The only professor of Greek I have ever known who was also a musician always refused on principle to give me any help with a stiff passage from a Greek author on music. His reply was always the same: “Put that stuff away. Nobody has ever made head or tail of Greek music, and nobody ever will. That way madness lies.” It was in vain I promised to become a harmless lunatic. I respect his opinion, and my own. Among what looks like a heap of lumber two things have taken my fancy and engaged my attention at intervals during a lengthy period consisting mainly of interruptions. One thing is the way the Pythagoreans had of defining musical intervals by ratios. Their methods can be much improved and simplified by means of two tools of British invention: logarithms and tuning-forks. The other thing is the tradition, not altogether vague, of “the genuine and beautiful Greek music,” the lost enharmonic genus. These two in combination promise something of great value for the future of music. I am not going back to what we have already inherited from Greece, to Boethius and medieval music or even to Zarlino and the renaissance. That tale has been told. I am not convinced that there is anything in the heritage of Greece in music now worth troubling about beyond the two things mentioned. This without prejudice to what others may find in that same lumber-room. That a phonetician should meddle with music ought not to occasion surprise. Many of our leading phoneticians have done so:—Wallis, Holder, Thomas Young, Willis, Wheatstone, Ellis. It is in the English tradition. So much by way of apology.