By M. L. West
Historic Greece was once permeated via tune, and the literature teems with musical allusions. right here eventually is a transparent, complete, and authoritative account that presupposes no designated wisdom of song. issues lined comprise where of song in Greek lifestyles, tools, rhythm, pace, modes and scales, melodic development, shape, old idea and notation, and historic improvement. Thirty surviving examples of Greek tune are awarded in glossy transcription with research, and the booklet is absolutely illustrated. in addition to being thought of by itself phrases, Greek song is the following extra illuminated by means of being thought of in ethnological viewpoint, and a short Epilogue units it as an alternative in a border sector among Afro-Asiatic and eu tradition. The publication can be of price either to classicists and historians of tune.
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1. 96, 4. 56. 71. Eur. IT 1125 substitutes a panpiper. 84 See Pl. 9; J. ; Epicharmus fr. 75 (with schol. Pind. Pyth. 2. 127), Thuc. 5. 70, Xen. Lac. Pol. 13. 7-8, Arist. fr. 244, Polyb. 20. 6, Plut. Lyc. 4, 22. 4-5, etc. The Cretans marched to pipe and lyre (Ephorus, FGrH 70 F 149 p. 88. , cf. Polyb. loc. , Gell. NA 1. 11. -Plut. De mus. 1140c, Ath. 517 a, 627 d). Herodotus (1. 17. 1 ) describes Alyattes' Lydian army marching to the motley sound of auloi, panpipes, and harps. See further W K. Pritchett, Ancient Greek Military Practices, i (Berkeley and LA, 1971), 105-8.
Diogenes of Seleucia, SVF iii. 225. -Plut. De mus. 1140d, Philostr. De gymnastica 55. 87 Epicharmus fr. 210; Paus. 5. 17. -Plut. De mus. 1140c. The Etruscans are said to have had it for boxing, and also for flogging slaves and kneading dough (Alcimus, FGrH 560F 3, Arist. fr. 608, Eratosth. FGrH 241 F 4; for kneading, cf. above, p. 28). , 192-4 (list of vases) and pl. 5a; H. A. Harris, Greek Athletes and Athletics (London, 1964), 81, 84, and pl. 7, 12b; J. Jüthner, Philostratos über Gymnastik (Leipzig and Berlin, 1909), 301, and Die athletischen Leibesübungen der Griechen, ii(1) (Sitz.
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. Mart. Cap. 9. 926, Chamaeleon fr. 6 Giordano, Aristox. fr. 6; E. R. Dodds, The Greeks and the Irrational (Berkeley and LA, 1951), 80. 91 Diogenes of Seleucia, SVF iii. 227. 19 (Philod. Mus. 4 pp. 48f. Neubecker). Perhaps the reference is to Parrhasius, who is reported to have sung while painting (Theophr.
Ancient Greek Music by M. L. West