Apollo's Lyre: Greek Music and Music Theory in Antiquity and by Thomas J. Mathiesen

By Thomas J. Mathiesen

Old Greek track and song idea has interested students for hundreds of years not just as a result of its intrinsic curiosity as part of historical Greek tradition but additionally as the Greeks’ grand proposal of tune has persevered to stimulate musical imaginations to the current day. not like past remedies of the topic, Apollo’s Lyre is aimed largely on the reader attracted to the musical typologies, the musical tools, and particularly the ancient improvement of tune conception and its transmission throughout the center Ages.
The simple process and scope of the research are set out in a initial bankruptcy, by way of chapters targeting the position of tune in Greek society, musical typology, organology, and function perform. the following chapters are dedicated to the tune thought itself, because it built in 3 levels: within the treatises of Aristoxenus and the Sectio canonis through the interval of revival within the moment century C.E. and in past due antiquity. each one theorist and treatise is taken into account individually yet continually in the context of the rising traditions. the speculation offers a remarkably entire and coherent procedure for explaining and interpreting musical phenomena, and loads of its conceptual framework, in addition to a lot of its terminology, used to be borrowed and tailored by means of medieval Latin, Byzantine, and Arabic song theorists, a legacy reviewed within the ultimate bankruptcy. Transcriptions and analyses of a few of the extra entire items of Greek song preserved on papyrus or stone, or in manuscript, are built-in with a attention of the musicopoetic varieties themselves. The publication concludes with a complete bibliography for the sphere, updating and increasing the author’s prior Bibliography of assets for the learn of historical Greek song.

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Additional resources for Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages

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Monaghan goes so far as to claim that repetition’s singular effect poses a problem for traditional accounts of statistical learning mechanisms. Repetition seems special, and its prevalence in music makes it the perfect domain in which to explore what precisely this might mean and why precisely it might be. This chapter offers a few preliminary observations. First, to remember a passage of music requires an uncommonly extended duration of time—the duration it took to play the passage in the first place.

Not just any nonsense, but a nonsense in which the semantics vanish and are replaced by a sort of super-salience of the component parts—letters, phonemes, syllables. 6), it’s as if the sense of the Dalmatian had disappeared (very difficult to do at will), and been replaced by a renewed sensitivity to the characteristics of the blobs. It’s interesting that repetition can cause language to dissolve into nonsense on the one hand or music on the other.  James. indd 17 10/11/2013 3:05:48 PM 18 O N REP E AT will be taken to suggest an affinity between these domains—an affinity, I should add, that I do not view as demeaning to music in the least.

1 (Continued) The Swingle Singers, a largely a cappella group that has remained in existence in some form or other since 1962, covers songs from all genres––including classical—with a cheerful, irreverent quality characteristic of similar work by Bobby McFerrin and the cast of Glee. Welsh singer Jem samples the Swingle Singers’ rendition of Bach’s Prelude in F Minor, from the second book of the Well-Tempered Clavier, in her single They, a song with lyrics that rue the fallibility of conventional wisdom.

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