Womans Work in Music | Page 4

were not unlike the "Keeners,"
heard in Ireland on similar occasions, even down to recent times. The
book of Lamentations presents a series of funeral songs, written in
imitation of the professional lays of grief, and containing many
allusions to the mourning women. In the fifth chapter of Amos, in
Habakkuk, and many other books, are further illustrations of such
folk-songs. The fifth chapter of Isaiah begins with the cheerful style of
the vintage song, and then suddenly changes to a song of grief, forming
an artistic contrast that must have been highly effective.
In the Hebrew songs, as in the Egyptian, there must have been much
dramatic action united with the vocal work. When the word "dancing"
occurs, it generally means only gesture and pantomime. Its use is made
evident in the song of Moses, in Exodus XV. It requires little
imagination to picture Miriam using a folk-song with which her hearers
were familiar, improvising words to suit the occasion, and illustrating
the whole with successive gestures of pride, contempt, sarcasm, and
triumph, while the assembled multitude joined in the chorus at every
opportunity.
Still more evident does this union of voice and action become in the
song of Deborah and Barak, in Judges V. A possible description of the
performance of this musical comedy is given by Herder, who suggests
that "Probably verses 1-11 were interrupted by the shouts of the
populace; verses 12-27 were a picture of the battle, with a naming of
the leaders with praise or blame, and mimicking each one as named;
verses 28-30 were mockery of the triumph of Sisera, and the last verse
was given as a chorus by the whole people." According to this, the tune
must certainly have been a familiar one. The whole scene, with its
extemporized words, its clapping of hands to mark the rhythm, and its
alternation of solo and chorus, was probably not unlike the singing at
some of the negro camp-meetings on the Southern plantations.
Foremost among the patrons of the art in Grecian mythology are the
Muses. These were not always nine in number. Originally, at Mount

Helicon, in B[oe]otia, three were worshipped,--Melete (meditation),
Mneme (memory), and Aoide (song). Three Muses were also
recognized at Delphi and Sicyon. Four are mentioned as daughters of
Jupiter and Plusia, while some accounts speak of seven Muses,
daughters of Pierus. Eight was the number known in Athens, until
finally the Thracian worship of nine spread over the whole of Greece.
The parentage of these divinities is given with as many variations as
their number. Most commonly they were considered daughters of Zeus
and Mnemosyne (memory), born in Pieria at the foot of Mount
Olympus. Some call them daughters of Uranus and Gæa, others of
Pierus and Antiope, still others of Apollo or of Jupiter and Minerva.
The analogy between the Muses and the nine maidens in the Egyptian
troupe of Osiris has already been noted.
In Homer's poems, the Muses have already attained their well-known
abode on Olympus, where they sing the festive songs at the banquets of
the immortals. They were supposed to inspire the mind of the bards,
and in early times the poets were perfectly sincere in invoking them
and believing in their inspiration. The Muses, in presiding over the
various branches of Grecian art, appeared unable to brook any rivalry.
Thamyris, an ancient Thracian bard, boldly challenged them to a trial of
skill, and, on being overcome by them in the contest, was deprived by
them of his sight and of the power of singing. He is represented in art
as holding a broken lyre. The nine daughters of King Pierus of
Macedonia fared no better, and after an unsuccessful contest were
changed into birds. The Muses were closely connected with Apollo,
who was looked upon as their leader. Many mountains, as well as
grottos, wells, and springs in various parts of Greece, were sacred to
them.
The Sirens were another personification of the marvellous power of
music among primitive peoples. Their parentage also is variously given,
though they are usually mentioned as daughters of the river god,
Achelous. They are generally represented as maidens, with a more or
less extensive equipment of wings and other plumage. These wings
were obtained at their request when Proserpine was carried off, that
they might be better able to hunt for her. But another account says that

they refused their sympathy to Ceres, and were given their feathery
coating by her in punishment. Some writers say it was due to Aphrodite,
who was angered at their virginity. The Sirens, as well as other
ambitious performers, were rash enough to attempt a contest with the
Muses, and met with the customary defeat. The victorious nine then
pounced upon the unfortunate trio, and tore off wings and feathers.
The Sirens'