The time is given by the metre, which is pæonic—a long syllable and three short (variously placed), or two long and a short between them, in every case 5-8 in a bar: a strange measure to us, and very difficult to observe. As regards the accompaniment or harmonizing of the air, their is none extant. We turn lastly to the melody, which is far the most important item in giving us an insight into an old Greek performance. I grieve to say that, although there is rhythm and even a recurrence of phrases to mark the close of the period nothing worthy of being called melody in any modern sense is to be found. The notation of Greek music is well established. It consists of alphabetic letters with or without slight modifications written over the text. Instrumental notes are said to have been written under the text, and with a distinct notation. The poet, tragic or lyric, was also the composer, and set tunes to his odes. The inscription dates from the third century B.C., and this hymn to Apollo and the Muses consists of phrases equal to eighty bars in modern reckoning. Here then are a few bars of the melody given apart from the French version harmonised by M.M. Fauré and Reinach, and these will sufficiently indicate the character of the remaining portion, which the student, if so inclined can easily obtain. My object in giving these is in order that you may at the same time compare them with a similarly brief example of the Chinese music to the Hymn of Confucius, which will follow. OPENING OF THE HYMN TO APOLLO. The time of the blank spaces in the bars is filled by notes sounded upon some instrument; a kithara, I believe. [Illustration] Of course, we ought not to introduce bars; but in default of accentuation determined by the words, we have to avail ourselves of these indications, imperfect as they must be. Our notation also is, in some instances, only approximate, as both in the Greek and Chinese systems the intervals vary from ours to the extent at times of a quarter tone. CONCLUDING STROPHES OF THE HYMN TO CONFUCIUS. The rhythm of the hymn is constructed so as to have four syllables to a line, and at the end of each line in the verses (here occupying one bar), and one of the instruments is appointed to sound three or six times a sort of _interlude_ as in our recitatives. The music is simple, as with the Greeks, merely indicated by letters or signs associated with the words. The time taken very slow, probably somewhat as our “Old Hundredth” is sung in village churches according to ancient custom. [Illustration]