Book 14
21
"There are, then, as we have already said, three kinds of harmony, as there are three nations of the Greek people. But the Phrygian and Lydian harmonies, being barbaric, became known to the Greeks by means of the Phrygians and Lydians who came over to Peloponnesus with Pelops. For many Lydians accompanied and followed him, because Sipylus was a town of Lydia; and many Phrygians did so too, not because they border on the Lydians, but because their king also was Tantalus—(and you may see all over Peloponnesus, and most especially in Lacedæmon, great mounds, which the people there call the tombs of the Phrygians who came over with Pelops)—and from them the Greeks learnt these harmonies: on which account Telestes of Selinus says— First of all, Greeks, the comrades brave of Pelops, Sang o'er their wine, in Phrygian melody, The praises of the mighty Mountain Mother; But others, striking the shrill strings of the lyre, Gave forth a Lydian hymn."
22
But we must not admit, says Polybius of Megalopolis, "that music, as Ephorus asserts, was introduced among men for the purposes of fraud and trickery. Nor must we think that the ancient Cretans and Lacedæmonians used flutes and songs at random to excite their military ardour, instead of trumpets. Nor are we to imagine that the earliest Arcadians had no reason whatever for doing so, when they introduced music into every department of their management of the republic; so that, though the nation in every other respect was most austere in its manner of life, they nevertheless com- pelled music to be the constant companion, not only of their boys, but even of their youths up to thirty years of age. For the Arcadians are the only people among whom the boys are trained from infancy to sing hymns and pæans to regular airs, in which indeed every city celebrates their national heroes and gods with such songs, in obedience to ancient custom.
