By Stefan Hagel
This booklet endeavours to pinpoint the kin 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 a variety of variations necessitated through altering musical types and newly invented tools, to its ultimate canonical shape. It therefore emerges how heavily historic harmonic thought trusted the culturally dominant tools, the lyre and the aulos. those threads are right down to overdue antiquity, while information recorded through Ptolemy let an incredibly transparent view. Dr Hagel discusses the textual and pictorial proof, introducing mathematical ways 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 good points of tools indirectly attested. The booklet could be critical to all these drawn to Greek tune, know-how and function tradition and the overall historical past of musicology.
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Extra resources for Ancient Greek Music: A New Technical History
Cf. Winnington-Ingram 1956, refuting the theory of pentatonic lyre tuning (cf. below, pp. ). A new lyre tablature hypothesis was put forward by Thurn 1998. This is not the place to deal with it in detail; suċce it to say that among other doubtful interpretations, Thurn mistranslates the single passage on which his hypothesis rests, Philochorus ap. Ath. 637–8 ȶȫȴȺȹ1Ȼ Ƚȹ1Ȼ Ƚ&ȷȹȾȻ ȷȽȯȷȫȻ, by “indem er die großen Saiten einspannte”. This would call for Ƚȹ1Ȼ ȶȫȴȺȹ1Ȼ Ƚ&ȷȹȾȻ (if one follows Thurn in translating tónoi by “strings” at all, cf.
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.
Below, p. 375. Cf. 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).