The daily morning journal and courier., 1907-06-15
HISTORY OF MUSIC.
M. STEINERT'S ARTICLE
Third in an Interesting se- ries Written for This
 Paper.
Article III.

i upon a 0oundIeSS and unknown Oceal it he sets out to discover the lanC 1 where musical songs first appeared. Tn, i only knowledge pertaining to ancien music we have is to be found by {
 study of the Egyptian and Grecian In struments, in the system in which these
 Instruments were tuned, and In the way
 they were played. But we have the ai( | of many fables that exist giving fanci.
 full narratives of it's parentage. One oi l these stories gives the honor to the Trismegistus, or thriee-i -illustrious,
 Egyptian Mercury The Nile" says
 Apollodorus, after having overfowed
 the whole country of Egypt, when il returned within it's natural bounds
 left on the shore great number of l dead animals of various kinds, and
 among the rest, a tortoise, the flesh of
 which being dried and wasted by the sun, nothing was left within the shell
 but nerves and cartridges which, brac- ed and contracted by desslcatton, were rendered sonorous, Mercury. walking along the banks of the river, chanced
 to strike his foot against the shell of this tortoise, was pleased with the sound 1t produced and, upon reflection, conceived the idea of a Tyre, which in strGment he afterwards constructed in the form of tortoise, stringing it with the dried sineWs of the dead animals
 The flute, or monaulos according to Plutarch, was the invention of Apollo while Athenaeuns Gin Juba's Theatrical Hlstory) attributes its origin to the great Egyptian ruler and legislator, Osiris Its first shape is said to have been that of q bulls horn; and Apul- cius, speaking of Its uses in the mys- terles of Isis, calls it the crooked flute
 With respect to the form of these in- struments, whoever suggested the first rude ideas of the frame and effect of the Tyre did, most probably, borrow the approximate conceptions from the vibrations of q distended string; and it is natural to suppose that the flute, in its original simplicity, was but a slight improvement upon the whistllng reed of the field. Of this opinion we find was the sublime Roman poet, Lu- cretius who lived from 95 to 52 B. C.. than whom no ancient philosopher ever locked into nature and natures secrets with a more penetrating eye, In Latin verse he speaks of the flute according u the following translation:
 And moved by gentle gales, their
 murm'ring sound
 The tuneful reeds, soft waving, whis-
 per'd round;
 To wake the hollow reed, hence, man
 acquired
 The melting art, and all the soul in-
 spireG,
 Then sounds he learnt to breathe, like
 those we hear,
 When the soft pipe salutes the en-
 chanted ear;
 When to the nimble finger it replies, And with the blended voice in sweet
 nes vies;-
 That pipe that now delights the lawns
 and groves,
 the solitary shepherd roves, And speaks the dulcet language of the
 Loves"
 The Egyptians were generally consid- ared an unmusical people It was only after Dr. Burney, in the latter part of the eighteenth century. found a in the shape of lute on a allen obelisk at Rome, and James Bruco discovered representations of narps in the tombs of the Kings of rhebes that this illusion began to he 1 iispelled. Psychologists found instances 1f figures on monuments representing ! performers on wind and stringed in- | struments together with inscriptions re- rerring to music From the date of the | fifteenth dynasty In one of the islands ,f the upper Nile the following is talk | m: "ErpaHe the Great, Prince of ] Krsch and singer to his lord Amon," 1 which would show that even princes were interested In music.
 The Egyptians were a very religious people and believed in the immortality if the soul This would prove conclus- | vely that the tonaI art had to find a | lome there. Where there is no religion music can never obtain a secure foot ng, and as the Egyptians were given | Q symboliSing and phlosophizing on he nature of the soul they could not elp being influenced by the pure and | effect of music. They, like the | lived in a country that was to meditation and recollen- ion. They lived in a somewhat mys- erious world and to such people music vas indigenous
 The character of Egyptian music as oractieed during their religious rites ave been solemn and majestic The Egyptian priests and sages could not ut express the music of the minds of he people. They must have given it lace in the artistic impulse that rompted them 10 erect their colossal that carried with them the olemn, the wonderful, and the mys- erious
 Even our European composers one or wo centuries ago found many tonal in eastern music and l. pplied them to their own works. Me- ul's Joseph in Egypt" and Mozart's Magic Flute" Verdi in his Aida" and l. uch composers as Goldmark and Gou- cd, represent on the operatic stage he idols, pyramids. sphinxes and obel- sks, not to mention the representation f Pharaoh and his followers or the riests in the exercise of their mystic ties in the Egyptian temples. A say IS of the ancient Egyptian lore was ound on Beethoven's writing table in he form of an inscription from the emple of Sats which runs as follows ls am all that is, that was, and that i'll be; no mortal has lifted my veil" There always was an inherent musi-