Tag Archives: greek

Credit: Wikimedia Commons.

Ancient Greek music: now we finally know what it sounded like

Credit: Wikimedia Commons.

Credit: Wikimedia Commons.

In 1932, the musicologist Wilfrid Perrett reported to an audience at the Royal Musical Association in London the words of an unnamed professor of Greek with musical leanings: “Nobody has ever made head or tail of ancient Greek music, and nobody ever will. That way madness lies.”

Roman mosaic with aulos player.
Wikimedia Commons

Indeed, ancient Greek music has long posed a maddening enigma. Yet music was ubiquitous in classical Greece, with most of the poetry from around 750BC to 350BC – the songs of Homer, Sappho, and others – composed and performed as sung music, sometimes accompanied by dance. Literary texts provide abundant and highly specific details about the notes, scales, effects, and instruments used. The lyre was a common feature, along with the popular aulos, two double-reed pipes played simultaneously by a single performer so as to sound like two powerful oboes played in concert.

Despite this wealth of information, the sense and sound of ancient Greek music has proved incredibly elusive. This is because the terms and notions found in ancient sources – mode, enharmonic, diesis, and so on – are complicated and unfamiliar. And while notated music exists and can be reliably interpreted, it is scarce and fragmentary. What could be reconstructed in practice has often sounded quite strange and unappealing – so ancient Greek music had by many been deemed a lost art.

An older reconstruction of ancient Greek music.

But recent developments have excitingly overturned this gloomy assessment. A project to investigate ancient Greek music that I have been working on since 2013 has generated stunning insights into how ancient Greeks made music. My research has even led to its performance – and hopefully, in the future, we’ll see many more such reconstructions.

New approaches

The situation has changed largely because over the past few years some very well preserved auloi have been reconstructed by expert technicians such as Robin Howell and researchers associated with the European Music Archaeology Project. Played by highly skilled pipers such as Barnaby Brown and Callum Armstrong, they provide a faithful guide to the pitch range of ancient music, as well as to the instruments’ own pitches, timbres, and tunings.

Central to ancient song was its rhythms, and the rhythms of ancient Greek music can be derived from the metres of the poetry. These were based strictly on the durations of syllables of words, which create patterns of long and short elements. While there are no tempo indications for ancient songs, it is often clear whether a metre should be sung fast or slow (until the invention of mechanical chronometers, tempo was in any case not fixed, and was bound to vary between performances). Setting an appropriate tempo is essential if music is to sound right.

Apollo plays the lyre.
Wikimedia Commons

What about the tunes – the melody and harmony? This is what most people mean when they claim that ancient Greek “music” is lost. Thousands of words about the theory of melody and harmony survive in the writings of ancient authors such as Plato, Aristotle, Aristoxenus, Ptolemy, and Aristides Quintilianus; and a few fragmentary scores with ancient musical notation first came to light in Florence in the late 16th century. But this evidence for actual music gave no real sense of the melodic and harmonic riches that we learn of from literary sources.

More documents with ancient notation on papyrus or stone have intermittently come to light since 1581, and now around 60 fragments exist. Carefully compiled, transcribed, and interpreted by scholars such as Martin West and Egert Pöhlmann, they give us a better chance of understanding how the music sounded.

Ancient Greek music performed

The earliest substantial musical document, found in 1892, preserves part of a chorus from the Athenian tragedian Euripides’ Orestes of 408BC. It has long posed problems for interpretation, mainly owing to its use of quarter-tone intervals, which have seemed to suggest an alien melodic sensibility. Western music operates with whole tones and semitones; any smaller interval sounds to our ears as if a note is being played or sung out of tune.

Musical fragment from Orestes by Euripides.
Wikimedia Commons

But my analyses of the Orestes fragment, published earlier this year, led to striking insights. First, I demonstrated that elements of the score clearly indicate word-painting – the imitation of the meaning of words by the shape of the melodic line. We find a falling cadence set to the word “lament”, and a large upward interval leap accompanying the word “leaps up”.

Second, I showed that if the quarter-tones functioned as “passing-notes”, the composition was in fact tonal (focused on a pitch to which the tune regularly reverts). This should not be very surprising, as such tonality exists in all the documents of ancient music from later centuries, including the large-scale Delphic Paeans preserved on stone.

With these premises in view, in 2016 I reconstructed the music of the Orestes papyrus for choral realisation with aulos accompaniment, setting a brisk tempo as indicated by the metre and the content of the chorus’s words. This Orestes chorus was performed by choir and aulos-player at the Ashmolean Museum, Oxford, in July 2017, together with other reconstructed ancient scores.

It remains for me to realise, in the next few years, the other few dozen ancient scores that exist, many extremely fragmentary, and to stage a complete ancient drama with historically informed music in an ancient theatre such as that of Epidaurus.

Meanwhile, an exciting conclusion may be drawn. The Western tradition of classical music is often said to begin with the Gregorian plainsong of the 9th century AD. But the reconstruction and performance of Greek music has demonstrated that ancient Greek music should be recognised as the root of the European musical tradition.

Armand D’Angour, Associate Professor in Classics, University of Oxford

This article was originally published on The Conversation. Read the original article.

Three Old Scientific Concepts Getting a Modern Look

If you have a good look at some of the underlying concepts of modern science, you might notice that some of our current notions are rooted in old scientific thinking, some of which originated in ancient times. Some of today’s scientists have even reconsidered or revamped old scientific concepts. We’ve explored some of them below.

4 Elements of the Ancient Greeks vs 4 Phases of Matter

The ancient Greek philosopher and scholar Empedocles (495-430 BC) came up with the cosmogenic belief that all matter was made up of four principal elements: earth, water, air, and fire. He further speculated that these various elements or substances were able to be separated or reconstituted. According to Empedocles, these actions were a result of two forces. These forces were love, which worked to combine, and hate, which brought about a breaking down of the elements.

What scientists refer to as elements today have few similarities with the elements examined by the Greeks thousands of years ago. However, Empedocles’ proposed quadruplet of substances bares resemblance to what we call the four phases of matter: solid, liquid, gas, and plasma. The phases are the different forms or properties material substances can take.

Water in two states: liquid (including the clouds), and solid (ice). Image via Wikipedia.

Compare Empedocles’ substances to the modern phases of matter. “Earth” would be solid. The dirt on the ground is in a solid phase of matter. Next comes water which is a liquid; water is the most common liquid on Earth. Air, something which surrounds us constantly in our atmosphere, is a gaseous form of matter.

And lastly, we come to fire. Fire has fascinated human beings for time beyond history. Fire is similar to plasma in that both generate electromagnetic radiation such as light. Most flames you see in your everyday life are not hot enough to be considered plasma. They are typically considered gaseous. A prime example of an area where plasma is formed is the sun. The ancient four elements have an intriguing correspondent in modern science.

Ancient Concept of Dome Sky vs. Simulation Hypothesis

Millennia ago, people held the notion that his world was flat. Picture a horizontal cooking sheet with a transparent glass bowl set on top of it. Primitive people thought of the Earth in much the same way. They considered the land itself as flat and the sky as a dome. However, early Greek philosophers such as Pythagoras (c. 570-495 BC) — who is also known for formulating the Pythagorean theorem — understood that Earth was actually spherical.

Fast forward to the 21st century. Now scientists are considering the scientific concept of the dome once again but in a much more complex manner.

Regardless of what conspiracy lovers would have you believe, the human race has ventured into outer space, leaving the face of the Earth to travel to the stars. In the face of all our achievements, some scientists actually question if reality is real, a mindboggling and apparently laughable idea.

But some scientists have wondered if we could be existing in a computer simulation. The gap between science and science fiction starts to become very fine when considering this.

This idea calls to mind classic sci-fi plots such as those frequently played out in The Twilight Zone in which everything the characters take as real turns out to be something entirely unexpected. You might also remember the sequence in Men in Black in which the audience sees that the entire universe is inside an alien marble. Bill Nye even uses the dome as an example in discussing hypothetical virtual reality. This gives one the feeling that he is living in a snowglobe.

Medieval Alchemy vs. Modern Chemistry

The alchemists of the Middle Ages attempted to prove that matter could be transformed from one object into an entirely new object. One of their fondest goals they wished to achieve was the creation of gold from a less valuable substance. They were dreaming big, but such dreams have not yet come to fruition. Could it actually be possible to alter one type of matter into another?

Well, modern chemists may be well on their way to achieving this feat some day. They are pursuing the idea of converting light into matter, as is expressed in Albert Einstein’s famous equation. Since 2014, scientists have been claiming that such an operation would be quite feasible, especially with extant technology.

Einstein’s famous equation.

Light is made up of photons, and a contraption capable of performing the conversion has been dubbed “photon-photon collider.” Though we might not be able to transform matter into other matter in the near future, it looks like the light-to-matter transformation has a bright outlook.