By Thomas J. Mathiesen
Historical Greek track and song idea has interested students for hundreds of years not just due to its intrinsic curiosity as part of historical Greek tradition but in addition as the Greeks’ grand inspiration of song has persevered to stimulate musical imaginations to the current day. in contrast to previous remedies of the topic, Apollo’s Lyre is aimed mostly on the reader attracted to the musical typologies, the musical tools, and particularly the old improvement of tune concept and its transmission in the course of the center Ages.
The simple process and scope of the examine are set out in a initial bankruptcy, by means of chapters targeting the position of song in Greek society, musical typology, organology, and function perform. the subsequent chapters are dedicated to the track concept itself, because it constructed in 3 phases: within the treatises of Aristoxenus and the Sectio canonis through the interval of revival within the moment century C.E. and in overdue antiquity. each one theorist and treatise is taken into account individually yet constantly in the context of the rising traditions. the speculation presents a remarkably entire and coherent procedure for explaining and reading musical phenomena, and loads of its conceptual framework, in addition to a lot of its terminology, used to be borrowed and tailored through medieval Latin, Byzantine, and Arabic track theorists, a legacy reviewed within the ultimate bankruptcy. Transcriptions and analyses of a few of the extra whole items of Greek tune preserved on papyrus or stone, or in manuscript, are built-in with a attention of the musicopoetic varieties themselves. The publication concludes with a finished bibliography for the sector, updating and increasing the author’s previous Bibliography of assets for the research of historic Greek track.
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Extra info for Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages
That leads to a clarifying dominant seventh in C and finally to the tonic of C in measure 25. ) But the tonic in measure 25 is in an unstable inversion: The pitches are arranged with the root not on the bottom. This propels us on into a dominant seventh in which the C has been held over from the preceding chord—a dissonant suspension. The C moves to B in the next measure, resolving the dissonance and leaving a plain dominant seventh. Next, there is a diminished seventh in G, with the dissonant low G held over (a pedal point).
20. The left-hand ordinate scale is calibrated in amplitudes in dyne/cm2. The right-hand ordinate is calibrated in corresponding dB SPL. The listener's threshold for pure tones at different frequencies is shown in the lowest curve in the figure. This curve represents the baseline for measuring dB SL—it is by definition the set of points at 0 dB SL. Note that the threshold varies in dB SPL from frequency to frequency—that, in particular, tones in the very 46 2. 20 The audible frequency spectrum, showing the threshold of hearing and equal-loudness contours at 10-phon intervals for pure-tone stimuli.
Further exploration of these theories requires a closer look at the structure of the auditory sys tem, which we now take. THE EAR Place theories of pitch perception are very attractive because several lines of physiological evidence converge in suggesting that place of stimu lation in the inner ear corresponds to perceived pitch for a great variety of stimulus types. Furthermore, if the extraction of separate pitches is not performed by the sorting out of different frequencies to different places along the cochlea, where else in the nervous system could it be so easily performed?