In Revue de Musicologie XLIX (1963), 3–17 (henceforth cited as RM XLIX), and again in Studies in Honor of Benno Landsberger (= Assyriological Studies No. 16, Chicago (1965), 268–272, henceforth cited as AS 16), Mme. Duchesne-Guillemin has put forward a theory for the tuning of the Babylonian harp, based on a tablet from Ur, U.3011, and another tablet of unstated provenance in the University Museum, Philadelphia, CBS 10996. The CBS tablet contains a list of intervals with their names, repeated twice over, while the Ur tablet gives the names of the nine strings, presumably of the harp, followed by part of a similar list of intervals (extremely fragmentary). Starting from the observation that the third string has the name “thin string”, Mme. Duchesne-Guillemin infers that the semitone occurred between the third and fourth strings, so that the harp would have been tuned to a scale equivalent to our C major, running from C to the D in the octave above (using, as throughout this article, names of notes and scales in a relative not absolute sense). Observing further that the list of intervals contains three rising fifths followed by four descending fourths, she suggests that the list is a tuning cycle, in which the inclusion of thirds and sixths is explained by the principle that “c'est la superposition des gestes sur les mêmes cordes, pour les regler et les corriger, qui constitue l'accord” (her italics; see RM XLIX, 15), though this view is modified in RM LII. The inclusion of the tritone—an impossible tuning interval—she can only explain by the necessity for completeness (ibid). She remarks incidentally that the fourth string, named “Ea made it”, is to be identified with the Greek μέση.