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SALPINX 100.00%
The Greek name for the long trumpet, like the Roman tuba, with which the signals were given in the army. It was also employed in religious ceremonies. (See out.)
TUBA 100.00%
The Latin name for a straight wind-instrument of deep, clangorous sound, which was used at sacrifices, games, and funerals, and in war among the infantry to give the signal for attack and retreat, and was blown by the tubicen (see cut). (Cp. LITUUS, 2.)
LITUUS 63.37%
The signal-trumpet of the cavalry, bent at the lower end; it was blown by the liticen, and emitted a clear, shrill note (cp. TUBA).
SALII 11.42%
An old Italian college of priests of Mars; said to have been introduced at Rome by Numa and doubled by Tullus Hostilius. The earlier college was called the Salii Palatini, and the later the Salii Agonales or Collini. The former derived their name from their curia on the Palatine Hill; the latter, from the Colline Gate, near which stood their sanctuary on the Quirinal. Both colleges consisted of twelve life-members of patrician family, and recruited their numbers from young men, whose parents were required to be still living; at their head was a magister, a praesul (leader in the dance), and a vates (leader in the song). The cult of the Palatine Salii had to do with Mars, that of the Colline with Quirnus; but the chief connexion of both was with the holy shields, ancilia. (See ANCILE with cut.) The chief business of the Salii fell in March, the beginning of the campaigning season. On March 1st they began a procession through the city, each of them dressed in an embroidered tunic, a bronze breastplate, and a peaked helmet, girt about with a sword, with one of the holy shields on the left arm, and in the right hand a staff, while trumpeters walked in front of them. At all the altars and temples they made a halt, and, under the conduct of the two leaders, danced the war-dance in three measures, from which they take their name of Salii or "dancers," accompanying it by singing certain lays, beating their shields meanwhile with the staves. Every day the procession came to an end at certain appointed stations, where the shields were kept over the night in special houses, and the Salii themselves partook of a meal proverbial for its magnificence [Horace, Odes i 37, 2]. Until March 24th the ancilia were in motion; within this time some special festivities, were also held, in which the Salii took part. On March 11th there was a chariot-race in honour of Mars (Equiria) and a sacrificial feast in honour of the supposed fabricator of the shields, Mamurius Veturius; on the 19th was the ceremony of the cleansing of the shields, and on the 23rd the cleansing of the holy trumpets (tubae) of the priests, called the tubilustrium. The days on which the ancilia were in motion were accounted solemn (religiosi), and on these days men avoided marching out to war, offering battle, and concluding a marriage. In October, the close of the campaigning season, the ancilia were once more brought out, in order to be cleansed in the Campus Martins. The lays of the Salii, called aoeamenta, were referred to Numa, and were written in the archaic Saturnian verse, and in such primitive language, that they were scarcely intelligible even to the priests themselves, and as early as the beginning of the 1st century B.C. were the object of learned interpretation. [Quintilian i 6 § 40. Two or three connected bits of these lays have come down to us (Allen's Remnants of Early Latin, p. 74). The most intelligible is the following, in a rude Saturnian measure: ¦ Cumé tonds, Leucésie, + prae tet tremónti, ¦ Quom tiibei cúnei + déxtumúm tondront; ¦ i.e. Cum tonas, Lucetie (thou god of light), prae te tremunt, cum tibi cunei (bolts of lightning) a dextra tonuerunt.] Besides Mars, other deities, such as Janus, Jupiter, and Minerva, were invoked in them; the invocation of Mamurius Veturius formed the close [Ovid, Fasti, iii 260 ff.]. After the time of Augustus the names of individual emperors were also inserted in the lays
LEGION 5.04%
In the time of Romulus the united armed forces of Rome went by this name. The legion consisted of 300 knights (celeres) under the command of a tribunus celerum, appointed by the king, and 3,000 foot soldiers, under the command of three tribuni militum. Each of the three ancient tribes provided a third of this force and one tribune. With the increase of the military forces of Rome the name of legio was given to each of the sub-divisions equivalent in numbers to the original army. The military system of king Servius Tullius made the infantry the most important part of the military forces, instead of the cavalry as heretofore. The five classes included in the census (q.v.) were obliged to serve in the army at their own expense; those who were not comprised in these classes, viz. the proletarii, were freed from service, and, when they were enlisted, received their equipment from the State. The iuniores, those who were from 17 to 46 years old, were appointed for field service, and the seniores, those from 47 to 60, for the defence of the city. The first and second lines of the legion, drawn up in unbroken order like the Greek phalanx, consisted of citizens of the first class, equipped with helmet, cuirass, round shield (clipeus), and greaves, all of bronze. The third and fourth lines were from the second class, and had no cuirass, but had the helmet and greaves and large oblong shields (scutum). The fifth and sixth were armed similarly, but without greaves, and were drawn from the third class. The fourth class was armed with the scutum as its only weapon of defence, but, like the others, provided with spear (hasta) and sword. It either filled the seventh and eighth lines, or, with the fifth class, formed the rorarii, who opened the battle with slings and other light missiles. An impontant alteration, ascribed to Camillus (about B.C. 390), was the abolition of the phalanx and introduction of the manipular formation, which prevailed till the time of Marius (end of the 2nd century B.C.). In the flourishing days of the Republic, the normal strength of a legion, which could be increased in time of need, consisted of 300 knights (equites), and 4,200 foot soldiers (pedites). In respect to the weapons used, the latter were divided into four kinds, according to their length of service and familiarity with warfare. (1) 1,200 hastati, all in early manhood; (2) 1,200 principes, in the full vigour of life; (3) 600 triarii, who were proved veterans; and (4) 1,200 velites, who were lightly armed, and were drawn from the lowest classes of the census. The three first classes had a bronze helmet (cassis) with a lofty plume of feathers, a scutum, a leathern cuirass (lorica, q.v. ), greaves and a sword (gladius), which, after the second Punic War was of the Spanish kind, being short, strong, and two-edged, fitted for thrusting rather than cutting, and worn on the right side. There was also a spear, which in the two first divisions was a pilum (q.v.), and among the triarii a lance [Polyb. vi 23). The velites were armed with a leather helmet (galea), a light shield (parma), and a sword and several light javelins. The 3,000 heavily armed men were divided into 30 manipuli, numbering 120 men each among the hastati and principes, and 60 each among the triarii, and were again subdivided into two bodies called centuriae, and led by centurions (q.v.). Of the 1,200 velites, 20 were allotted to each century, and they formed the final complement of each maniple. On the field of battle the maniples were drawn up in open order, separated laterally from one another by intervals corresponding to the breadth of each maniple in front. The arrangement of the maniples would thus resemble that of the black squares on a chessboard. They fell into three divisions; the hastati in the front rank, with the principes behind them, and the triarii in the rear. If the first division, the hastati, were compelled to give way, then the second division, the principes, advanced through the intervals t by the maniples of the first division; if the principes in their turn had to retreat, then the third division, the triarii, who had been previously kneeling, protected by their shields, allowed the hastati and principes to fall back into the intervals separating the maniples of the triarii, and themselves closing their ranks pressed forward to meet the enemy. The 300 knights of the legion were divided into 10 turmae of 30 men each, and were equipped with a bronze cuirass, leathern greaves, helmet, shield, a long sword for attacking, and a long lance provided at both ends with an iron point. Each turma was under three decurions and three underofficers (optiones). The legion as a whole was under the command of six tribuni militum (q.v.) The consular army consisted of two legions. Four legions were regularly levied in each year; in other words, 16,800 foot soldiers and 1,200 cavalry. This levy of citizens was further swelled by the Italian allies (socii), a body of 20,000 foot soldiers and 3,600 cavalry, thus adding to each of the two consular armies 10,000 foot soldiers and 1,800 cavalry. The former were in twenty cohorts (see COHORS), each consisting of 420 men. Ten of these cohorts fought on the right wing, and ten on the left wing of the legions. Besides these, four cohorts of 400 men each were formed into a picked body. The cavalry were in six squadrons (See ALA, 1) of 300 men each. Four of these belonged to the main army, and two to the picked body. In wars beyond the limits of Italy there were also auxiliary forces (auxilia), consisting either of soldiers raised in the country where the war was being carried on, or of light-armed troops furnished by allied kings and nations. Besides the ordinary component parts of the legion there was also the bodyguard of the commander-in-chief, the cohors proetoria. (See COHORS.) In the course of the 1st century B.C. the organization of the legion was essentially altered. In the first place, in the time of Marius, the census ceased to be the basis of the levy, and all the citizens collectively were placed on the same footing in respect to their military service and the uniform which they wore. All the soldiers of the legion alike received the heavy equipment and the pilum, while the light-armed velites were done away with. After the right of citizenship had been conferred on the Italian allies, these no longer formed a separate part of the legions, but were incorporated with them. Thus the Roman army now consisted only of heavy-armed legions and of light-armed auxiliary troops. The latter were partly raised in the provinces and divide into cohorts, and partly enlisted as slingers and archers. The cavalry of the legions ceased to exist. Like the light-armed soldiers, the whole of the cavalry consisted of auxiliary troops, who were partly enlisted and partly levied from the provinces, while some were supplied according to agreement by allied nations and princes. A further important novelty introduced by Marius was the use of the cohort-formation, instead of the maniple-formation, which broke up the front too much. The legion was now divided into ten cohorts, in each of which there were three maniples of hastati, principes, and triarii, designations which now only concern the relative rank of the six centurions of the cohort. The customary battle array was in three divisions, the first being formed of four cohorts, and the second and third of three each. Again, while in earlier times the obligation of service extended at the most in the infantry to twenty campaigns and in the cavalry to ten, from the days of Marius the soldier remained uninterruptedly for twenty years with the army; an earlier dismissal being only exceptional. For this reason the well-to-do classes sought to withdraw themselves from the general military service, and it thus came to pass that the legions were for the greater part manned by means of conscriptions from the lowest strata of the burgher population of Italy, in which the service was regarded simply as a means of livelihood. Thus from the original army of citizens there was gradually developed a standing army of mercenaries. Under the Empire we find what is really a standing army, bound to the emperor by oath (see SACRAMENTUM); apart from the legions this army consisted of the auxilia (q.v.), the guards stationed in Rome and the neighbourhood (see PRAeTORIANI), and the city-cohorts (see COHORS), the artillery and the corps of workmen (see FABRI), the marines (see CLASSIARII), and the municipal and provincial militia. The legions are now once more provided with a corps of cavalry 120 strong, and are designated not only by numbers, but also by distinctive names. Together with the auxiliary troops they form the garrison of the imperatorial provinces under the command of the imperatorial legati legionum (see LEGATI), whose place was taken in the middle of the 3rd century by the praefecti legionum (see PRAeFECTI.). The strength of the legion now amounted to 5-6,000 men, raised partly by a regular levy, partly by drawing recruits from the Roman citizens of all the provinces beyond the bounds of Italy. As under the Republic, it was divided into 10 cohorts of 6 centuries each; the first cohort was, however, twice the strength of the remainder. It was not until the second half of the 3rd century A.D. that a now division of the 10 cohorts into 55 centuries came into use, with 10 centuries in the first cohort, and 5 in each of the rest. At the death of Augustus, the number of the legions was 25; it was then increased to 30, and this number was maintained until the end of the 2nd century, when three new legions were added by Septimius Severus. From the beginning of the 4th century it gradually rose to about 175, each of them, however, mustering a considerably smaller contingent. Incourse, of time, and especially after the 2nd century, owing to the conflicts with the barbarians, the legion was drawn up more and more after the manner of the Greek phalanx, without intervals in its line and with a division of troops in its rear. In its equipment there was an important alteration beginning with the second half of the 3rd century, when ad the soldiers of the legion carried long swords (Spathae), and the first five cohorts two pila, one larger and another smaller, while the last five had lanceae, or javelins serving as missiles, and fitted with a leather loop to help in hurling them with precision. The military music of the Romans was provided by tubicines (see TUBA.), cornicines (See CORNICEN), bucinatores (see BUCINA), and liticines (see LITUUS, 2). On standards or ensigns, see SIGNUM and VEXILLUM. On levy, oath of allegiance, pay, and discharge from service, see DILECTUS, SACRAMENTUM, STIPENDIUM, and MISSIO. The accompanying cut (from the Column of Trajan) represents the soldiers of a legion on the march, carrying their helmets close to the right shoulder, and their kit at the top of a pole resting on the left.
MUSIC 4.03%
included among the Greeks everything that belonged to a higher intellectual and artistic education. [Plato in his Republic, p. 136, while discussing education, says: "Can we find any better than the old-fashioned sort, gymnastic for the body and music for the soul?" and adds: "When you speak of music, do you rank literature under music or not?" "Ido."] Music in the narrower sense was regarded by the Greeks not only as an agreeable amusement, but also as one of the most effective means of cultivating the feelings and the character. The great importance they attached to music is also shown by their idea that it was of divine origin; Hermes or Apollo were said to have invented the lyre, Athene the simple flute Pan the shepherd's pipe. Besides these gods and the Muses, Dionysus also was connected with music. Numerous myths, as for instance those concerning Amphion and Orpheus, tell of its mighty power, and testify to the Greeks having cultivated music at a very early epoch. It was always intimately allied to poetry. Originally, epic poems were also sung to the accompaniment of the cithara, and the old heroes of poetry, such as Orpheus and Musaeus, are at the same time heroes of music, just as in historical times the lyric and dramatic poets were at the same time the composers of their works. It was not until the Alexandrian times that the poet ceased to be also a musician. Owing to its connexion with poetry, music developed in the same proportion, and flourished at the same period,, as lyric and dramatic poetry. Of the Greek races, the Dorians and Aeolians had a special genius and capacity for music, and among both we find the first traces of its development as an art. The actual foundation of the classical music of the Greeks is ascribed to TERPANDER (q.v.), of the Aeolian island of Lesbos, who, in Dorian Sparta (about B.c. 675) first gave a truly artistic form to song accompanied by the cithara or citharodice, and especially to the citharodic nomos (q.v.). In the Peloponnesian school of the Terapandridce, who followed his teaching and formed a closely united guild, citharodice received its further artistic development. What Terpander had done for citharodice was done not long afterwards by CLONAS of Thebes or Tegea for aulodice, or song accompanied by the flute. The artistic flute-playing which had been elaborated by the Phrygian OLYMPUS in Asia, was introduced by Clonas into the Peloponnesus, which long remained the principal seat of all musical art. Of the two kinds of independent instrumental music, which throughout presupposes the development of vocal music and always adapts itself to this as its model, the earlier is the music on the flute, aulitice, which was especially brought into favourable notice by SACADAS of Argos (about B.C. 580), while the music on stringed instruments, citharistice, is later. Music was much promoted by the contests at the public festivals, above all, by those at the Pythian games. Its highest point of development was attained in the time of the Persian Wars, which seems to have seen the completion of the ancient system as it had been elaborated by the tradition of the schools. The lyric poets of this time, as Pindar and Simonides, the dramatists, as Phrynichus and Aeschylus, were hold by the critics to be unsurpassable models. What was added in subsequent times can hardly be called a new development of the art. Athens in her golden age was the central city where professional musicians met one another,-Athens the home of Greek dramatic poetry. At this time vocal, combined with instrumental, music largely prevailed over instrumental music alone. The latter was chiefly limited to solo performances. Ancient vocal music is distinguished in one important point from ours: throughout classical times part-singing was unknown, and there was at most a difference of octaves, and that only when men and boys sang in the same choir. Again, in classical times, the music was subordinate to the words, and was therefore necessarily much simpler than it is now. It is only in this way that we can explain the fact that an ancient audience could follow the musical representation of the often intricate language of the odes, even when the odes were sung by the whole choir. Critics regarded it as a decline of art, when, at the end of the Peloponnesian War, the music began to be the important element instead of the poetry. This change took place at first in single branches of the art, as in the solos (monodice) in tragedy, and in the dithyrambic choruses. Thenceforward ancient music, like modern music, raised itself more and more to a free and independent position beside that of poetry. The first place among the various kinds of music was assigned to the indigenous citharodice, which was connected with the first development of the musical art; and indeed stringed instruments were always more esteemed than wind instruments, in part on account of the greater technical difficulties which had to be overcome, and which led to musicians giving particular attention to them. Moreover, playing on the flute was limited to certain occasions, as its sound seemed to the ancients to arouse enthusiasm and passion [Aristotle, Politics, viii 3]. There is evidence that, on the one hand, the ancient theory of singing and of instrumentation (in spite of the primitive nature of the instruments) was brought to a high degree of perfection; and that, on the other hand, the public must have possessed a severely critical judgment in matters of music. The characteristic feature of ancient music is the great clearness of its form, resulting, above all, from the extreme precision of the rhythmic treatment. [In ancient Greece there were certain kinds or forms of music, which were known by national or tribal names, Dorian, Phrygian, Lydian, Ionian, and Aeolian. Of these the Dorian and Phrygian are regarded by Plato as representing the mean in respect of pitch, while the highest varieties of the Lydian (called Mixo-lydian and Syntono-lydian) are contrasted with the Ionian and with the lower variety of the Lydian (afterwards known as Hypo-lydian), the last two being described as "slack," or low in pitch (Republic, p. 398, and Aristotle, Politics, viii 5 and 7). Each of these was regarded as expressive of a particular feeling. Thus, the Dorian was deemed appropriate to earnest and warlike melodies; the Phrygian was exciting and emotional; the Mixo-lydian pathetic and plaintive. The Aeolian was intermediate between the high-pitched Lydian and the low-pitched Ionian (Athenaeus, p. 624 e, f, and 526 The terms Ionian and Aeolian fell out of use, and the following names were generally applied to seven forms of music, beginning with the highest in pitch and ending with the lowest:-Mixo-lydian, Lydian, Phrygian, Dorian, Hypo-lydian, Hypo-phrygian, and Hypo-dorian. These seven forms were known as harmonice (harmonia meaning literally a "fitting" or "adjustment," hence the "tuning" of a series of notes, or the formation of a "scale"). They were afterwards known as tonoi, or tropoi, the Latin modi and our moods or "modes." But the term "modes" is ambiguous. According to some authorities (Westphal and his followers) the ancient "modes" differed from one another as the modern major mode differs from the minor, namely in the order in which the intervals follow one another, the difference in the "modes" thus depending on the place of the semi-tones in the octave. Others suppose that the terms Dorian, Phrygian, Lydian and the rest, were applied to different scales of the same "mode" in the modern sense of the term. Thus, Mr. D. B. Monro, in his Modes of Ancient Greek Music, 1894, maintains that, in the earlier periods of Greek music, (1) there is no distinction between "modes" (harmonice) and "keys" (tonoi or tropoi); and (2) that the musical scales denoted by these terms were primarily distinguished by difference of pitch (p. 101). To the passages quoted by Mr. Monro, from Plutarch (De Mutica, cc. 6, 8,15-17, 19), in support of the identity of the Greek "modes" and "keys" may be added Plutarch, de E apud Delphos, c. 10, where the "keys" (tonoi) are regarded as synonymous with the "modes" (harmonice).] As the basis of every melodic series of sounds the ancients had the tetrachord, a scale of four notes, to which according to tradition the earliest music was limited. The heptachord consisted of two tetrachords the central note was at once the highest of the first and the lowest of the second tetrachord. The heptachord was certainy in use before Terpander, who is said to have given to the lyre seven strings instead of four. [Strabo, p. 618. He really increased the compass of the scale from the two conjunct tetrachords of the seven-stringed lyre to a full octave, without increasing the number of the strings. This he did by adding one more string at the upper end of the scale, and taking away the next string but one. Aristotle, Problems, xix 32.] Thus arose the octachord or octave, and at last, after various additions, the following scale of notes was formed: From the lowest b onwards, this scale was divided into tetrachords in such a way that the fourth note was always also regarded as the first of the following tetrachord; [the intervals between the sounds of the tetrachord were, in ascending order, semi-tone, tone, tone]. This sequence was called the diatonic genus. Besides this there was also the chromatic, the tetrachords of which were as follows, b c d e e f g a [the intervals in this case were semi-tone, semi-tone, tone and a half]. Thirdly there was the enharmonic, the tetrachord of which [had for its intervals 1/4 tone, 1/4 tone, 2 tones, and accordingly] cannot be expressed in modern notation. [See also p, 707.] With regard to the musical instruments it may be mentioned that only stringed instruments (cp. especially CITHARA and LYRA) and the flute (q.v.), which closely resembled our clarionet, were employed in music proper; and that the other instruments, such as trumpets (see SALPINX), Pan's pipes (see SYRINX), cymbals (cymbala), and kettledrums (see TYMPANUM), were not included within its province. In proportion to the amount of attention paid to music by the Greeks, it early became the subject of learned research and literary treatment. The philosopher PHYTHAGORAS occupied himself with musical acoustics; he succeeded in representing numerically the relations of the octave, the fifth, and the fourth. For representing the symphonic relations the Pythagorean school invented the monochord or canon, a string stretched over a sounding board and with a movable bridge, by means of which the string could be divided into different lengths; it was on this account known as the school of the Canonici as opposed to the Harmonici, who opposed this innovation and continued to be satisfied with a system of scales ("harmonies") sung by the sole guidance of the ear. Amongst the Canonici were philosophers such as PHILOLAUS ARCHYTAS, DEMOCRITUS, PLATO, and ARISTOTLE. LASUS of Hermione, the master of Pindar, is mentioned as the first author of a theoretical work on music. The "harmonic" ARISTOXENUS (q.v.) of Tarentum, a pupil of Aristotle, was held by the ancients to be the greatest authority on music; from his numerous works was drawn the greatest part of subsequent musical literature. Of other writers on music we may mention the well-known mathematician EUCLID, and the great astronomer CLAUDIUS PTOLEMAeUS, who perfected musical acoustics. Among the Romans, a native development of music was completely wanting. They had, indeed, an ancient indigenous musical instrument, the short and slender Latian flute with four holes; but their national art of flute-playing was, at an early period, thrown into the background by the Etruscan, which was practised as a profession by foreigners, freedmen, and people of the lowest classes of the Roman population. Among the nine old guilds, said to have been instituted by king Numa, there was one of flute-players (tibicines), who assisted at public sacrifices. With the Greek drama, Greek dramatic music was also introduced; it was, however, limited to flute-playing (cp. FLUTE). Stringed instruments were not originally known at Rome, and were not frequently employed till after the second Punic War. Indeed, as Greek usages and manners in general gained ground with the beginning of the 2nd century, so also did Greek music. Greek dances and musical entertainments became common at the meals of aristocratic families, and the younger members of respectable households received instruction in music as in dancing. Though it was afterwards one of the subjects of higher education, it was never considered a real and effective means of training. Entertainments like our concerts became frequent towards the end of the Republic, and formed part of the musical contests instituted by Nero, a great lover of music, in A.D. 60, on the model of the Greek contests. Domitian had an Odeum built on the Campus Martius (Field of Mars) for the musical entertainments of the Agon Capitotinus, instituted by him in A.D. 86, and celebrated at intervals of four years to the end of the classical period. -Passages bearing on music in Roman literature have no independent value, as they are entirely drawn from Greek sources.-For Roman military music, see LITUUS (2) and TUBA.
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