LIFE OF TERPANDER

af Terpander, were first named by him, and are
these: Bovotian, Acolian., Trochaic., Pigh pitched,
Cepion, Terpandrean, and Four-song.  ‘Terpander
also wrote lyric Preludes in epic metre; and it
becomes clear that the ancient lyre-sung nomes
were composed of epic lines. if we consider that
Timotheus, when he employed the dithyrambic
style, interspersed his earlier nomes with them, in
order to avoid the appearance of breaking the rules
of the ancient music. There is reason to believe
that Terpander was supreme in the art of the lyre-
song. It is recorded that he won the prize at the
Pythian Games four times running: and the period
at which he lived must have been very early, because
Glauveus the Italian in his History of the Ancient
Poets and Musivians puts him before Archilochus,
making him only a very little later than the first
composers for the flute.

Alexander, in his Coflecions on Phryvia, declares
that instrumental music was introduced into Greece
by Olympus, and also by the Idaean Dactyls or
Priests of Cybele, and that while the first’ flute-
player was ITyagnis, who was followed by his son
Marsyas, who was succeeded by Olympus, Terp: ander
(the ‘lyrist) emulated in his verse Homer and in his
music Orpheus, who appe ars to have been entirely
original. . . . It is said that seme of the citha roedic
or lyre-sung nemes thought to be the work of
Terpandcr were really composed by the ancient
Delphian composer Philammon.

In fine, lyric song continued from Terpander’s time
to that of Phrynis to be wholly simple. | Pocts were
not permitted in those days to compose for the lyre

1 iss πρύτερυς 2 Westplel τ mes αὐλῳδίαν