By M. L. West
Historical Greece used to be permeated via track, and the literature teems with musical allusions. right here finally is a transparent, entire, and authoritative account that presupposes no precise wisdom of tune. issues coated comprise where of track in Greek lifestyles, tools, rhythm, pace, modes and scales, melodic development, shape, historical thought and notation, and historic improvement. Thirty surviving examples of Greek song are awarded in glossy transcription with research, and the e-book is totally illustrated. in addition to being thought of by itself phrases, Greek song is the following extra illuminated via being thought of in ethnological point of view, and a short Epilogue units it as an alternative in a border quarter among Afro-Asiatic and eu tradition. The ebook might be of price either to classicists and historians of track.
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Extra info for Ancient Greek Music (Clarendon Paperbacks)
Fr. 99 (Pind. fr. -Arist. Pr. 19. 39a. 13 Choruses varied considerably in size. 16 The choruses of tragedy had twelve members in Aeschylus' time, but subsequently fifteen; those of comedy had twenty-four, and those of the dithyramb fifty. 18 This is far the largest we hear of in the Classical period. 19 Not that huge choirs were de rigueur in the Hellenistic age. ) BC lists men's and boys' choruses consisting of no more than five (professional) singers, and comic choruses of seven. 20 What kind of sound did the Greek singer seek to produce?
When dinner was over, libations were poured; the third libation was to Zeus Saviour, and at this everyone joined in singing a paean. Then the drinking began. A branch of bay or myrtle was passed round, and each guest as he received it was expected to sing or recite something, or continue the item begun by the previous singer. A hired piper provided the necessary accompaniments. 64 By the end of the century, however, fashions were changing. Young men scandalized their elders by reciting speeches from decadent modern dramas instead of drawing on the traditional repertoire, or they rejected altogether the idea of doing a party piece.
114. 60 Ion of Chios, FGrH 392 F 13 (Plut. Cim. 9. 1, Them. 2. 4, Cic. Tusc. 1. 4). 61 Stesimbrotus, FGrH 107 F 4; for his singing, Ion, loc. cit. 62 Ar. Vesp. 959, 989, cf. Eq. , 985ff. (of Cleon), Eup. ft. 208. 63 Pl. Euthydemus 272c, cf. Menex. 236a. 64 Dicaearchus frs. 88-9 Wehrli and other sources; see Reitzenstein (as n. 58), ch. 1; F. Wehrli, Die Schule des Aristoteles, i (Basle, 1944), 69-71. 65 Ar. Nub. , Eup. frs. 148, 398, Ephippus fr. 16, Antiphanes fr. 85; Pl. Prt. 347d, Symp. 176e, Xen.
Ancient Greek Music (Clarendon Paperbacks) by M. L. West