This appendix aims to give a specific and rigorous answer to the question of which terms and concepts count as markers of the Symposium's musical notes. It collects, repeats and systematizes earlier annotations. This material is central to the second stage of interpretation, in which all the musical symbols are explicated, but not for verifying the existence of the musical scale.

Analysing Plato's symbolic scheme is difficult. Its methods and aims are novel. Its interpretation depends on familiarity with the theory of Forms, Pythagorean music theory and mathematics. It was designed to be subtle, and its obscurity has been compounded by dif erences in language, culture and conceptual schemes.

This appendix systematically surveys the various symbols used in the Symposium. It collects them into a number of categories and shows that each category is a species of harmonization. Even with the accompanying annotations, the glosses inserted into the let -hand text of the dialogue in Chapters 2 and 3 may have appeared arbitrary. The following is a systematic argument, explaining and justifying the interpretation of each passage.

The symbolic scheme of the dialogues is sui generis. This appendix introduces the methodology used to gloss particular notes by tracing the successive stages of their interpretation.

Deciphering the symbolic scheme of a single dialogue begins with a survey of the locations corresponding to the small whole number ratios favoured by the Pythagoreans, that is, of the passages at three-quarters, two-thirds, one-half, one-third and one-quarter of the way through the entire dialogue.