Ah, Petyus, lassacskan kezdeni kene az ozene tanulast vidamma, jatekossa alakitani, hogy ne remuljon meg tole vilagga szaladva a nepseg!:) A kepekkel sokat segitesz, koszonom.
Nicomaco, Manuale di armonica 4 (p. 243.10-17 Jan)
™nantiopaqe‹n d ? ¢nagka…wj t¦ ™mpneust¦ Ôrgana oOEon aÙloÝj s£lpiggaj sÚriggaj ØdraÚlouj kaˆ t¦
Ómoia to‹j ™ntato‹j kiq£rv lÚrv sp£diki to‹j paraplhs…oij. mšsa d'aÙtîn kaˆ oOEon koin¦ kaˆ ÐmoipaqÁ t£
te monÒcorda fa…nesqai, § d¾ kaˆ fandoÚrouj kaloàsin oƒ pollo…, kanÒnaj d'oƒ Puqagoriko…, kaˆ t¦
tr…gwna tîn ™ntatîn kaˆ toÝj plagiaÚlouj met¦ tîn fwt…ggwn, æj Ð lÒgoj pro Žën dhlèsei.
«Gli strumenti ad aria, come auloi, salpigges, syrigges, organi idraulici e simili, si
contrappongono necessariamente agli strumenti a corde, come cetra, lira, spadice e simili. Tra
i due generi sembrano collocarsi poi – quasi abbiano proprietà comuni e analoghe – i
monocordi (da molti detti anche pandure, e canoni dai Pitagorici) e il triangolo, tra gli
strumenti a corde; inoltre gli auloi traversi insieme ai fotingi, come dimostreremo in seguito».
(trad. L. ZANONCELLI, La manualistica musicale greca, Milano 1990, p. 151).
A MATHEMATICA NOTEBOOK ABOUT ANCIENT GREEK MUSIC AND MATHEMATICS
Luigi Borzacchini and Domenico Minunni (Dept. of Mathematics, University of Bari, Italy)
It is known that Information and Communication Technology are becoming increasingly useful in teaching mathematics, but so far it has not been considered as well that this technology, and symbolic calculus languages as Mathematica or Maple in particular, can pave the road to new connections between mathematics, computer and humanities.
Music and Mathematics have always been deeply connected. At the beginning of our mathematics there is Pythagorean mathematics that was first and foremost music-driven, and the end of ancient music was connected to the equal-temperament, linked to the idea of real number.
We give an outline of a Mathematica notebook about ancient Greek Music, that includes a short introduction to mathematical music theory, a part about Greek mathematical music theory and the difference between Pythagorean and equal-tempered tuning, a system to play ancient music, in which we can choose the system (enharmonic, chromatic, diatonic) and the mode (Doric, Lydian, Phrygian, etc.), and a short report about the different theories (geometric, arithmetic and music-theoretic) about the discovery of incommensurability. It is noteworthy that playing with this system the first stasimo of Euripides’ tragedy Orestes, both in well-tempered and Pythagorean tuning, usually all participants recognize a difference.
It is well known the role played by music in the ancient Greek civilization.
Music for us is a “separated” activity, a specific business and a purely aesthetical enjoyment. We hear music quite random: walking in the road, driving the car, from TV and hi-fi at home. Rarely we ‘listen’ music, in concert, and also those performances are sharply autonomous.
Ancient music was instead always ‘contextual’, its performances were always intertwined with specific activities, working, wedding, praying, etc., and almost every activity had its specific musical background (SACHS, 1962).
These characters were shared by ancient Greek music, probably a legacy of Babylonian music. It was basic in the social and political establishment: Terpander (VII century B.C.) and Timotheus (IV century B.C.) were both condemned in Sparta for having added more strings to the lyre.
And Plato shared the opinion of the musicologist Damon that:
“For a change to a new type of music is something to beware of as a hazard of all our fortunes. For the modes of music are never disturbed without unsettling of the most fundamental political and social conventions” (Respublica 424c).
Ancient Greek poetry and tragedy was inseparable from music (even the term ‘lyric’ is from the ‘lyre’) and even the term “music” etymologically stems from the “Muses”, daughters of Mnemosine, the “memory”, and Goddesses of poetry, music and dance, and originally included all those artistic fields.
Music was the ground of the Platonic theory of education, appeared both in elementary (with gymnastic) and superior (part of the Quadrivium) education, and the ancient “games” (Olympic, Isthmic, Pythian, etc.) were based on music and gymnastic.
In Philolaus the same structure of kosmos' harmony reflected musical consonances, and in Plato’s Timeus the whole cosmology is built on the music-theoretical ratios.
In this context music had also its own magic power.
Music moved the stones to build Thebes’ walls and Orpheus’ music could bewitch animals and trees, and even rescue Eurydice from Hades. The lyre was Apollos’ emblem and Atheneus wrote that “Greek ancient wisdom seems to have been tied most of all with music. To this extent they judged the most musical and the wisest Apollos among the gods and Orpheus among the semi gods”.
Nevertheless ancient Greek music is almost absent in our perception of Greek civilization (in our universities, in our books and also in the actual performances of ancient Greek tragedies and lyric poetry). The problem is that it is almost impossible for us to appreciate a reliable ancient Greek musical performance: we have few original pieces, the texts are hardly understandable and their execution is often accomplished only in modern musical terms.
An often ignored problem is that our musical performances are accomplished in the well-tempered tuning, that appears only in the XVII century, linked to the idea of real number, whereas all the earlier music (Middle Ages music included) was instead performed in other tunings based on rational numbers, more or less connected with the Pythagorean theory of music.
We can not give here elements of mathematical music theory. The interested reader can find many good basic books on the subject. Among those specifically concerned with ancient music we can recommend (Burkert, 1972, Sachs, 1943, 1962, van der Waerden, 1963, West, 1992).
The notes were played in the Pythagorean mathematical music theory on the so called “canon”: a rod with a chord, that was divided in 12 equal frets. With bridges on the frets it was possible to play 12 different notes, and hence the consonances between two notes could be regarded as intervals on the canon, and represented as ratios between integers from 1 to 12, more precisely “superparticular ratios” n:n+1 (the octave, 1:2, the fourth, 3:4, and the fifth, 2:3). On the canon 6:12 was the octave, 6:8 or 9:12 was the fourth, 6:9 or 8:12 was the fifth. Hence the difference between the fourth and the fifth, the so called “tone”, was the ratio 8:9.
The main mathematical difference between ancient and modern scales on a chord is that the former were centred on three harmonies yielded by simple superparticular ratios, whereas the well-tempered (or equal-tempered) scale is based on a logarithmic division of the chord (the n-th semitone is obtained by the n-th power of the 12-th root of 2).
The Pythagorean musical theory was explicitly connected by the Pythagoreans with the means: the arithmetic mean, a-b=b-c, the geometric a:b=b:c, and the harmonic or subcontrary a-b:a = b-c:c. The intervals were ratios, so that to cut an interval a,b in two equal parts meant to find a x such that a:x = x:b, in other words, by the geometric mean.
However the first and third can be easily recognized in the fourth 12 - 9 = 9 - 6 (such as C-F) and the fifth 12-8 : 12 = 8-6 : 6 (such as C-G) consonances, whereas the geometric mean does not correspond to any consonance in one octave of the "canon", for it would yield 12:(6* )) = (6* ):6. With the word of Szabo (1978, 174): "an octave cannot be divided into two equal subintervals by a number".
In the modern well-tempered tuning the intervals are identical in all parts of the scale, as in a sort of homogeneous (constant curvature) Riemannian space, but those harmonic consonances are not perfectly tuned.
Among the ancient tunings the Pythagorean produced perfectly consonant fifths. Being the intervals not identical along the chord, as in a sort of heterogenous space, in ancient Greek music it was impossible “to change tonality” preserving the melody, and there were hence substantially different modes (Dorian, Lydian, Phrygian, etc.) whose employment was not just a question of vocal accommodation achieved with a change of tonality, but gave specifically different emotional effects.
In addition equal temperament gives twelve logarithmically equal semitones (each conventionally set equal to 100 cents) whereas Pythagorean tuning gives five tones (each of 204 cents) and two semitones (90 cents) whose sum is clearly not a tone.
Moreover, to cut the musical intervals by the geometric mean of the superparticular ratios meant substantially to find the way to connect the seven modes of Greek music (Dorian, Phrygian, Lydian, etc), which were considered by Plato (and credibly even by the Pythagoreans) basic for the harmonic behaviour of the citizen and the city as well.
Plutarchus reminds us that the crucial problem was the division of the tone (9/8, i.e. the interval between the fourth and the fifth) in two 'equal', i.e. 'proportional', parts, and that the Pythagoreans discovered it to be impossible (see in the following). An equivalent problem was whether the octave could be divided in 6 tones (according to Aristoxenus, who rejected the relevance of the mathematical impossibility of cutting the tone) or in 5 tones and 2 not joinable semitones (according to the Pythagoreans).
What about ancient Greek music?
The remains of Greek music are the following:
- a large collection of ancient music-theoretical texts, some of them based on a mathematical background (Pythagoreans, Euclid, Ptolemy, Nicomachus, Boethius, etc.), others (first and foremost Aristoxenus) with a more empirical Aristotelian flavour. However the earliest available texts are from the III century B.C., and also the mathematical systems (for example Pythagorean and Ptolemaic) are not completely coincident.
- few scores of ancient compositions, the earliest ones from the III century B.C., and including also symbols not easily reducible to sharp frequencies.
- fragments of literary texts incidentally reporting descriptions concerning musical performances, whose meaning is far from being always clear
- specimens of lyres and auloi. Musical analysis of the available auloi show for example that the ancient fourth was the Pythagorean (498 cents) and not the well-tempered one (500 cents) (Sachs, 1943, West, 1992). However aulos players were craftsmen without a mathematical and theoretical background. In addition, they were very skilful in producing different sounds employing the same hole, and hence the geometric intervals on the auloi did not mean necessarily proportional musical intervals. So the existence of exact Pythagorean consonances perhaps implies a sharp conditioning of mathematical music theory even on the actual performances.
Few decades ago well-tempered tuning was considered the right one and the others, ancient or not European, simply wrong or dissonant. Modern musicology and ethnomusicology revised this opinion and it is not infrequent today to listen not exactly well-tempered, but wonderful, musical pieces played by great singers, for example Billie Holiday.
It is likely that even the preference for well-tempered scales that can be empirically verified in modern musicians who play instruments with no predetermined tuning (violins and trombones) could be ascribed to a many-generations conditioning. Nonetheless our capacity of enjoying not well-tempered music shows that our musical perception is not sharply one-tuning conditioned.
Anthropologists today maintain that the musical world of a civilization is probably, even for primitive civilizations, very complex and not reducible to a scale. In addition they often point out that to understand a musical world means also to be able of listening and playing it (Sachs, 1943).
Now we can ask: how far is our understanding of ancient Greek civilization undermined by the fog surrounding our knowledge and our performances of its music? And how far was Greek mathematical theory of music correctly representing ancient Greek music?
It is worthwhile to remark the fact that the role of music in Greek civilization involved also Mathematics. It is known that the most reliable and surely ascribable part of Pythagorean mathematical tradition is the music-theoretical one (Burkert), and it has been claimed, first and foremost by Paul Tannery, that even the discovery of incommensurability had a musical genesis.
According to this opinion the original, crucial for the Pythagoreans because of the general role of music in the social and political establishment, problem was the “cutting of the tone” (the interval between the fourth and the fifth, i.e. the ratio 8:9) in two ‘equal’ parts. In other words the problem was to find x such that 8:x = x:9. Obviously 17/2 is to high, 33/4 to low, and so on. Archytas succeeded in proving that in general it was impossible to cut a superpaticular ratio, i.e. to find a x such that n:x = x:n+1 in the ancient Greek arithmetic (roughly we could say in rational arithmetic).
From this general result, for n=1, we get the irrationality of the square root of 2.
For more information about this topic we address the reader to a forthcoming paper (Borzacchini, 2001).
Most authors (Burkert, 1972, Knorr, 1975, Szabo, 1978) more or less agree with this hypothesis, ascribing to it however only a (more or less) minor role, “just a start”.
Nevertheless, from an anthropological point of view, even a “start” seems very important if we consider that incommensurability seems almost the beginning of European mathematics. In other words it seems to us anthropologically very relevant to claim that European Mathematics did not stem as a by-effect of purely technical geometrical enquiries, but as the result of a socially and politically crucial musical problem.
The aim of our Mathematica notebook is to make available information, knowledge and tools to allow a more complete perception of ancient Greek music and its anthropological embedding, by the employment of the multimedia approach allowed by the language Mathematica. This notebook is an expanded release of an earlier prototype developed as a part of a degree thesis (Fascicolo, 2001).
It is just a start and probably our aim requires a much greater effort: for example a very relevant gap of our implementation is the lack of a part concerning metrics and rhythms.
A more ‘aesthetical’ limit is the simple sinusoidal shape of the played sounds, but it is possible with Mathematica to create more complex “tone colours”.
The notebook at the moment includes the following parts:
1. Mathematical Theory of Music
2. Performance of Greek Music
3. The geometrical approach to Incommensurability
4. The musical approach to Incommensurability.
More in detail, the second part allows the choice of the instrument (tetrachord, octochord, the perfect system), of the basic tone and the starting frequence, of the length of time and of the mode (mesolydian, lydian, phrygian, doric, hypolidian, hypophrygian, hypodoric). In addition, for each mode, of the genus (diatonic, chromatic, enharmonic with their variants), and, for reach genus, of the specific theoretical tuning (Archytas, Aristoxenus, Eratosthenes, Didymus, Ptolemeus).
Then, by the numeric keys (1 to 4 for the tetrachord, 1 to 8 for the octachord, 1 to 15 for the perfect system), it is possible ‘to play’ in the selected scale, or it is possible to give a specific score and listen the performance: at the moment we have stored two scores: the first stasimo of Euripides’ tragedy Orestes and the hymn to Helios of Mesomedes.
The same scores can be played also in the well-tempered tuning and, during the discussion of Fascicolo’s thesis, the listeners recognized quite sharply the little difference between the well-tempered and the Pythagorean performance of Orestes’ stasimo. Strange enough, the difference between two notes or two consonances is almost unperceivable, whereas the difference between the two executions is quite clear: the rational probably is in the ‘differential’ nature of our musical perception.
It is possible to export such played score in standard sound format (AIFF). Then we can store it elsewhere (for example on a CD) and play it independently on the computer and on Mathematica.
The third part includes the classical geometric examples of incommensurability (side and diagonal of the square and of the pentagon), with animations that show the infinite geometric series of decreasing intervals we can build on these examples.
The fourth part makes clear the argument of Archytas’ theorem on the “cutting of the tone”.
What about the perspectives?
It is crucial to understand how far such a system can foster our understanding of the Greek world. We underline that our notebook is not only a ‘passive’ multimedia system, but is embedded in a system that own the full power of an universal language of computation. Can a possible development of our system allow an effective simulation of the ancient musical world, even though we remember that ancient music was thoroughly contextual and that crucial aspects of that world are irremediably lost?
It is clear that an answer to this question and a relevant enhancement of the system both require an interdisciplinary effort: not only mathematics and computer science, but also ancient history, philology and musicology must play a greater role.
The reward could be that we could not only get a new tool for humanities, but also discover a new anthropological dimension for mathematics
REFERENCES
BORZACCHINI, L. (2001). Music, incommesurability and continuum: a cognitive approach. Not yet published.
BURKERT, W. (1972) Lore and Science in ancient Pythagoreanism. Harvard Univ. Press, Cambridge Mass.
KNORR, W. R.(1975). Evolution of the euclidean Elements. Dordrecht, D.Reidel Pu. Co.
FASCICOLO, V.M. (2001). Simulazione della musica greca antica con il Mathematica. Tesi di laurea in Informatica. Univ. di Bari.
SACHS, C. (1943). The rise of music in the ancient world. East and West. W.W.Norton and Co. New York
SACHS, C. (1962). The wellsprings of music. Martinus Nijhoff, L'Aia
SZABO, A. (1978). The beginnings of greek mathematics. Reidel Pu. Co., Dordrecht
van der WAERDEN, B. L. (1963). Science awakening. New York, Yohn Wiley.
WEST, M.L. (1992). Ancient greek music. Clarendon Press, Oxford.
On retrouve des traces de l’aulos (pluriel : auloi) dans diverses Odes écrites par des musiciens et poètes grecs antiques, lesquels attribuent son invention à la déesse Athéna. Ces Odes, en particulier la 12e Ode pythique de Pindare, nous renseigne sur l’importance de cette instrument dans la culture de l’époque ; en effet Les Odes pythiques ou Les Pythiques ont été écrites par le poète et musicien Pindare en l’honneur des vainqueurs des Jeux Pythiques, qui se célébraient tous les quatre ans à Delphes en l’honneur d’Apollon pythien. Ces Jeux étaient les deuxièmes plus important après les Jeux Olympiques. Cette Ode nous renseigne également sur les qualités sonores et expressives de cette instrument cinq siècles avant J.-C. Cependant cette instrument dont on en a trouvé des spécimens en airain, en roseau, mais encore en bois, en os, en ivoire, ne semble pas être originellement un instrument grec car Homère, huit siècle avant J.-C., y fait des allusions dans l’Iliade comme un instruments étrangers (Les Egyptiens semblent être véritablement à l’origine du Hautbois). Mais cela n’empêchera en rien les Grecs de placer l’aulos à côté de la cithare, la cithare qui demeure incontestablement l’instrument le plus important des Grecs, que l’on utilisait dans toutes les circonstances. Ainsi a-t-on retrouvé de nombreuses représentations d’ensembles musicaux où les auloi occupent une place importante, on sait également que les auloi accompagnaient à merveille les ensembles de chanteurs, et on les retrouve aussi comme instrument solo, sans aucun accompagnement. Ce sont les oeuvres de Platon que nous donnent des détails sur le haut niveau d’habileté et de virtuosité qu’avaient atteint les musiciens et es constructeurs d’instruments. On y parle comme l’instrument le plus riche en timbres, qui permettrait de jouer dans l’ensemble des différents modes utilisées à cette époque (mode dorique, lydien, etc.). Une autre information sur l’histoire de l’aulos nous est relaté par Hérodote (5e siècle avant J.-C.) dans ses Histoires, il semblerait qu’à l’instar d’autres professions, un fils de joueur d’aulos hérite la profession , c’est-à-dire que le fils d’un joueur d’aulos deviendra à son tour joueur d’aulos. Cela nous permet de remarquer fort à propos qu’il existait à cette époque déjà des joueurs d’aulos professionnel. Davantage les auloi étaient aussi employés par les Grecs dans l’armée, en effet on disposait parfois de nombreux joueurs d’aulos parmi les soldats, cela afin d’assurer le rythme égal de la marche en avant. L’aulos est par ailleurs bien connu également pour accompagner les cérémonies religieuses, c’est ce qui fit à une époque plus tardive tomber l’aulos dans le discrédit auprès des personnes appartenant à la classe dominante, car l’aulos était communément employé durant les cultes de Dionysos, lesquelles subirent passablement de débordements. Ainsi l’aulos était parfois associé aux orgies et autres fêtes et pratiques relevant de la décadence. L’utilisation de l’aulos dans des domaines d’activité aussi différents a incité les archéologues et les musicologues à penser qu’il devait exister des auloi de différentes sortes, variant quant à l’intensité de leur son, leur hauteur et leur timbre, cela afin de pouvoir s’adapter à la circonstance à laquelle on le destinait.
LA TIBIA
S’il a été dit que l’aulos n’était pas une invention grecque, et bien il en va de même pour la tibia romaine ; Les Romains reprirent vraisemblablement aux Etrusques cet instrument. Comme les Grecs, il semblerait que les Romains employaient un instrument à anche double, en l’occurrence la tibia, dans des circonstances fort diverses, on l’utilisait aussi bien pour la préparation de repas que pour accompagner la fustigation des esclaves ; la tibia est à considérer comme l’instrument principal des Romains dont on jouait dans toutes les occasions possibles. Il semblerait également que les joueurs de tibia jouissait d’un grand prestige social. On distingue communément deux types de tibia :
- la « tibia curva » (= courbe)qui trouvait son emploi dans la musique orgiaque du culte de Cybèle et de Bacchus, ce type d’instruments aurait été strident et perçant avec un son fort et rude.
- la tibia tyrienne ou lydienne, composée de deux tubes droits, particulièrement en usage dans la musique de théâtre et d’accompagnement des chants et des danses.
Plus tard, vers 150 av. J.-C., à l’époque où de nombreux musiciens grecs devinrent esclaves de maîtres romains, la vie culturelle romaine se vit influencée durablement par les Grecs. Ainsi, la virtuosité grecque, alliée à l’habileté des facteurs d’instruments romains, donna naissance à un instrument très perfectionné, muni de raffinements techniques tout à fait nouveau. On fabriquait ainsi des tibias métalliques, dotés d’une sonorité à longue portée, qui, conjointement, avec l’orgue hydraulique accompagnaient les combats de gladiateurs. Et c’est précisément la raison pour laquelle la tibia, par la suite, à l’époque de l’église chrétienne primitive, tomba au plus bas de la considération sociale, car tant de gens avaient marchés à la mort au son des tibias. Mais il convient de dire que malgré cela, les instruments à anche double se sont maintenu jusqu’au Moyen Age.
vorsicht: das ist die nicht korrigierte rohfassung!
zurück: inhalt von memo g. schachiner
ihre meinung/ fragen zu dieser seite? (forum) visitings on "janissary music and austria":
zurück: quellen und dokumente zur musik und zu den musik instrumenten der janitscharen im kaiserlichen österreich visitings on musical confrontations:
start: 10 january 2003, up-date: 18 march 2003 editorial@musicalconfrontations.com
Kult, Kultur und die Oliven
Die Wiege der Zivilisation ist Mesopotamien.
Dort finden wir die ersten geschriebenen Dokumente.
Dort beginnt die geschriebene Geschichte.
Dort enstehen die Prototypen aller akkustischen Musikinstrumente und wurden in den Kulthandlungen eingesetzt.
Wie wir später näher sehen werden, finden wir dort die ersten Dokumente über das Präludium (Vor- Spiel).
Auch das musikalische und tänzerische Präludium ist eine kultische Handlung.
Das Präludium ist mit einer martialen Sportart eng verbunden:
Öl- Wrestling.
Dort treffen wir die ersten Dokumente über die Öl-Wrestling an.
Auch Sport ist eine Kultische Handlung.
Mit Kult begann die Kultur
Die Kultur Mesopotamiens , ob Musik oder Sport, verbreitet sich auf einem bestimmten historisch/ geographischem Weg:
Vorderasien, Mittelmeerraum, Südosteuropa...
Was ist mit der Kultur des Olivenöl?
Öl- Wrestling braucht Öl.
Das Öl der Antike ist Olivenöl schlechtchin.
Wann und wo wurde der Olivenbaum eine Kulturpflanze?
Wann und wo wurde die Kultur des Olivenpressens begonnen?
Die Geschichte der Olive
Wilde Olivenbäume, deren Früchte man schon in vorgeschichtlicher Zeit nutzte, wuchsen zunächst in Vorderasien. Allerdings reichen die Ursprünge ihrer Nutzung weit zurück, daß man nicht mehr sagen kann, wer Oliven zuerst preßte, um Öl zu gewinnen, oder von wem die Idee stammt, Früchte in Salz oder Soda einzulegen, um sie haltbar zu machen.
Neben der Weinrebe zählte der Ölbaum zu den ersten Kulturpflanzen und olivenöl/ geschichte, knossos-olivenöl, 2003, D00100000042W
Olivenhain in Kato Asites auf Kreta, jimg000009
verbreitete sich schon bald von Zentralpersien und Mesopotamien über Ägypten nach Phönizien und schließlich auch nach Griechenland, so daß zu Beginn der Geschichtsschreibung Oliven bei allen Völkern im östlichen Mittelmeerraum zum täglichen Leben gehörten. olivenöl/ geschichte, knossos-olivenöl, 2003, D00100000042W
So werden in fast allen Dichtungen des Altertums die Vorzüge des Olivenöls gepriesen: sei es als Nahrungsmittel, sei es um die Haut damit einzureiben. Als wichtiger Grundstoff für Heilsalben, Nahrung und Licht gewann die Olive religiöse, ja göttliche Bedeutung.
Auch die Bibel ist voll von Hinweisen auf die Olive. Das l. Buch Mose erzählt zum Beispiel von einer Taube, die Noah einen Olivenzweig als Zeichen für das Zurückweichen der Sintflut auf die Arche brachte. Zudem galt der Olivenzweig seit jeher als Symbol für Frieden und Verständigungsbereitschaft. Auch die griechische Mythologie verweist bereits auf den Nutzen des Ölbaums. So stellte sich Zeus, als er entscheiden sollte ob Poseidon oder Athene die Schutzherrschaft über Attika erhalten sollte, auf die Seite der Göttin, da sie einen Olivenbaum auf dem Akropolisfelsen hatte wachsen lassen. olivenöl/ geschichte, knossos-olivenöl, 2003, D00100000042W
Olivenanbaugebiete in Griechenland, jimg0000008
Die Griechen waren es auch, die die Olive nach Italien brachten, wo sie sich bald großer Beliebtheit erfreute. Auch die Völker Nordafrikas bauten die Frucht an, und entlang der Küsten verbreitete sie sich nach und nach von Tunesien über Algerien und Marokko bis Nordspanien und Portugal. olivenöl/ geschichte, knossos-olivenöl, 2003, D00100000042W
Oliven, Wrestling und die Schalmeien
Die Geschichte der Schalmei behandelte ich unter "Quellen und Dokumente zu den Musikinstrumenten der Michterchane im kaiserlichen Österreich" bereits ausführlich.
Hier werden wir die Schalmei nur im Zusammenhang mit der Sport- und Feldmusik betrachten.
Um 750 kommt der Sage nach durch den Phrygier Olympos der Gesang zum Aulos auf (Aulodie). Der Aulos imitiert die menschliche Stimme., besonders den Schmerzensschrei.Er gehöst zum Dyonisoskult. Im 7. Jahrhundert mehren sich seine Darstellungen auf Bildern. Ulrich Michels, 2001, S. 171, A146B
Aulos ist ein lautstarkes Instrument.
Sie ermöglicht nicht nur Skalenreiche Melodien, sondern auch bewegungsreiche Rhythmen.
So wurde sie im antiken Hellas zur Unterstützung der rhythmischen Bewegungen eingesetzt.
An einem mächtigen Mörser stampfen ein Mädchen und ein Jüngling mit riesigen Stößeln.
Man versteht den Vorgang als die Bereitung eines Kultgerichtes.
Der Jüngling hinter dem Stampfer scheint in seiner Kanne und seinem Korbe Zutaten zu der Opferspende herbeizutragen.
Hinter dem Mädchen bläßt ein Jüngling die Auloi, wie es sich vornehmlich beim Opfer selbst gehört.
Dahinter steht auf einem Stabdreifuß ein Kessel gleich dem, der dieses Bild trägt.
Es ist in dieser Frühzeit eine recht verbreitete und sinnvolle Eigentümlichkeit griechischer Vasenbilder, daß die Darstellung auf einem Gefäß seiner Zweckbestimmung entspricht. Max Wegner, 1970, S. 39, A2842B
Deinos, Kultische Begehung, Drittes Viertel des 6. Jh., jimg0000277
...Der abgebildete Ausschnitt findet friesartig rings um den Bauch des Kessels, seine Fortsetzung in der Darstellung tanzender Männer. Natürlich ist auch ihr Tanz kultisch zu deuten. Max Wegner, 1970, S. 39, A2842B
Die Einsetzung der Rhythmusinstrumente und/ oder Gesang beim Kornstampfen der Frauen in der gemeinsamen Mörse ist, in verschiedenen Gebieten Afrikas, Mittelmeerraums, Südost- Europas und Nahen-Ostens heute noch üblich.
Jugendliche Aulosbläser, mit der Phorbeia versehen, üben ihre Kunst mitten zwischen Speerwerfern, Diskuswerfern und Faustkämpfern.
Diese Darstellung vermittelt einen Begriff von der ungemeinen Bedeutung des Aulosspiels beim Sport.
Dabei handelt es sich nicht, wie bei den heutigen Sportveranstaltungen um beziehungslose Musik, durch die die Zuschauer nur unterhalten oder zerstreut werden sollen; Max Wegner, 1970, S. 84, A2842B
Aulos und Sport, Schalenbemalung, um 520, jimg0000003
...vielmehr ist die Musik bei den Griechen für die Turner da, ja, man könnte sagen zu deren Sammlung und Unterstützung.
Durch den Ton und Rhythmus der Aulosmusik wurde die Wohlgefälligkeit und rhythmische Ausgewogenheit der Körperhaltungen und der Bewegungen geleitet.
Zahlreich sind die Darstellungen, die veranschaulichen, wie bei den Griechen dank der Musik das Ungeordnete, Chaotische, zu dem turnerische Übungen und Spiele von Natur neigen, zu etwas Geordnetem, Schmuckhaftem, zu einem "Kosmos" wurde. Max Wegner, 1970, S. 84, A2842B
Aulos und Sport, Schalenbemalung, um 520, jimg0000004
Sport- und Präludium- Stile im Wandel der Zeiten
Mit dem guten Gewissen, die Bedeutung der Auloi bem antiken griechischen Sport genügend dokumentiert zu haben, möchte ich jetzt kurz die Stile des Nahkampfsportes und des Präludiums im Wandel der Zeiten beobachten.
Luigi Beschi
Frammenti di auloi dal Cabirio di Lemno
Giacché la musica greca era spesso connessa all’ambito religioso, non sorprende che da
contesti religiosi o funerari provengano molti fra gli strumenti ritrovati. «Dai santuari
provengono soprattutto frammenti di auloí, sia perché essi hanno una più facile conservazione,
sia perché le figurazioni vascolari dimostrano una loro più alta percentuale di presenza nei
momenti fondamentali del rito e della festa». Nel santuario dei Cabiri di Lemno sono stati
rinvenuti frammenti di auloí in osso, in un contesto stratigrafico fra la metà del V e la fine del
III sec. a.C. Dei quattro frammenti, uno, con fori che divergono in senso antiorario, sembra
appartenere alla canna sinistra di un doppio aulo (è ipotizzabile una lunghezza complessiva di
ca. 50 cm): le misure di distanza fra i fori aumentano verso la parte superiore dello strumento,
diversamente dagli esemplari arcaici e classici, il che indurrebbe ad una datazione alla prima
età ellenistica; un altro frammento, data la leggera strombatura, potrebbe essere una
campana terminale di aulo (è esemplare fra i più antichi rimastici). [179-80]. [Gianfranco
Mosconi]
This is a research project on the simulation of the ancient Greek wind instrument - the Elgin Auloi from the 5th century BC - by means of a computer physical modeling application. In this stage of the project we are using the computer for testing different reed volumes in order to come to basic conclusions about the acoustic behavior of the auloi in comparison with the known ancient Greek modes as they appear in surviving documents of Ancient Greek Music Theory.
Aulos katalogus (West)
3. Aulos toredek Lindosbol. 525.
C.Blinkenberg, Limdos: Fouilles de l' Acropole 10902-1914. 1. Les Petits Objekts (Berlin, 1931), 153-5, 16. kep.
Lindos, fouilles de l'Acropole, 1920-1914 /
Christian Sørensen Blinkenberg
1941-
French Book v. in : ill. ; 33 cm.
Berlin : W. de Gruyter,
Ownership: Check the catalogs in your library.
Libraries that Own Item: 2
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Title: Lindos, fouilles de l'Acropole, 1920-1914 /
Author(s): Blinkenberg, Christian Sørensen, 1863-
Publication: Berlin : W. de Gruyter,
Year: 1941-
Description: v. in : ill. ; 33 cm.
Language: French
Note(s): At head of title: Fondation Carlsberg-Copenhague.
Responsibility: par Chr. Blinkenberg et K. f. Kinch.
Document Type: Book
Entry: 19880329
Update: 20001207
Accession No: OCLC: 29144114
Database: WorldCat
Az utobbi harom hozzaszolast harom napos kinkeserves probalkozas utan, ezerszer atfogalmazva, vegre sikerult reszleteiben 'atkuldeni'. Nem tudom elkepzelni, hogy mikor egy levelbe irtam, mi zavarhatta a rendszert, hogy nem engedte tovabb. Talan az, hogy az aulos 'parthenion" es a szuz lanyok jatszottak vele? :)
Ket kis fiatal lanyoknak valo aulos. Ephesusbol. 600-550.
Hogarth konyveben: 194. old. XXXVII. 12. kep.
T.J.Dunbabinnal: 448. old.
Nemzeti Muzeum Angliaban:Gr. 1907.12-1.423.
Excavations at Ephesus :
the archaic Artemisia
D G Hogarth
1908
English Book x, [3], 344 p. : atlas (3 p., [18] leaves of plates : ill. ill., plans ; cm. & 56 cm.)
London : British Museum,
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Find Items About: Hogarth, D. G. (max: 5)
Title: Excavations at Ephesus :
the archaic Artemisia
Author(s): Hogarth, D. G. 1862-1927 (David George),
Publication: London : British Museum,
Year: 1908
Description: x, [3], 344 p. : ill. cm. & atlas (3 p., [18] leaves of plates : ill., plans ; 56 cm.)
Language: English
SUBJECT(S)
Geographic: Ephesus (Extinct city) -- Antiquities.
Class Descriptors: LC: DF261.E5
Responsibility: by David George Hogarth ; with chapters by Cecil Harcourt Smith, Arthur Hamilton Smith, B. V. Head, and Arthur E. Henderson.
Document Type: Book
Entry: 19761115
Update: 19931213
Accession No: OCLC: 2557804
Database: WorldCat
Perachora, the sanctuaries of Hera Akraia and Limenia; excavations of the British school of archaeology at Athens, 1930-1933.
Humfry Payne; Thomas James Dunbabin; Alan Albert Antisdel Blakeway
1940
English Book v. col. front., illus., plates (1 col.) maps (1 fold.) plans (part fold.) diagrs. 33 cm.
Oxford, The Clarendon Press,
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Find Items About: British School at Athens. (9); Payne, Humfry, (max: 6)
Title: Perachora, the sanctuaries of Hera Akraia and Limenia; excavations of the British school of archaeology at Athens, 1930-1933.
Author(s): Payne, Humfry,; 1902-1936. ; Dunbabin, Thomas James, ; ed.; Blakeway, Alan Albert Antisdel, ; ed.
Corp Author(s): British School at Athens.
Publication: Oxford, The Clarendon Press,
Year: 1940
Description: v. col. front., illus., plates (1 col.) maps (1 fold.) plans (part fold.) diagrs. 33 cm.
Language: English
Contents: [I] Architecture, bronzes, terracottas, by Humfry Payne and others.
Standard No: LCCN: a 42-157
SUBJECT(S)
Geographic: Perakhora (Greece) -- Antiquities.
Note(s): "On Payne's death Alan Blakeway took over the editing of the manuscript, and I have followed his judgement in the manner of revision, and in may details."--Pref., signed: T. J. Dunbabin./ Errata slip inserted in v. 1./ "Modern references": v. 1, p. 16. Bibliographical foot-notes.
Class Descriptors: LC: DF261.P4; Dewey: 913.387
Document Type: Book
Entry: 19721121
Update: 19971204
Accession No: OCLC: 499987
Database: WorldCat
Kosz a jotanacsot, Kedves Petyus Mester! Ezen a praktikus ismeretek hianya sajnos nagyon megneheziti a kutakodast, remelem menet kozben lassacskan megtanulom oket. Sikerult megnezned Achilleust a kentaur zene tanaraval? Sajnos nalam nagyon halvanyan latszik a hangszere.
Az a baj, hogy rossz helyrõl másolod. Amikor a google megtalálta, és ráböx a képre, akkor kiír egy linket, de azt még ne másold be, hanem arra is bökj rá, és amikor már az igazi oldalt nézed, annak az igazi címét másold be az URL sorból! Úgy jó szokott lenni.
