MUSIC 



355 



lated by the all-important commercial instinct, till they reached 

 the furthest north of Scandinavia. Even Greek art was in- 

 fluenced in its beginnings by southern and south-eastern models, 

 although later on this influence was entirely discarded and it 

 established itself in its own brilliant individuality. Eventually 

 indeed it inspired the art of the Mediterranean races, the Illy- 

 rians, the Etruscans, and finally the Romans themselves. The 

 same thing was repeated in the case of the Celtic art, which 

 we knew as that of La Tene. For the Celts the place of entry 

 for artistic influences was Massilia, but here streamed in not 

 only the products of Greek art, but those also of the Egyptian 

 from North Africa and of Phoenicia from Asia Minor. From 

 these the Celts could take their examples and work them out 

 in Celtic fashion, till their influence, in its turn, could stimulate 

 the productiveness of the surrounding races, and extend even 

 to the art of Scandinavia and Britain. 



Vocal and Instrumental Music. 



The power of artistic thought, and the power of expressing 

 it in works of art is, as we have seen, an attribute of man 

 alone ; this does not apply, however, to vocal and instru- 

 mental music, for both of these can be produced by certain 

 species of animals. 



The sounds made by mammals are produced usually by 

 the vibrations of the vocal cords in expiration, and partly 

 also in inspiration ; with the exception of the Hylobates 

 agilis, and possibly other varieties of hylobates, and the 

 singing house mouse, these sounds are mere noises and not 

 musical. " A female hylobates," says Brehm, 1 " utters a loud 

 cry which is peculiar, and quite melodious. It can be per- 

 fectly well represented in musical notation. It begins with E 

 as a ground note, and then rises in semitones through a full 

 octave, thus completing a chromatic scale. The ground note 

 is heard throughout, and forms a kind of appoggiatura to each 

 subsequent note. In the ascending scale the notes follow 

 each other more and more slowly; in the descending scale 

 they become quicker and end with extraordinary rapidity. 

 The end is always a piercing shriek which is uttered with all 



1 Brehm, loc. cit., i., p. 39. 



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