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By M. L. West

Historical Greece was once permeated through track, and the literature teems with musical allusions. the following finally is a transparent, entire, and authoritative account that presupposes no certain wisdom of tune. issues lined comprise where of tune in Greek lifestyles, tools, rhythm, pace, modes and scales, melodic building, shape, historical idea and notation, and old improvement. Thirty surviving examples of Greek tune are provided in smooth transcription with research, and the publication is totally illustrated. in addition to being thought of by itself phrases, Greek track is right here extra illuminated via being thought of in ethnological point of view, and a short Epilogue units it instead in a border quarter among Afro-Asiatic and eu tradition. The booklet can be of price either to classicists and historians of song.

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Aesch. fr. 43); Catull. 62. Cf. also Ap. Rhod. Argon. 4. 1160, Procl. ap. Phot. Bibl. 321 a 17; H. W. Smyth, Greek Melic Poets, pp. cxii-cxx; P. Maas, RE ix. 130-4; E. Contiades-Tsitsoni, Hymenaios und Epithalamion (Stuttgart, 1990). 38 Cf. Pind. Nem. 6. 37f. Bacchylides' short Odes 2 and 7 were composed in these circumstances. 39 Pind. Ol. 6. 87, Pyth. 55, Nem. 2. 24, 3. 4, 66, Isthm. 8. 1; Bacchyl. 11. 10. 40 Bacchyl. 14. 41 See p. 346. < previous page page_22 next page > < previous page page_23 next page > Page 23 Funerals too impinged on the community, especially in the eighth and seventh centuries, when it seems to have been a matter of prestige for the most prominent families to convey their dead to the pyre in ostentatious style, with the largest possible number of mourners following the bier, wailing and tearing their hair and garments.

7 Aristid. Quint. p. 6. 3ff. speaks of a type of delivery used in reading poetry, intermediate between ordinary speech and song. Cf. Nicom. Ench. p. 239. 13-17. 8 Pickard-Cambridge's statement (157) that the accompaniment was on higher notes than the recitation is based on a misconception, not peculiar to him, about the phrase hypo ten oiden; see p. 206 below, n. 41. In any case, in the sentence in question the author is no longer speaking about parakataloge. One source, Psell. De trag. 9, recognizes a kind of 'exclamation' (anaboema) in tragedy that is intermediate between singing and recital but almost belongs in the sung category.

7). In an earlier generation Sappho and her friends made music in festive privacy, with flower garlands, scented unguents, and soft couches, just as happily as any male gathering. Women also sang to relieve the monotony of work. 69 Wool-workers too had their own songs70 Men engaged in solitary occupations, or insufficiently occupied, likewise sought solace in music. Achilles, having ceased to take part in the fighting at Troy, passes the time singing and playing the lyre in Patroclus' company. The young Anchises, alone at the ranch-house, wanders about playing the lyre, quite loudly.

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