In Egypt they were in the midst of a people infinitely their superiors in all the arts of civiliza tion, in consequence of which they were kept more apart, and likely to adopt less from them than if the resemblance had been greater. Their con dition was also soon changed into one of intolerable bondage— a state in the highest degree unfavourable to the cultivation of music and its kindred arts, although there were doubtless among the Israel ites many individuals who were led by circum stances or inclination to cultivate the learning and the arts of Egypt, among which music was not likely to be forgotten. The conclusion we should be disposed to deduce from this is, that the native music of the Israelites was much of the same kind which exists in Syria and Western Asia to this day, and that the instruments resembled the most simple of those in present use, while we must be content to remain in ignorance respecting the measure of that improvement in musical science which they may be supposed to have derived from the Egyptians ; although with respect to the instruments much information may be collected from the monuments of that ancient people.
With respect to the nature of the Hebrew music, it was doubtless of the same essential cha racter as that of other ancient nations, and of all the present Oriental nations ; consisting not so much in harmony (in the modern sense of the term) as in unison or melody. This is the music of nature, and for a long time after the more ancient period was common among the Greeks and Romans. From the Hebrews themselves we have no definite accounts in reference to this sub ject ; but the history of the art among other nations must here also serve as our guide. It was not the harmony of differing or dissonant sounds, but the voice formed after the tones of the lyre, that constituted the beauty of the ancient music.
calamos inflare leves, ego dicere versus,' was the general rule followed in the musical rhap sodies of the ancients, and which so enraptured the Arabian servant of Niebuhr, that he cried out, in contempt of European music, By Allah, that is fine ! God bless you!' (Reisebeschreib. mach Ara bien, p. 176). The whole of antiquity is full of stories in praise of this music. By its means battles were won, cities conquered, mutinies quelled, diseases cured (Plutarch, De Musica). Effects similar to these occur in the Scriptures, and have already been indicated. The different parts which we now have are the invention of modern times. Respecting the bass, treble, etc., very few discriminating remarks had then been made. The old, the young, maidens, etc., appear to have sung one part. The beauty of their music con sisted altogether in melody. The instruments by which, in singing, this melody was accompanied, occupied the part of a sustained bass ; and, if we are disposed to apply in this case what Niebuhr has told us, the beality of the concerts consisted in this —that other persons repeated the music which had just been sung, three, four, or five notes lower or higher. Such, for instance, was the concert which Miriam held with her musical fellows, and to which the`toph.' or tabret, furnished the continued bass ; just as Niebuhr has also remarked of the Arabian women of the present day, that when they dance or sing in their harem, they always beat the corresponding time upon this drum' (Reiseb. I. ISI). To this mode of performance
belongs the 24th Psalm, which rests altogether upon the varied representation ; in like manner, also, the 2oth and 21st Psalms. This was all the change it admitted ; and although it is very pos sible that this monotonous, or rather unisonous music, might not be interesting to ears tuned to musical progressions, modulations, and cadences, there is something in it with which the Orientals are well pleased. They love it for the very reason that it is monotonous or unisonous, and from Mo rocco to China we meet with no other. Even the cultivated Chinese, whose civilization offers so many points of resemblance to that of the ancient Egyptians, like their own music, which consists wholly of melody, better than ours, although it is not wholly despised by them (Du Halde's China, 111. 216).
A music of this description could easily dispense with the compositions which mark the time by notes ; and the Hebrews do not appear to have known anything of musical notation ; for that the accents served that purpose is a position which yet remains to be proved. At the best the accent must have been a very imperfect instrument for this purpose, however high its antiquity.* Euro peans had not yet attained to musical notes in the 11th century ; and the Orientals do not profess to have known them till the 17th. On the other hand, the word r6o, selah, which occurs in the Psalms and Habakkuk, may very possibly be a mark for the change of time, or for repeating the melody a few tones higher, or, as some think, for an accompaniment or after-piece of entirely instru mental music.
The Hebrew music is judged to have been of a shrill character ; for this would result from the nature of the instruments—harps, flutes, and cym bals—which were employed in the temple-service.
The manner of singing single songs was, it seems, ruled by that of others in the same measure, and it is usually supposed that many of the titles of the Psalms are intended to indicate the names of other songs according to which these were to be sung [PSALMS].
There is a notion somewhat widely diffused, that in their sacred services the Hebrews dispensed with real melody, and contented themselves with such cantillation as they now use in their synagogues. This seems very doubtful. On such a subject it is not safe to argue from the practice of the modern Jews ; and as singing is something so exceedingly simple and natural, it is difficult to believe that in the solemn services of their religion they stopped at the point of cantillation. [It is certain, also, that the secular music of the Hebrews must have been different from mere cantillation. We cannot I suppose that the music by which David charmed Saul, by which his court and that of Solomon was regaled, by which Elisha was elevated into the prophetic ecstacy, was of this inartificial and unim pressive kind.] The allusions to music in the Scriptures are so incidental and concise, that it will never be pos sible to form out of them a complete or connected view of the state of musical science among the ancient Hebrews. The little knowledge which has been realised on the subject, has been obtained chiefly through the patient labours and minute in vestigations of the authors named at the end of the next article.—J. K. tt