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Stefan Hagel - Ancient Greek Music

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Stefan Hagel Ancient Greek Music
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ANCIENT GREEK MUSIC A NEW TECHNICAL HISTORY This book endeavours to - photo 1
ANCIENT GREEK MUSIC
A NEW TECHNICAL HISTORY
This book endeavours to pinpoint the relations between musical, and especially instrumental, practice and the evolving conceptions of pitch systems. It traces the development of ancient melodic notation from reconstructed origins, through various adaptations necessitated by changing musical styles and newly invented instruments, to its final canonical form. It thus emerges how closely ancient harmonic theory depended on the culturally dominant instruments, the lyre and the aulos. These threads are followed down to late antiquity, when details recorded by Ptolemy permit an exceptionally clear perspective on the harmonic relations underlying the extant melody fragments. Dr Hagel discusses the textual and pictorial evidence, introducing mathematical approaches wherever feasible, but also contributes to the interpretation of instruments in the archaeological record and occasionally is able to outline the general features of instruments not directly attested. The book will be indispensable to all those interested in Greek music, technology and performance culture and the general history of musicology.
STEFAN HAGEL holds a research post at the Commission for Ancient Literature of the Austrian Academy of Sciences. His interests focus on ancient Greek music and metre, including reconstruction of instruments and performance techniques. He also creates dedicated software for scholarly purposes and his Classical Text Editor received the European Academic Software Award.
ANCIENT GREEK MUSIC
A NEW TECHNICAL HISTORY
STEFAN HAGEL
Austrian Academy of Sciences
CAMBRIDGE UNIVERSITY PRESS Cambridge New York Melbourne Madrid Cape Town - photo 2
CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo, Delhi, Dubai, Tokyo, Mexico City
Cambridge University Press
The Edinburgh Building, Cambridge CB2 8 RU , UK
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
Information on this title: www.cambridge.org/9780521517645
Stefan Hagel 2009
This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.
First published 2010
Reprinted 2010
Printed in the United Kingdom at the University Press, Cambridge
A catalogue record for this publication is available from the British Library
978-0-521-51764-5 Hardback
Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.
Synes Hymn 7 Diagrams Tables Figures Abbreviations AGM - photo 3
(Synes., Hymn 7 )
Diagrams
Tables
Figures
Abbreviations
AGM
M.L. West, Ancient Greek Music . Oxford 1992.
Anecd. Stud.
Anecdota varia Graeca musica metrica grammatica . Ed. G. Studemund, Berlin 1886.
CIL
Corpus Inscriptionum Latinarum . Berlin 18622003.
DAGM
E. Phlmann/M.L. West, Documents of Ancient Greek Music . Oxford 2001.
DAM
E. Phlmann, Denkmler Altgriechischer Musik . Nuremberg 1970.
FdD III
Fouilles de Delphes , III: pigraphie . Paris 190985.
GMW I
A. Barker, Greek Musical Writings I. The Musician and his Art . Cambridge 1984.
GMW II
A. Barker, Greek Musical Writings II. Harmonic and Acoustic Theory . Cambridge 1989.
KAR
E. Ebeling, Keilschrifttexte aus Assur religisen Inhalts I/II. Wissenschaftliche Verffentlichungen der Deutschen Orient-Gesellschaft 28 (1919); 34 (1923).
LSJ
H.G. Liddell/R. Scott, A Greek-English Lexicon . 9th edn with revised supplement, Oxford 1996.
MSL 16
Materials for the Sumerian Dictionary 16. The Series SIG 7.ALAN = Nabntu . Ed. I.L. Finkel with collab. of M. Civil. Rome 1982.
Preface
But Lydia is in Dorian. There are serious puzzles here
(A. Barker, GMW II: 360)
Originality is something which we often meet in our studies of Greek music, but only too frequently it is associated with bad scholarship and freakish judgment.
(R.P. Winnington-Ingram 1958: 244)
The serious puzzles mentioned by Andrew Barker do not concern some remote niche of ancient musical studies; they have partly obscured the significance of what can rightly be called the most practical chapter of ancient music that has come down to us. This may seem perplexing after centuries of almost unbroken interest in the topic, during which many eminent scholars have devoted their genius to elucidating its more difficult aspects. The other faction, that one referred to by R.P. Winnington-Ingram, can only partly be blamed for this: those who have been considering ancient music the convenient playground for original ideas of their own, a field reasonably secure from the danger of refutation by new facts. Admittedly, some unfounded opinions, uttered enthusiastically long ago, still ripple the surface of scholarly discourse; but sober judgement now dominates it.
Even so, how can one hope to add something worthwhile to a discussion that has been based on the ever-same pieces of evidence for such a long time?
Several pitfalls are to be avoided. The most important is that of finding a possible explanation for some aspect of the evidence, and subsequently forcing the rest of it to compliance, or where this proves wholly impossible, disregarding it. We must be especially careful to acknowledge the complexity of a musical culture synchronically and diachronically, its richness in different aspects (cf. Solomon 1984: 2424). Therefore, this book does not claim to present some new key that unlocks the doors to all secrets. Instead, it keeps very much to the paths that have been opened by previous research, while trying to fit some previously unconnected pieces together, and in some respects suggesting (I hope) a more coherent view.
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