By M. L. West
Old Greece was once permeated by means of tune, and the literature teems with musical allusions. the following ultimately is a transparent, accomplished, and authoritative account that presupposes no certain wisdom of tune. issues coated comprise where of tune in Greek existence, tools, rhythm, pace, modes and scales, melodic development, shape, historic concept and notation, and old improvement. Thirty surviving examples of Greek track are awarded in sleek transcription with research, and the ebook is absolutely illustrated. along with being thought of by itself phrases, Greek song is the following additional illuminated by way of being thought of in ethnological standpoint, and a quick Epilogue units it as a substitute in a border region among Afro-Asiatic and eu tradition. The booklet may be of worth either to classicists and historians of song.
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Additional resources for Ancient Greek Music (Clarendon Paperbacks)
404. 75 Hom. Epigr. 15 (Samos), PMG 848 (Rhodes), and other material collected in Ath. 359d-360d. The custom has survived in Greece and has many parallels in other lands; cf. A. Dieterich, Kleine Schriften (Leipzig and Berlin, 1911), 324-52; Jacoby on FGrH 526 F 1; S. Baud-Bovy, Byzantina-Metabyzantina 1 (1946), 23-32, and Revue de musicologie 54 (1968), 8-10; K. Meuli, Gesammelte Schriften, i (Basle and Stuttgart, 1975), 33-68. 76 See Pl. 8. 77 Teleclides fr. 8; Men. Carchedonius fr. 3 Sandbach; Theoc.
De mus 1146b. Suda in 370. 10. etc. Plut Lyc. 4. 3; Philod. Mus. p. 42 Kr. = 221 Rispoli. 182 Kr. = 65 Neubecker (PMG 281 c, d). 89 Cic. De consiliis suis fr. 3 p. 339 Müller, Sext. Emp. Math 6 8, Iambl. De vita Pythagorica 112. 5, Mart. Cap. 9. 926. 90 Aristox. frs. 26, 121, Quint. Inst. 9. 4. 12, Dio Chrys. Or. 32. 57 (i. 283. 24 Arnim), Plut. De Is. et Os. 384a, Aristid. Quint. 2. 19 p. 91. 27, Porph. Vita Pythagorae 30, 32f, Iambl. , 164, 224, Mart. Cap. 9. 923. Cf. P1. Ti. 47 d. Xenocrates ap.
The next three or four days were filled with the dramatic performances. 30 At the Great Panathenaea, choruses of young men and women sang paeans and danced through the first night on the Acropolis. We hear of 'ring-choruses' (the term normally used at Athens in connection with dithyrambs), and of dances in armour by men and by boys. At dawn a great procession set out bearing a new robe for Athena's statue. The sheep and cattle to be sacrificed were conducted by the religious officials, and after them came a band of citharists and auletes playing in concert at the head of the rest of the crowd of participants (Pl.
Ancient Greek Music (Clarendon Paperbacks) by M. L. West