On the whole it would seem that the only _mode_ (in the modern sense of the word) of which the new discoveries tell us anything is a mode practically identical with the modern Minor. I venture to think this a confirmation, as signal as it was unexpected, of the main contention of this treatise. It does not seem to have been observed by M. Weil or M. Reinach that in all these pieces of music there is the same remarkable correspondence between the melody and the accentuation that has been pointed out in the case of the Seikelos inscription (pp. 90, 91). It cannot indeed be said that every acute accent coincides with a rise of pitch: but the note of an accented syllable is almost always followed by a note of lower pitch. Exceptions are, [Greek: aiolon, hina] (which may have practically lost its accent, cp. the Modern Greek [Greek: na]), and [Greek: molete] (if rightly restored). The fall of pitch in the two notes of a circumflexed syllable is exemplified in [Greek: manteion, heilen, Galatan, Phoibon, ôdaisi, klytais, bômoisin, homou]: the opposite case occurs only once, in [Greek: thnatois]. The observation holds not only of the chief hymn, but of all the fragments. INDEX OF PASSAGES DISCUSSED OR REFERRED TO. AUTHOR PAGE _Anonymi Scriptio de Musica_, § 28 (the modes employed on different instruments), 27 §§ 63-64 ([Greek: topoi tês phônês]), 64 Aristides Quintilianus (ed. Meib.): p. 10 (Lichanos), 31 p. 13 (ethos of music), 63, 66 p. 15 ([Greek: kata dieseis harmonia]), 53, 98 p. 21 (Modes in Plato's _Republic_), 94-100 p. 28 ([Greek: topoi tês phônês]), 63 Aristophanes, _Eq._ 985-996 (Dorian Mode), 7, 42 Aristotle: _Metaphysics_, iv. 11, p. 1018 _b_ 26 ([Greek: archê]), 46 Politics, iv. 3, p. 1290 a 20 (Dorian and Phrygian), 105 viii. 5-7, pp. 1340-1342 (ethos of music), 9, 12, 13, 107 viii. 7, p. 1342 _a_ 32 (Phrygian Mode), 12, 13, 107 Problems, xix. 20, p. 919 a 13 (Mesê), 43, 82, 102, 107 26, p. 919 _b_ 21 ([Greek: harmonia]=System), 55 33, p. 920 _a_ 19 (Hypatê), 44 36, p. 920 _b_ 7 (Mesê), 44 47, p. 922 _b_ 3 (heptachord scales), 33 48, p. 922 _b_ 10 (modes used by chorus), 14 49, p. 922 _b_ 31 (high and low pitch), 15