By Stefan Hagel
This e-book endeavours to pinpoint the kinfolk among musical, and particularly instrumental, perform and the evolving conceptions of pitch structures. It strains the improvement of historical melodic notation from reconstructed origins, via a variety of variations necessitated by means of altering musical types and newly invented tools, to its ultimate canonical shape. It therefore emerges how heavily old harmonic thought relied on the culturally dominant tools, the lyre and the aulos. those threads are all the way down to overdue antiquity, whilst information recorded by means of Ptolemy let a really transparent view. Dr Hagel discusses the textual and pictorial proof, introducing mathematical methods at any place possible, but in addition contributes to the translation of tools within the archaeological checklist and sometimes is ready to define the final good points of tools in some way attested. The e-book could be integral to all these attracted to Greek track, expertise and function tradition and the final historical past of musicology.
Read or Download Ancient Greek Music: A New Technical History PDF
Similar greece books
The Greeks have been amazing no longer least simply because they advanced "a absolutely new belief of what human existence was once for". Elaborating on that declare, the writer explores the existence, tradition and historical past of classical Greece.
Книга состоит из трех основных разделов: «тёмные века» ок. 900-770 гг до н. э. , «греческий ренессанс» ок. 770-700 гг до н. э, и заключительная часть – VIII в. до н. э. Рассматриваются темы греческих городов-государств, состав поэм Гомера, появление и усиление роли святилищ, начало массовой греческой колонизации южной Италии и Сицилии.
Initially released by way of Duckworth and the collage of California Press, Procopius is now on hand for the 1st time in paperback. Professor Cameron emphasises the basic team spirit of Procopius' 3 works and, ranging from the `minor' ones, demonstrates their intimate reference to the Wars. Procopius' writings are visible to include a refined entire; provided that they're understood during this method can their old price be appropriately liked.
The boundaries of Europeanization: Reform means and coverage clash in Greece (Palgrave reviews in eu Union Politics (Hardcover)) [ the boundaries of Europeanization: Reform skill and coverage clash in Greece (Palgrave experiences in eu Union Politics (Hardcover)) through Featherstone, Kevin ( writer ) Hardcover Dec- 2008 ] Hardcover Dec- 01- 2008
- The Hellenistic World: New Perspectives
- The Devil's tabernacle : the pagan oracles in early modern thought
- Rome: Empire of the Eagles, 753 BC - AD 476
- The Ancient World
- Tarentine Horseman of Magna Graecia: 430-190 BC (Warrior)
- Anglo-American Relations with Greece: The Coming of the Cold War, 1942–47
Extra resources for Ancient Greek Music: A New Technical History
Why they start only with Y V, is easily explained: all triplet-basic notes below were already part of the notation in its earliest stages. Admittedly, it would have been possible to notate the newly created pykná above instrumental B and ? with octave strokes; but such mixed triplets of the form † B and † ? had nothing to recommend them. Thus, six closely related instrumental signs were devised instead, expanding the old graphic B? 89 In vocal notation, this range was ﬁlled with inverted letters, adjoining the end of the alphabet to its start, just as its start had been adjoined to its end in the lower region: GI H DFE.
Hagel 2005b: 299–300. 0 %). The data accord better with the view that the alphabet started from a given highest pitch. The octave strokes are similar in form to the acute accent ()ȸȯȫ, ‘high tone’) and have been or become associated with it semantically, as well: while the terminology of the note tables is ą Ƚȷ )ȸ0ȽȱȽȫ (Alypius throughout, Gaud. 23, p. 352–5), Gaudentius describes the addition of the strokes as )ȸȯȫȻ ąȺȹȼȲȷȽȯȻ, ‘adding acutes’ (21, p. g. “)ȸȯȫ ȶȼȱ”). Vocal notation 31 ?
The pykná are represented by thin lines, so that the enharmonic and chromatic scales can be read from the continuous lines. In diatonic scales the higher movable note falls out of the range of the pyknón, thus needing a sign of its own; the corresponding lines are dotted. It is easily seen how these typically diatonic notes are identical to standing notes of some nearby key (namely one standing to the right of the original key). For the lower diatonic movable note the same sign is used as in the other two genera.