Download Ancient Greek Music: A New Technical History by Stefan Hagel PDF

By Stefan Hagel

This e-book endeavours to pinpoint the family among musical, and particularly instrumental, perform and the evolving conceptions of pitch platforms. It strains the improvement of historical melodic notation from reconstructed origins, via quite a few diversifications necessitated via altering musical types and newly invented tools, to its ultimate canonical shape. It hence emerges how heavily historic harmonic conception relied on the culturally dominant tools, the lyre and the aulos. those threads are all the way down to overdue antiquity, whilst information recorded via Ptolemy allow an extremely transparent view. Dr Hagel discusses the textual and pictorial facts, introducing mathematical methods anywhere possible, but additionally contributes to the translation of tools within the archaeological list and sometimes is ready to define the overall good points of tools in some way attested. The publication can be critical to all these drawn to Greek tune, expertise and function tradition and the final heritage of musicology.

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Cf. Husmann 1957: 57; Chailley 1967: 203; AGM: 262; 95. A correspondence between the signs of the notation and the finger holes of auloi of diĈerent sizes is proposed by Byrne (2000: 282 with figs. 8 and 9 on p. 285), although on a purely archaeological basis and without attempting to relate the alleged correlations to scales or tónoi: Byrne adopts, as “the earliest instrumental signs”, a very low range far below the ‘central octave’, some signs of which do not even conform to the usual rotation and reversion scheme, and almost all of which belong to the secondary, derived shapes in the vocal series.

Finally, the sign referenced by Gaud. 22, p. 4–5 as ąȵ ȭȳȹȷ Ȥ ʱąȯȼȽȺȫȶȶ ȷȹȷ ȴȫ Ȥ ąȵ ȭȳȹȷ, is given as : 6 in the manuscripts at Aristid. Quint. 11, p. 16–17, in accordance with the rightwards-opening interpretation, but contrary to a mechanical application of ąȵ ȭȳȹȷ = ‘turned counterclockwise by 90 degrees’, as one might be inclined to generalise from the custom followed in the cases of Ȝ ȡ ȣ (and of ȥ in Alypius, but not in Gaudentius: the horizontal forms of ȥ or half-ȥ have no open side and therefore no well-defined orientation).

17, p. 1–12. , Harm. 23, p. 5. Cf. below, pp. ; pp. 413Ĉ. g. , in Tim. 14–20 (in spite of ‘Pythagorean’ reservations about semitones and quartertones), the melodic intervals cited in Dionys. , Comp. verb. , De E ap. Delph. 389ef; De defectu orac. 71 Still it must be stressed that the notation oĈers no such grid, but merely the musically relevant part of it, arranged in a musically meaningful way. But the attitude towards the genera and intervals is related, and it is definitely non-Pythagorean. A look at Diagram 5 shows that the mésʶ is not the only note of the third scale that it was possible to notate by reverted basic signs of the first one.

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