope GREGOR v during the 6th century; but the greatest improvements, principally the system of notation on a stave, are due to Gumo D'AREZZO, a Benedictine monk of the 11th centlll'y. It was only dming the 13th century that harmonic chords first came into use; until then singing was all in unison. But the most important revolution in modern music was effected during the last years of the 17th century, when the two great divisions, m3:jor and minor, were introduced. Since then our system has continually progressed, and all the mysteries of the world of sounds have been brought to light.