Abstract

The ‘Αρμονικ Στοιχεα of Aristoxenus, being the earliest treatise on Greek Music extant, have hitherto held an unchallenged position as the foundation of much of our knowledge of ancient musical theory. Mr. R. P. Winnington-Ingram's shrewd and critical examination of the many difficulties involved in Aristoxenus’ treatment of subtleties of intonation is a very welcome contribution to a thorny subject; and it is in the hope of furthering our understanding that I venture to offer these comments on one or two points where alternatives or modifications may be suggested