CLASSICAL ANTIQUITY - San Jose State University · 2018. 8. 15. · CLASSICAL ANTIQUITY “Musical...
Transcript of CLASSICAL ANTIQUITY - San Jose State University · 2018. 8. 15. · CLASSICAL ANTIQUITY “Musical...
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CLASSICAL ANTIQUITY
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CLASSICAL ANTIQUITY
The Greek views of music
—such as in Aristotle’s Poetics and
Plato’s The Republic—
are highly influential in Western thought.
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CLASSICAL ANTIQUITYThe Ancient Greeks
Greece
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CLASSICAL ANTIQUITY
ETHOS• Music effects character and way of behaving
• Doctrine of imitation—music imitates an ethos, arouses that ethos in the listener
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CLASSICAL ANTIQUITYPlato states music in a particular modes shifts a person’s
behaviors:
• Soldiers should listen to music in the “strong” Dorian or Phrygian modes
• Men should avoid music in “feminine” Lydian, Mixolydian or Ionian modes
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CLASSICAL ANTIQUITY
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CLASSICAL ANTIQUITY
“And which are the soft harmonies? The Ionian, he replied, and the Lydian
Well, and are these of any military use? Quite the reverse, he replied; and if so the Dorian and the Phrygian are the only ones which you have left. The [soft modes] must be banished; even to women they are of no use, and much less to men.”
—Plato, The Republic
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CLASSICAL ANTIQUITY
“Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated graceful…and receives into his soul the good, and becomes noble and good, he will justly blame and hate the bad…”
—Plato, The Republic
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CLASSICAL ANTIQUITY
Plato believed that changes in music
would cause a wide-scale social changes
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CLASSICAL ANTIQUITY
Kithara
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CLASSICAL ANTIQUITY
Aulos
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CLASSICAL ANTIQUITY
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CLASSICAL ANTIQUITY
MELOS
For Plato, melody =
Melody, Text (meter) and Harmonia (relationship between pitches, scales,
melodic types, i.e. mode)
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CLASSICAL ANTIQUITY
Mousike
MUSIC with WORDS
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CLASSICAL ANTIQUITY
MousikeMUSIC with WORDS
“And the melody and rhythm will
depend upon the words? Certainly.”
—Plato, The Republic
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CLASSICAL ANTIQUITY
Greek music was MONOPHONIC,
with instruments duplicating a melodic line.
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CLASSICAL ANTIQUITY
Greek “plays”
Tragedies of Euripides (480–406 BC)
and Sophocles (c. 496-406 BC)
were sung.
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CLASSICAL ANTIQUITY
GREEK THEORY
PYTHAGORAS (570-c. 495 BC)
ARISTOXENUS (c. 330 BC)
CLEONIDES (1st century AD)
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CLASSICAL ANTIQUITY
GREEK THEORY
Where do pitches come from?
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CLASSICAL ANTIQUITY
GREEK THEORY
Where do pitches come from?
NUMBERS
Hence, view of music as Science
Music as reflecting the Universe
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CLASSICAL ANTIQUITY
While many musics derive their
notes from the overtone series,
Greek theorists, such as the mathematician
PYTHAGORAS (570-c. 495 BC)
discovered and explored the numeric basis
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Legend has it that Pythagoras walked by a forge and noticed different tones emanating from anvils of different sizes as they were struck by the blacksmiths.
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CLASSICAL ANTIQUITY
Pythagoras conjectured that
the different tones of the anvils
had to do with the
different sizes of the anvils and
their ratios between their sizes
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Pythagoras generates a series of musical intervals the “perfect” intervals octave, fifth, fourth, and secondwhose whole-number ratios could be measured
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CLASSICAL ANTIQUITY
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CLASSICAL ANTIQUITY
Greek theorists called the octave the DIAPASON (“across all”), the fifth the DIAPENTE (“across five”), the fourth the DIATESSERON (“across
four”), and these terms were used up through the
Renaissance.
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Diapason
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ANTIQUITY
Diapason
Diapente
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ANTIQUITY
Diapason
Diapente Diatesseron
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CLASSICAL ANTIQUITY
A strange phenomenon is revealed, however, when using the Pythagorean ratios.
On an equal-tempered piano, the sum of 7 stacked octaves (CC to c4)
and the sum of 12 stacked fifths (CC to c4)—the “circle of fifths”—
should be “equal.”
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Using the whole-number Pythagorean ratios of 2:1 for octaves and 3:2 for fifths,
arithmetic shows that the sum of 7 octaves and of 12 fifths are not the same.
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CLASSICAL ANTIQUITY
The sum of the circle of fifthsovershoots getting to “c”
by about a quarter of a semitone, or more accurately, by 21.51 cents
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CLASSICAL ANTIQUITY
The sum of the circle of fifths overshoots getting to “c” by about a quarter of a
semitone, or more accurately, by 21.51 cents
That difference is calledThe PYTHAGOREAN COMMA
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CLASSICAL ANTIQUITY
How then did the Greeks generate a set of musical pitchesout of these intervals?
And what problems does the comma cause?
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CLASSICAL ANTIQUITY
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CLASSICAL ANTIQUITY
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CLASSICAL ANTIQUITY
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CLASSICAL ANTIQUITY
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The last two pitches form the Tritone(729 : 512)
which sounds horribly dissonantand audibly reveals the Pythagorean Comma
[A comma is the difference between two seemingly enharmonic notes]
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CLASSICAL ANTIQUITY
ARISTOXENUS (c. 330 BC)
Theorizes “Diastematic” (intervallic) movement made up of
Tones
and Intervals between those tones
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CLASSICAL ANTIQUITY
ARISTOXENUS (c. 330 BC)
Constructs “scales” = 4 notes in ascending or descending pattern
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CLASSICAL ANTIQUITY
These scale 4-note patterns are the
TETRACHORDS
“4 strings”
A perfect fourth
with two inner pitches
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CLASSICAL ANTIQUITY
3 Genera (classes) of Tetrachords
Diatonic
Chromatic
Enharmonic
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CLASSICAL ANTIQUITYThe Ancient Greeks
Diatonic Chromatic Enharmonic
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CLASSICAL ANTIQUITY
Tetrachords can be stacked into the
Greater Perfect System
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CLASSICAL ANTIQUITY
Greater Perfect System
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CLASSICAL ANTIQUITY
CLEONIDES (1st century AD)
Diatonic tetrachords combine
Tones (whole steps) and
Semitones (half steps)
in limited number of ways, or Species
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CLASSICAL ANTIQUITY
1. Semitone, Tone, Tone
2. Tone, Tone, Semitone
3. Tone, Semitone, Tone
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CLASSICAL ANTIQUITY
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CLASSICAL ANTIQUITY
These 3 types of Tetrachords
are the
Species of Fourths
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CLASSICAL ANTIQUITY
The Species of Fifth
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CLASSICAL ANTIQUITY
The Species of Fourth (Diatesseron)
and the
Species of Fifth (Diapente)
are combined into
Species of Octave (Diapason)
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CLASSICAL ANTIQUITY
Species of Octave
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CLASSICAL ANTIQUITY
TONOS
These octave species (tonoi) acquire
ethnic names associated with regional styles
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CLASSICAL ANTIQUITY
TONOS
These octave species (tonoi) acquire
ethnic names associated with regional styles
Dorian, Lydian, Phrygian
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CLASSICAL ANTIQUITY
Surviving Music from
Ancient Greece
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CLASSICAL ANTIQUITY
Euripides fragments (c. 485-406 BC)
Delphic Hymns (c. 128-127 BC)
Epitaph of Seikilos (first century CE)
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CLASSICAL ANTIQUITY
Euripides fragments (c. 485-406 BC)
Orestes (c. 408 BC)
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CLASSICAL ANTIQUITYEuripides fragments (c. 485-406 BC)
Rhythm from meter of poetry
DOCHMAIC6 syllables in pattern of
. . . __ . __
“Ka-to-lo-phi-ro-me” . . . __ . __
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CLASSICAL ANTIQUITY
Euripides fragments (c. 485-406 BC)
Orestes (c. 408 BC)
Stasimon Chorus
A stasimon is sung by chorus standing in place in the orchestra
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CLASSICAL ANTIQUITY
Greek Amphitheater at Epidarus
Orchestra
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CLASSICAL ANTIQUITYEuripides fragments (c. 485-406 BC)
Orestes (c. 408 BC)
Stasimon Chorus
Women of Argos ask for mercy for Orestes
Chromatic Version (Male Chorus)65
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Delphic Hymns
(c. 128-127 BC)
Temple of Apollo,Delphi
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CLASSICAL ANTIQUITYThe Ancient Greeks
Delphic Hymn Fragments
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CLASSICAL ANTIQUITY
Epitaph of Seikilos
(first century CE)
Found in present-day Aydin, Turkey
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CLASSICAL ANTIQUITYThe Ancient Greeks
Aydin
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CLASSICAL ANTIQUITY
TOMBSTONE
“I am a tombstone.
Seikilos placed me here
as an everlasting sign of
deathless remembrance”
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CLASSICAL ANTIQUITYEpigram (set to music)
“As long as you live, be lighthearted.
Let nothing trouble you.
Life is only too short,
And time takes its toll.”
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CLASSICAL ANTIQUITY
Notated music generally considered unuseful for musicians who transmitted
their music orally.
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CLASSICAL ANTIQUITY
However, there were several forms of musical
notation, with the
vocal music notation (lexis)
differing from
instrumental notation (krousis)
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CLASSICAL ANTIQUITY
Vocal music (lexis) used
alphabetic PITCH NOTATION
using the Ionic Greek alphabet
(dating after the 5th century BCE),
with each note having its own symbol.
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CLASSICAL ANTIQUITY
Line 1 are the diatonic scale (the pitches are approximate). Line 2 raises the line 1 pitches by one diesis (i.e. about a half-step), Line 3 by raised by two dieses
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CLASSICAL ANTIQUITY
A diesis is the difference (21.51 cents)
between a perfect octave (2:1)
and three stacked pure major thirds (5:4)
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CLASSICAL ANTIQUITY
The rhythm of Greek vocal music generally
followed the rhythm of the poetry,
made of long and short syllables...
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CLASSICAL ANTIQUITY
BUT… those rhythms could be notated
and modified by various symbols.
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CLASSICAL ANTIQUITY
Duration signs were placed
above the pitch symbol.
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CLASSICAL ANTIQUITY
Two pitches under one rhythmic sign usually indicates a melisma,
each note getting half the value of the sign, or the unequal “short-long”.
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CLASSICAL ANTIQUITY
An unmarked duration is the base note value
PROTOS CHRONOS
while other durational signs indicated a
doubling or tripling of the
protos chronos
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CLASSICAL ANTIQUITY
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Text
Lexis pitch notation
Duration
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