The author refers to the scale that “consists of seven chief tones” (line 9) in order to
Answer the question based on the following passage.
The earliest inferences of woman's influence in music are
to be drawn from the Hindu mythology. According to the
ancient Brahminical records, music as an art belongs in the
second chief division of lesser sciences, but on its
(5) mathematical and philosophical side it is accorded a much
higher position, and is treated of in the oldest and most sacred
Hindu work, the Veda. The Hindu musical system of to-day
Is likewise ascribed largely to female sources. The scale
consists of seven chief tones, which are represented by as
(10) many heavenly sisters. The names of the tones (sa, re, ga,
ma, pa, dha, ni, corresponding to our do, re, mi, etc.) are
merely abbreviations of the names of the nymphs who preside
over them. In the traditions of ancient Egypt, music is entirely
under the patronage of male gods. There can be no doubt
(15) that woman played an important part in music, possibly even
in composition, in many civilizations which apparently allowed
her only a restricted field of action. The Empress of Germany
once defined woman's sphere as consisting of four subjects,—
children, clothes, cooking, and church. The early Christian
(20) Church, too, afforded no encouragement for women to exert
their musical abilities. When the earliest meetings occurred in
the catacombs, the female members of the congregation took
their part in singing the hymns, but, when organized choirs
were formed, they were allowed no place. The singing-schools
(25) founded in Rome by the Popes Sylvester I. and Hilary, at the
end of the fourth century, were devoted solely to the training
of male voices.