concerning instruments can be observed in the vases which are now in the British Museum, and this artistic manifestations also provide rich documentation (Harvey 351).
After 1700, there was a decline set in, considering the use of myths, because of the ascendant tendency of interpretation based on cosmology and teleology (62). Rowell concludes that “the mythos of music, in a word, went underground and has rarely since emerged in explicit narrative or in other than piece-meal references”(62). “Critics writing from the social perspective in many significant ways mirrors its society and therefore the literary work is a historical document, a lifeless fossil that needs to be vitalized by illuminating that produced it”(Smith 06).
In this attempt, Guido of Arezzo is an example of a celebrated preserver of the mythos of music because he compiled music repertoires (St. Gregory), during the Middle Age. Saints like St, John, and Saint Cecilia are also invoked by writers like Chaucer, and John Dryden. Names like Niccolò Paganini and Franz Liszt are also mentioned because they are related with the myth of Orpheus to the nineteenth-century musical world (The energy was said to come from the devil). Thomas Mann’s Doctor Faustus is the most compelling portrait of the demonic in music. Authors, like Shakespeare, T. S. Eliot, are also included in the gallery of those who revived myths and music, during middle ages and Renaissance up today. The effect that music produces on people has been considered positive, however, music has associations with sexuality, death, resurrection, powerful force, harmony, but if divine it is also demonic. “Orpheus and Apollo were linked with the curing of disease,