Ancient music: Difference between revisions
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==Mesopotamia== |
==Mesopotamia== |
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Anne Draffkorn Kilmer from the University of California at Berkeley published in 1986 her decipherment of cuneiform tablet from Nippur dated to about 2000 |
Anne Draffkorn Kilmer from the University of California at Berkeley published in 1986 her decipherment of cuneiform tablet from Nippur dated to about 2000 BC, demonstrating that it represents fragmentary instructions for performing music and that the music was composed in harmonies of thirds, and that it was also written using a [[diatonic scale]] (Kilmer 1986) The notation in that tablet was not as developed as the notation in the later cuneiform tablet dated to about 1250 BC (Kilmer 1965) Although the interpretation of the notation system is still controversial, it is clear that the notation indicates the names of strings on a lyre, the tuning of which is described in other tablets (West 1994). These tablets represent the earliest recorded melodies, though fragmentary, from anywhere in the world. (West 1994) |
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==The Harps of Ur== |
==The Harps of Ur== |
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In [[1929]] [[Leonard Woolley]] discovered pieces of at least three [[harp]]s while excavating in the ruins of the ancient city of [[Ur]] located in what was [[Ancient Mesopotamia]] and is contemporary [[Iraq]]. Some fragments are in [[Pennsylvania]], some in the [[British Museum]] in [[London]], and some in [[Baghdad]]. They have been dated to [[27th century |
In [[1929]] [[Leonard Woolley]] discovered pieces of at least three [[harp]]s while excavating in the ruins of the ancient city of [[Ur]] located in what was [[Ancient Mesopotamia]] and is contemporary [[Iraq]]. Some fragments are in [[Pennsylvania]], some in the [[British Museum]] in [[London]], and some in [[Baghdad]]. They have been dated to [[27th century BC|2,750 BC]]. Various reconstructions have been attempted, but none were totally satisfactory. Depending on various definitions, they could be classed as [[lyre]]s rather than harps. The most famous is the bull-headed harp, held in Baghdad. It survived both [[Iraqi wars]], and attempts are being made to play a replica of it as part of a touring [[orchestra]]. |
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==Harps from Assyria and Egypt== |
==Harps from Assyria and Egypt== |
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[[Assurbanipal]] ([[705 |
[[Assurbanipal]] ([[705 BC|705]] - [[681 BC]]) was king of [[Assyria]]. At his capital at [[Nineveh]] is a [[bas-relief]] showing the fall of the [[Judea]]n city of [[Lachish]]. In the procession is the [[Elamite]] court orchestra, containing seven lyre-players and possibly a [[hammer-dulcimer]] player. The lyres appear to have seven strings. True harps are shown in [[mural]]s from the time [[Ramesses III]] of [[Egypt]], about [[1200 BC]]. "The Tomb of the Harpists" contains a bas-relief with two blind musicians. [[James Bruce]] described it in [[1768]] and it is sometimes known as Bruce's Tomb. |
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==Hurrian Music== |
==Hurrian Music== |
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==Ancient Greece== |
==Ancient Greece== |
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Ancient Greek musicians developed their own robust system of musical notation. The system was not widely used among Greek musicians, but nonetheless a modest corpus of notated music remains from [[Ancient Greek music|Ancient Greece]] and [[Ancient Roman music|Rome]]. The [[Epic poetry|epic]]s of [[Homer]] were originally sung with instrumental accompaniment, but no notated melodies from Homer are known. Several complete songs exist in ancient Greek musical notation. The [[Seikilos epitaph]] is the oldest surviving complete musical composition from the Greek tradition or from any tradition. Three complete [[hymn]]s by [[Mesomedes]] of [[Crete]] ([[2nd century]] |
Ancient Greek musicians developed their own robust system of musical notation. The system was not widely used among Greek musicians, but nonetheless a modest corpus of notated music remains from [[Ancient Greek music|Ancient Greece]] and [[Ancient Roman music|Rome]]. The [[Epic poetry|epic]]s of [[Homer]] were originally sung with instrumental accompaniment, but no notated melodies from Homer are known. Several complete songs exist in ancient Greek musical notation. The [[Seikilos epitaph]] is the oldest surviving complete musical composition from the Greek tradition or from any tradition. Three complete [[hymn]]s by [[Mesomedes]] of [[Crete]] ([[2nd century]] AD) exist in manuscript. In addition, many fragments of Greek music are extant, including fragments from [[tragedy]], among them a [[Greek chorus|choral song]] by [[Euripides]] for his ''[[Orestes (play)|Orestes]]'' and an [[instrumental]] [[intermezzo]] from [[Sophocles]]' ''[[Ajax (play)|Ajax]]''. Romans did not have their own system of musical notation, but a few Romans apparently learned the Greek system. A line from [[Terence]]'s ''[[Hecyra]]'' was set to music and possibly notated by his [[composer]] [[Flaccus (composer)|Flaccus]]. |
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It has always been known that some ancient music was not strictly monophonic. Some fragments of Greek music, such as the ''Orestes'' fragment, clearly call for more than one note to be sounded at the same time. Greek sources occasionally refer to the technique of playing more than one note at the same time. In addition, double pipes, such as used by the Greeks and Persians, and ancient bagpipes, as well as a review of ancient drawings on vases and walls, etc., and ancient writings (such as in Aristotle, ''Problems,'' Book XIX.12) which described musical techniques of the time, all indicate harmony existed. One pipe in the aulos pairs (double flutes) may have served as a [[Drone (music)|drone]] or "keynote," while the other played melodic passages. Kilmer's decipherment of the cuneiform tablets indicate that the simultaneous sounding of different pitches was practiced very early, perhaps by 2000 |
It has always been known that some ancient music was not strictly monophonic. Some fragments of Greek music, such as the ''Orestes'' fragment, clearly call for more than one note to be sounded at the same time. Greek sources occasionally refer to the technique of playing more than one note at the same time. In addition, double pipes, such as used by the Greeks and Persians, and ancient bagpipes, as well as a review of ancient drawings on vases and walls, etc., and ancient writings (such as in Aristotle, ''Problems,'' Book XIX.12) which described musical techniques of the time, all indicate harmony existed. One pipe in the aulos pairs (double flutes) may have served as a [[Drone (music)|drone]] or "keynote," while the other played melodic passages. Kilmer's decipherment of the cuneiform tablets indicate that the simultaneous sounding of different pitches was practiced very early, perhaps by 2000 BC. |
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==See also== |
==See also== |
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Revision as of 15:31, 14 December 2007
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Ancient music is music that developed in literate cultures, replacing prehistoric music.
Ancient music refers to the various musical systems that were developed across various geographical regions such as India, China, Persia, Greece, Rome, Egypt and Mesopotamia (see music of Mesopotamia, Greek music, Roman music). Ancient music is designated by the characterization of the basic audible tones and scales. It may have been transmitted through oral or written systems.
The term "ancient music" may also refer to contemporary, but traditional or folk, music which is considered to continue its "ancient" style and includes much Indian Music, Persian music, Asian music, Jewish music, the music of Egypt, and Muslim music. See also: authentic performance.
Mesopotamia
Anne Draffkorn Kilmer from the University of California at Berkeley published in 1986 her decipherment of cuneiform tablet from Nippur dated to about 2000 BC, demonstrating that it represents fragmentary instructions for performing music and that the music was composed in harmonies of thirds, and that it was also written using a diatonic scale (Kilmer 1986) The notation in that tablet was not as developed as the notation in the later cuneiform tablet dated to about 1250 BC (Kilmer 1965) Although the interpretation of the notation system is still controversial, it is clear that the notation indicates the names of strings on a lyre, the tuning of which is described in other tablets (West 1994). These tablets represent the earliest recorded melodies, though fragmentary, from anywhere in the world. (West 1994)
The Harps of Ur
In 1929 Leonard Woolley discovered pieces of at least three harps while excavating in the ruins of the ancient city of Ur located in what was Ancient Mesopotamia and is contemporary Iraq. Some fragments are in Pennsylvania, some in the British Museum in London, and some in Baghdad. They have been dated to 2,750 BC. Various reconstructions have been attempted, but none were totally satisfactory. Depending on various definitions, they could be classed as lyres rather than harps. The most famous is the bull-headed harp, held in Baghdad. It survived both Iraqi wars, and attempts are being made to play a replica of it as part of a touring orchestra.
Harps from Assyria and Egypt
Assurbanipal (705 - 681 BC) was king of Assyria. At his capital at Nineveh is a bas-relief showing the fall of the Judean city of Lachish. In the procession is the Elamite court orchestra, containing seven lyre-players and possibly a hammer-dulcimer player. The lyres appear to have seven strings. True harps are shown in murals from the time Ramesses III of Egypt, about 1200 BC. "The Tomb of the Harpists" contains a bas-relief with two blind musicians. James Bruce described it in 1768 and it is sometimes known as Bruce's Tomb.
Hurrian Music
Among the Hurrian texts from Ugarit are some of the oldest known instances of written music, dating from c.1800 BC. A reconstructed hymn is replayed at the Urkesh webpage.
Ancient India
Some of the earliest musical records exist in the Sama Veda which was transmitted orally from one generation to the next until it was written down.[specify] [citation needed] Excavated specimens from Mohenjodaro and Harappa such as the Dancing Girl suggest development of an ancient musical system in Ancient India.[specify] Instruments, such as the seven-holed flute and various types of stringed instruments have been recovered from the Indus valley civilization archaeological sites.
Ancient Greece
Ancient Greek musicians developed their own robust system of musical notation. The system was not widely used among Greek musicians, but nonetheless a modest corpus of notated music remains from Ancient Greece and Rome. The epics of Homer were originally sung with instrumental accompaniment, but no notated melodies from Homer are known. Several complete songs exist in ancient Greek musical notation. The Seikilos epitaph is the oldest surviving complete musical composition from the Greek tradition or from any tradition. Three complete hymns by Mesomedes of Crete (2nd century AD) exist in manuscript. In addition, many fragments of Greek music are extant, including fragments from tragedy, among them a choral song by Euripides for his Orestes and an instrumental intermezzo from Sophocles' Ajax. Romans did not have their own system of musical notation, but a few Romans apparently learned the Greek system. A line from Terence's Hecyra was set to music and possibly notated by his composer Flaccus.
It has always been known that some ancient music was not strictly monophonic. Some fragments of Greek music, such as the Orestes fragment, clearly call for more than one note to be sounded at the same time. Greek sources occasionally refer to the technique of playing more than one note at the same time. In addition, double pipes, such as used by the Greeks and Persians, and ancient bagpipes, as well as a review of ancient drawings on vases and walls, etc., and ancient writings (such as in Aristotle, Problems, Book XIX.12) which described musical techniques of the time, all indicate harmony existed. One pipe in the aulos pairs (double flutes) may have served as a drone or "keynote," while the other played melodic passages. Kilmer's decipherment of the cuneiform tablets indicate that the simultaneous sounding of different pitches was practiced very early, perhaps by 2000 BC.
See also
References
- Kilmer, Anne Draffkorn, 'The Strings of Musical Instruments: their Names, Numbers, and Significance', Studies in Honor of Benno Landsberger = Assyriological Studies, xvi (1965), 261-8
- Kilmer, Anne Draffkorn, Journal of Cuneiform Studies, xxxviii (1986), 94-98
- West, M. L., 'The Babylonian Musical Notation and the Hurrian Melodic Texts', Music & Letters, Vol. 75, No. 2. (May, 1994), pp. 161-179