the Egyptians from tuning their harps in the same order of
tones and half tones as is used for our modern pianos. That
this is even probable may be assumed from the scale of a flute
dating back to the eighteenth or nineteenth century B.C. (1700
or 1600 B.C.), which was found in the royal tombs at Thebes,
and which is now in the Florence Museum.

Its scale was

[G: (a a+ b c' c+' d') (a' a+' b' c'' c+'' d'') (e'')
f'' f+'' g'' g+'' (a'' a+'' b'' c''' c+''' d''')]

The only thing about which we may be reasonably certain in
regard to Egyptian music is that, like Egyptian architecture,
it must have been very massive, on account of the preponderance
in the orchestra of the low tones of the stringed instruments.

The sistrum was, properly speaking, not considered a musical
instrument at all. It was used only in religious ceremonies, and
may be considered as the ancestor of the bell that is rung at
the elevation of the Host in Roman Catholic churches. Herodotus
(born 485 B.C.) tells us much about Egyptian music, how the
great festival at Bubastis in honour of the Egyptian Diana
(_Bast_ or _Pascht_), to whom the cat was sacred, was attended
yearly by 700,000 people who came by water, the boats resounding
with the clatter of castanets, the clapping of hands, and the
soft tones of thousands of flutes. Again he tells us of music
played during banquets, and speaks of a mournful song called
_Maneros_. This, the oldest song of the Egyptians (dating back
to the first dynasty), was symbolical of the passing away of