By M. L. West
Old Greece used to be permeated by way of song, and the literature teems with musical allusions. right here finally is a transparent, complete, and authoritative account that presupposes no distinctive wisdom of track. subject matters lined contain where of song in Greek existence, tools, rhythm, pace, modes and scales, melodic development, shape, historic concept and notation, and ancient improvement. Thirty surviving examples of Greek track are provided in glossy transcription with research, and the booklet is totally illustrated. along with being thought of by itself phrases, Greek song is right here additional illuminated by means of being thought of in ethnological point of view, and a short Epilogue units it as a substitute in a border region among Afro-Asiatic and eu tradition. The booklet should be of worth either to classicists and historians of tune.
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Extra info for Ancient Greek Music
39a. 13 Choruses varied considerably in size. 16 The choruses of tragedy had twelve members in Aeschylus' time, but subsequently fifteen; those of comedy had twenty-four, and those of the dithyramb fifty. 18 This is far the largest we hear of in the Classical period. 19 Not that huge choirs were de rigueur in the Hellenistic age. ) BC lists men's and boys' choruses consisting of no more than five (professional) singers, and comic choruses of seven. 20 What kind of sound did the Greek singer seek to produce?
654-9. 25Hymn. Horn. 6. 19. In the preceding lines he has described Aphrodite's occupation of Cyprus, and we may guess that the occasion of the hymn was one of the Cyprian festivals of Aphrodite, such as the panegyris at Old Paphos (Strab. 3 p. P. ). 26 Pl. Hipparch. 228b, Lycurg. Leoc. 102. 27 Cf. J. A. Davison, JHS 78 (1958), 38f. = From Archilochus to Pindar (London, 1968), 58-60. 28 PI. Ion 530a. 29 See Pl. , 211, and pl. 7a, b, 18; Davison, JHS 78 (1958), 37, 42, and 82 (1962), 141f. , 64-8.
85 It was common to have a piper in attendance while training for, or sometimes competing in, athletic events of several kinds. Many sixth- and fifth-century vase-paintings bear witness to this, most frequently in connection with the long jump or with throwing the discus or javelin. 86 Philostratus says that the purpose was to give the jumper an additional stimulus. 87 85 Fr. 118c; my Studies in Greek Elegy and lambus, 147f. 86 See Pl. 10; Paus. 5. 7. 10, 17. 10; 6. 14. 10; cf. Diogenes of Seleucia, SVF iii.