Kathleen Schlesinger

Schlesinger, Kathleen, The Greek Aulos, Bouma's Boekhuis N.V. Publisher, Groningen, 1970

Chalmers, John H., Jr., Divisions of the Tetrachord, Frog Peak Music, 1993

CHAPTER 8 Schlesinger's harmoniai, Wilson's diaphonic cycles, and other similar constructs

. . . Her writings are a major challenge to the traditional tetrachord-based doctrines of the Aristoxenian and Ptolemaic theorists. While there are compelling reasons to doubt that her scales were ever part of Greek musical practice, they form a musical system of great ingenuity and potential utility in their own right. [p139]

Franklin, John Curtis, Terpander The Invention of Music in the Orientalizing Period,

. . . for all the philological shortcomings of the work, Schlesinger (1959) cannot be entirely ignored, for acoustical peculiarities of the Greek aulos must surely have left their mark in some way, accounting in part perhaps for the peculiarities of the genera . . . [p22]

Partch, Harry, Genesis Of A Music, Second Edition, Enlarged, A DaCapo Paperback, New York, 1979

For the seven harmoniai, seven harmonic canon strings are divided successively into fourteen, thirteen, twelve, eleven, ten, nine and eight equal parts. [p447]

Tovey, Donald Francis, The Forms of Music, Meridian Books, The World Publishing Company, Cleveland and New York, 1967

Miss Kathleen Schlesinger found, by experiments with a monochord, a means of producing modes on mathematical principles. Certainly the Greeks did measure musical intervals mathematically on a string; certainly Miss Schlesinger's system is among the very first things that could have happened in that way; and its results produce many phenomena that ought to have occurred in ancient Greek music. . . . . If Miss Schlesinger's results are not Greek they ought to have been. [pp105-106]

West, M.L., Ancient Greek Music, Clarendon Paperbacks, Oxford, 1994

Kathleen Schlesinger wrote a massive, a terrifying book, The Greek Aulos, based on the belief that Greek pipes too had equi-distant finger-holes. She was untroubled by the fact that this is not true of the only surviving classical auloi that she studied, the two Elgin auloi in the British Museum. Nor is it true of auloi from Sparta, Ephesus, and Locri, which had been published before she wrote but to which she paid no attention; nor is it true of others which have been published since. Often the inequality of the spacing is so marked that it can only be intentional. But can we discover the intention? [p96]