By Stefan Hagel
This e-book endeavours to pinpoint the kin among musical, and particularly instrumental, perform and the evolving conceptions of pitch structures. It strains the improvement of historic melodic notation from reconstructed origins, via a variety of diversifications necessitated by means of altering musical kinds and newly invented tools, to its ultimate canonical shape. It hence emerges how heavily historical harmonic conception trusted the culturally dominant tools, the lyre and the aulos. those threads are all the way down to past due antiquity, while info recorded by way of Ptolemy allow an extremely transparent view. Dr Hagel discusses the textual and pictorial proof, introducing mathematical methods at any place possible, but additionally contributes to the translation of tools within the archaeological list and sometimes is ready to define the final positive factors of tools in some way attested. The e-book may be essential to all these drawn to Greek song, expertise and function tradition and the final historical past of musicology.
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Extra info for Ancient Greek Music: A New Technical History
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. Two new note signs had to be introduced.
Diagram 3). The evidence of the developed notation Dorian Hyperphrygian / Hypodorian Phrygian Hyperlydian / Hypophrygian 15 Hyperdorian ++++++ ,,,,, +++++ ,,,,,, ++++ Hypoaeolian ,,,, ,,, +++ ,, ++ , + Lydian Aeolian Hyperaeolian / Hypoiastian Iastian Hyperiastian Hypolydian Diagram 3 The tónoi forming the circle of ﬁfths All in all, we encounter a fundamental dichotomy: on the one hand, the rather abrupt and complete loss of the basic correspondences, associated with those scales that represent late additions, on the other the steady employment of triplets for pykná in scales which have received the names of the traditional tónoi.
443; with a modiﬁed historical model in Franklin 2006a; 2006b. , Harm. 24, p. 55–6, p. 6; Sect. can. 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.
Ancient Greek Music: A New Technical History by Stefan Hagel