By Stefan Hagel
This ebook endeavours to pinpoint the family members among musical, and particularly instrumental, perform and the evolving conceptions of pitch structures. It lines the advance of historic melodic notation from reconstructed origins, via numerous variations necessitated through altering musical kinds and newly invented tools, to its ultimate canonical shape. It therefore emerges how heavily historic harmonic idea trusted the culturally dominant tools, the lyre and the aulos. those threads are right down to overdue antiquity, while info recorded by means of Ptolemy let an incredibly transparent view. Dr Hagel discusses the textual and pictorial proof, introducing mathematical ways anywhere possible, but additionally contributes to the translation of tools within the archaeological checklist and sometimes is ready to define the overall beneficial properties of tools indirectly attested. The e-book should be crucial to all these attracted to Greek tune, know-how and function tradition and the overall historical past of musicology.
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Additional info for Ancient Greek Music: A New Technical History
Barker 2007: 33–104; also, Barker 1978a; Wallace 1995; below, pp. 371Ĉ. It was then either conceived – correctly – as a modulation, even if inherent in some, hence irregular, scales (so obviously in Aristoxenus’ system of synékheia, constitutive ﬁfth/fourth relations), or commonly (mis)understood as identical to the (diatonic) likhanós hypatôn, which it is more likely not: while it seems that the hyperypátʶ sits by deﬁnition a perfect ﬁfth below mésʶ, the likhanós does not; its position varies with the shade of the tuning.
Dorian Phrygian Lydian Hypolydian ! # $ ) & ' ; * 2 + Diagram 7 The invention of the vocal notation was already short of letters? If so, the lower part of the system would already have included the Hypophrygian and Hypodorian hýpaton tetrachords, down to the note 8, so that only the letters from E to G were still available. As we have already stated, this late stage of downwards expansion was originally conceived in the vocal notation, as the adoption of the vocal sign 8 as instrumental 4 indicates.
Absolute pitch probably did not matter at this rather early period. Therefore there was no need to cover a lot of interrelated keys, at least not at the time before exuberant 46 Aristid. Quint. 7, p. 12–13; cf. Bellermann 1847: 61–5; Mountford 1923; Chailley 1973; Winnington-Ingram 1973; West 1992a: 42–6. % " Diagram 4 The ancient scales described by Aristides Quintilianus modulations became common. Some natural scale plus the traditional types of modulation would have suċced. This is not mere speculation.