Frogtoon Muziek - Genre-informatie voor Ancient-Greek-Music
The Music Of Ancient Greece Was Almost Universally Present In Society From Marriages And Funerals To Religious Ceremonies Staged Dramas Folk Music And The Ballad-Like Reciting Of Epic Poetry. It Thus Played An Integral Role In The Lives Of Ancient Greeks. There Are Significant Fragments Of Actual Greek Musical Notation As Well As Many Literary References To Ancient Greek Music Such That Some Things Can Be Known—or Reasonably Surmised—about What The Music Sounded Like The General Role Of Music In Society The Economics Of Music The Importance Of A Professional Caste Of Musicians Etc. Even Archaeological Remains Reveal An Abundance Of Depictions On Ceramics For Example Of Music Being Performed. The Word Music Comes From The Muses The Daughters Of Zeus And Patron Goddesses Of Creative And Intellectual Endeavours. The Difference Between Music And Philosophy It Is Common To Hear The Term “music Of The Spheres” And Read Of Pythagoras And His School Who Laid The Foundations Of Our Knowledge Of The Study Of Harmonics—how Strings And Columns Of Air Vibrate How They Produce Overtones How The Overtones Are Related Arithmetically To One Another Etc. It Is Important To Note That The Entire Study Of Such Things By The Greeks Was Less A Formula For The Production Of Playable Music Than It Was A Mathematical And Philosophical Description Of How The Universe In General Was Perceived To Be Constructed—the Stars The Sun The Planets All Vibrating In Harmony. What The Music Sounded Like At A Certain Point Plato Complained About The New Music Our Music Was Once Divided Into Its Proper Forms…It Was Not Permitted To Exchange The Melodic Styles Of These Established Forms And Others. Knowledge And Informed Judgment Penalized Disobedience. There Were No Whistles Unmusical Mob-Noises Or Clapping For Applause. The Rule Was To Listen Silently And Learn Boys Teachers And The Crowd Were Kept In Order By Threat Of The Stick. . . . But Later An Unmusical Anarchy Was Led By Poets Who Had Natural Talent But Were Ignorant Of The Laws Of Music…Through Foolishness They Deceived Themselves Into Thinking That There Was No Right Or Wrong Way In Music That It Was To Be Judged Good Or Bad By The Pleasure It Gave. By Their Works And Their Theories They Infected The Masses With The Presumption To Think Themselves Adequate Judges. So Our Theatres Once Silent Grew Vocal And Aristocracy Of Music Gave Way To A Pernicious Theatrocracy…the Criterion Was Not Music But A Reputation For Promiscuous Cleverness And A Spirit Of Law-Breaking. Photograph Of The Original Stone At Delphi Containing The Second Of The Two Hymns To Apollo. The Music Notation Is The Line Of Occasional Symbols Above The Main Uninterrupted Line Of Greek Lettering. From His References To “established Forms” And “laws Of Music” We Can Assume That At Least Some Of The Formality Of The Pythagorean System Of Harmonics And Consonance Had Taken Hold Of Greek Music At Least As It Was Performed By Professional Musicians In Public And That Plato Was Complaining About The Falling Away From Such Principles Into A “spirit Of Law-Breaking”. Playing What “sounded Good” Violated The Established Ethos Of Modes That The Greeks Had Developed By The Time Of Plato A Complex System Of Relating Certain Emotional And Spiritual Characteristics To Certain Modes Scales . The Names For The Various Modes Derived From The Names Of Greek Tribes And Peoples The Temperament And Emotions Of Which Were Said To Be Characterized By The Unique Sound Of Each Mode. Thus Dorian Modes Were “harsh” Phrygian Modes “sensual” And So Forth. In His Republic Plato Talks About The Proper Use Of Various Modes The Dorian Phrygian Lydian Etc. It Is Difficult For The Modern Listener To Relate To That Concept Of Ethos In Music Except By Comparing Our Own Perceptions That A Minor Scale Is Used For Melancholy And A Major Scale For Virtually Everything Else From Happy To Heroic Music. Today One Might Look At The System Of Scales Known As Ragas In India For A Better Comparison A System That Prescribes Certain Scales For The Morning Others For The Evening And So On. The Sounds Of Scales Vary Depending On The Placement Of Tones. Modern Western Scales Use The Placement Of Whole Tones Such As C To D On A Modern Piano Keyboard And Half Tones Such As C To C-Sharp But Not Quarter-Tones “in The Cracks” On A Modern Keyboard At All. This Limit On Tone Types Creates Relatively Few Kinds Of Scales In Modern Western Music Compared To That Of The Greeks Who Used The Placement Of Whole-Tones Half-Tones And Even Quarter-Tones To Develop A Large Repertoire Of Scales Each With A Unique Ethos. The Greek Concepts Of Scales Including The Names Found Its Way Into Later Roman Music And Then The European Middle Ages To The Extent That One Can Find References To For Example A “Lydian Church Mode” Although Name Is Simply A Historical Reference With No Relationship To The Original Greek Sound Or Ethos. From The Descriptions That Have Come Down To Us Through The Writings Of Those Such As Plato Aristoxenus And Later Boethius We Can Say With Some Caution That The Ancient Greeks At Least Before Plato Heard Music That Was Primarily Monophonic That Is Music Built On Single Melodies Based On A System Of Modes/scales Themselves Built On The Concept That Notes Should Be Placed Between Consonant Intervals. It Is A Commonplace Of Musicology To Say That Harmony In The Sense Of A Developed System Of Composition In Which Many Tones At Once Contribute To The Listener’s Expectation Of Resolution Was Invented In The European Middle Ages And That Ancient Cultures Had No Developed System Of Harmony—that Is For Example Playing The Third And Seventh Above The Dominant In Order To Create The Expectation For The Listener That The Tritone Will Resolve To The Third. Yet It Is Obvious From The Following Excerpt From Plato’s Republic That Greek Musicians Sometimes Played More Than One Note At A Time Although This Was Apparently Considered An Advanced Technique. The Orestes Fragment Of Euripides Seems To Clearly Call For More Than One Note To Be Sounded At Once. There Is Also Intriguing Research In The Field Of Music From The Ancient Mediterranean—decipherings Of Cuneiform Music Script—that Argue For The Sounding Of Different Pitches Simultaneously And For The Theoretical Recognition Of A “scale” Many Centuries Before The Greeks Learned To Write Which Of Course Would Have Been Before They Developed Their System For Notating Music And Recorded The Written Evidence For Simultaneous Tones. All We Can Say From The Available Evidence Is That While Greek Musicians Clearly Employed The Technique Of Sounding More Than One Note At The Same Time The Most Basic Common Texture Of Greek Music Was Monophonic. That Much Seems Evident From Another Passage From Plato …The Lyre Should Be Used Together With The Voices…the Player And The Pupil Producing Note For Note In Unison Heterophony And Embroidery By The Lyre—the Strings Throwing Out Melodic Lines Different From The Melodia Which The Poet Composed Crowded Notes Where His Are Sparse Quick Time To His Slow…and Similarly All Sorts Of Rhythmic Complications Against The Voices—none Of This Should Be Imposed Upon Pupils… Music In Society The Function Of Music In Ancient Greek Society Was Bound Up In Their Mythology Amphion Learned Music From Hermes And Then With A Golden Lyre Built Thebes By Moving The Stones Into Place With The Sound Of His Playing Orpheus The Master-Musician And Lyre-Player Played So Magically That He Could Soothe Wild Beasts The Orphic Creation Myths Have Rhea “playing On A Brazen Drum And Compelling Man’s Attention To The Oracles Of The Goddess” 10 Or Hermes Showing To Apollo “…his Newly-Invented Tortoise-Shell Lyre And Playing Such A Ravishing Tune On It With The Plectrum He Had Also Invented At The Same Time Singing To Praise Apollo’s Nobility That He Was Forgiven At Once…” Or Apollo’s Musical Victories Over Marsyas And Pan. There Are Many Such References That Indicate That Music Was An Integral Part Of The Greek Perception Of How Their Race Had Even Come Into Existence And How Their Destinies Continued To Be Watched Over And Controlled By The Gods. It Is No Wonder Then That Music Was Omnipresent At The Pythian Games The Olympic Games Religious Ceremonies Leisure Activities And Even The Beginnings Of Drama As An Outgrowth Of The Dithyrambs Performed In Honor Of Dionysus. It May Be That The Actual Sounds Of The Music Heard At Rituals Games Dramas Etc. Underwent A Change After The Traumatic Fall Of Athens In 404 B.C. At The End Of The First Peloponnesian War. Indeed One Reads Of The “revolution” In Greek Culture And Plato’s Lament That The New Music “…used High Musical Talent Showmanship And Virtuosity…consciously Rejecting Educated Standards Of Judgement.” Although Instrumental Virtuosity Was Prized This Complaint Included Excessive Attention To Instrumental Music Such As To Interfere With Accompanying The Human Voice And The Falling Away From The Traditional Ethos In Music. Greek Musical Instruments Instruments In All Music Can Be Divided Into Three Categories Based On How Sound Is Produced String Wind And Percussion. For Purposes Of This Description We Exclude Electronic Instruments. For Alternate Systems Of Classification See Musical Instruments And Hornbostel-Sachs. Within This System Strings May Be Struck Ex Piano Bowed Violin Or Plucked Guitar . Wind Instruments May Be Single Mechanical Reed Clarinet Or Double Mechanical Reed Oboe Also Wind Instruments May Be Lip Reed Trumpet Air Reed Flute Vocal-Cord Reed Voice And Tuned Free Reed Accordion . Percussion Instruments May Produce Either A Definite Pitch Bell Or An Indefinite Pitch Bass Drum . The Following Were Among The Instruments Used In The Music Of Ancient Greece * The Lyre A Strummed And Occasionally Plucked String Instrument Essentially A Hand-Held Zither Built On A Tortoise-Shell Frame Generally With Seven Or More Strings Tuned To The Notes Of One Of The Modes. The Lyre Was Used To Accompany Others Or Even Oneself For Recitation And Song. * The Kithara Also A Strummed String Instrument More Complicated Than The Lyre. It Had A Box-Type Frame With Strings Stretched From The Cross-Bar At The Top To The Sounding Box At The Bottom It Was Held Upright And Played With A Plectrum. The Strings Were Tunable By Adjusting Wooden Wedges Along The Cross-Bar. * The Aulos Usually Double Consisting Of Two Double-Reed Like An Oboe Pipes Not Joined But Generally Played With A Mouth-Band To Hold Both Pipes Steadily Between The Player’s Lips. Modern Reconstructions Indicate That They Produced A Low Clarinet-Like Sound. There Is Some Confusion About The Exact Nature Of The Instrument Alternate Descriptions Indicate Single-Reeds Instead Of Double Reeds. * The Pan Pipes Also Known As Panflute And Syrinx Greek Συριγξ So-Called For The Nymph Who Was Changed Into A Reed In Order To Hide From Pan Is An Ancient Musical Instrument Based On The Principle Of The Stopped Pipe Consisting Of A Series Of Such Pipes Of Gradually Increasing Length Tuned By Cutting To A Desired Scale. Sound Is Produced By Blowing Across The Top Of The Open Pipe Like Blowing Across A Bottle Top . * The Hydraulis A Keyboard Instrument The Forerunner Of The Modern Organ. As The Name Indicates The Instrument Used Water To Supply A Constant Flow Of Pressure To The Pipes. Two Detailed Descriptions Have Survived That Of Vitruvius And Heron Of Alexandria. These Descriptions Deal Primarily With The Keyboard Mechanism And With The Device By Which The Instrument Was Supplied With Air. A Well-Preserved Model In Pottery Was Found At Carthage In 1885. Essentially The Air To The Pipes That Produce The Sound Comes From A Wind-Chest Connected By A Pipe To A Dome Air Is Pumped In To Compress Water And The Water Rises In The Dome Compressing The Air And Causing A Steady Supply Of Air To The Pipes. “ Son Of The God Of Winds None So Renowned The Warrior-Trumpet In The Field To Sound With Breathing Brass To Kindle Fierce Alarms And Rouse To Dare Their Fate In Honourable Arms. He Served Great Hector And Was Ever Near Not With His Trumpet Only But His Spear.” In The Aeneid Virgil Makes Numerous References To The Trumpet Most Notably Having To Do With Aeneas’ Comrade Misenus We Can Assume That The Greeks And Trojans Of Whom Virgil Speaks Made Use Not Only Of The Conch — A Sea Shell With A Cut Opening As A Mouthpiece — But Even Of The Brass Trumpet “…With Breathing Brass To Kindle Fierce Alarms…” Or Salpinx. A Number Of Sources Mention This Metal Instrument With A Bone Mouthpiece And They Appear In Vase Paintings. The Lyre Kithara Aulos Hydraulis And Trumpet All Found Their Way Into The Music Of Ancient Rome. Surviving Music Classical Period * Eleusis Inv. 907 Trumpet Signal * Dionysius Of Halicarnassus Comp. 63 F. * Euripides Orestes Papyrus Vienna G 2315 * Papyrus Leiden Inv. P. 510 Euripides Iphigenia In Aulis Hellenistic Period * Papyrus Ashm. Inv. 89B/31 33 * Papyrus Ashm. Inv. 89B/29-32 Citharodic Nomes * Papyrus Hibeh 231 * Papyrus Zeno 59533 * Papyrus Vienna G 29825 A/b Recto * Papyrus Vienna G 29825 A/b Verso * Papyrus Vienna G 29825 C * Papyrus Vienna G 29825 D-F * Papyrus Vienna G 13763/1494 * Papyrus Berlin 6870 * Epidaurus SEG 30. 390 Hymn To Asclepius Roman Imperial Period * Delphic Hymns * Seikilos Epitaph Ancient-Greek-Music elke artiest, elke band en elk nummer dat je maar kunt bedenken, van het nieuwste tot het oudste, is gemakkelijk toegankelijk via Frogtoon Music. Maak je klaar om jezelf te verwennen en laat de muziek je ziel verrijken, je passie aanwakkeren, je emoties doen ontwaken en mooie herinneringen oproepen. Het volgende is een lijst met topartiesten en bands van Ancient Greek Music: Als je hun pagina's bezoekt, krijg je een lijst te zien met populaire video's, topnummers, aanbevolen mixen en muziek van alle albums die ze hebben uitgebracht. 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