By Stefan Hagel
This e-book endeavours to pinpoint the relatives among musical, and particularly instrumental, perform and the evolving conceptions of pitch structures. It strains the improvement of old melodic notation from reconstructed origins, via numerous variations necessitated by way of altering musical kinds and newly invented tools, to its ultimate canonical shape. It hence emerges how heavily historical harmonic thought trusted the culturally dominant tools, the lyre and the aulos. those threads are all the way down to overdue antiquity, while info recorded by means of Ptolemy let an incredibly transparent view. Dr Hagel discusses the textual and pictorial facts, introducing mathematical methods at any place possible, but in addition contributes to the translation of tools within the archaeological list and sometimes is ready to define the overall positive factors of tools ultimately attested. The publication might be necessary to all these attracted to Greek track, know-how and function tradition and the overall background of musicology.
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Additional resources for Ancient Greek Music: A New Technical History
But even several generations after the papyrus was written it was obviously regarded as not unnatural to inscribe a vocal composition in ‘instrumental’ notation; cf. below on the Limenios Paean, DAGM ò 21. Consequently the notation cannot serve as an argument for the Greeks conceiving of their scales as ‘descending’; cf. 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.
West 1992a: 42 n. 78. The origins of the notation 21 The fact that a rotating sign was used for mésʶ, too, betrays the fact that already in this earliest form a pyknón above this note was envisaged. Obviously the synʶmménon tetrachord was already provided for, to account for that basic type of modulation which had been in use since very early times. e Here we are dealing with two types of n୦tʶ, consequently notated by two variants of the letter Ȟ (which may originally have read and B59). With practical music developing towards more extended types of modulation, a further step saw the extension of the synʶmménon tetrachord to a full scale of an octave, parallel to the ﬁrst one.
But cf. West 1992a: 40. The triplet 4 3 1 need not be older than the lowest two (which are only the reverted vocal forms) simply because it is still a formal triplet: vocal 5 is not only identical to its reverted form but also to instrumental = vocal : so it could not be adopted. Cf. Bellermann 1847: 46; Chailley 1967: 209. Barbour 1960: 5–6. Towards a diachronic approach 17 bly only to 4), because when the upwards extension took place, the last six letters were still available to designate the two newly created triplets.