Angol valtozat

1st Pan-Hellenic Conference of Musical Research

Problems in the evaluation of discoveries of musical bodies of antiquity and their proposals of confrontation.

Urany Mpa'noy

The environment of field of research

Up to before few times the sciences they was moved with more comfort ana'mesa in aytoprosdjorjsmo' their parameters and the deepening of individual their cell, allowing in the research returns from the centre to the region and reverse. The relation of every of science with her regionally relative was limited in the respect of limits and in the observation of considerable distance between the cognitive objects.

Mainly through the effort to be fixed new complex specialisations for the service of modern needs are developed wider scientific fields that include relatives, neighbouring or even up to now foreigner or parallel between them scientific sectors (Ecology with Medical, Pedagogics with Architecture, Sciences of Administration with Psychology k.a.).

This djtti' or multiple approach in the ancient Greek music had up to today enough fertile and frequent interesting results, kacw's a big category of musicologists, musical, historians, archaelogists, researchers of theatre, laogra'fwn or artists synwcoy'ntaj round a mesh of interests and specialities. The increase of naturally interest in the individual specialities often does not become joint, and nor always with common terms. We can however accept that without fail it follows the terms of science or art.

Thus are formulated questions, are decided experimental applications and are fixed approaches methodological and practically various. What however practically enriches our knowledge does not appear to be enough in order to it finally fixes our common language above in the subject.

The evaluation of information

In the space of Music our knowledge for the final past with which it did not exist constantly supported mainly in affairs with data descriptions or parepo'menes information. The investigation of musical action of antiquity consequently was based on affairs what emanated through various seasons sources that reach up to us, but also in information and reports through other arts, as art of theatre, the reason, the dance etc

Sporadjke's and no jsovarej's as for their deepening analyses for himself ihogo'na bodies – musical bodies remained or they mainly remain a anexerey'nito material that his examination owes to be re-defined with new terms and treaties.

Kat’ beginning we will attempt to determine in who points already we have acquired inquiringly the common report. A ap’ these are sure the first classification with regard to in the categories of sources from which we draw precious and explicit cells for n’ we restore this art at the antiquity.

Thus, in their classic classification, this sources can be separated in indirect and direct.

Here is attempted a approach in the category of direct sources and more concretely in the category of discoveries of musical bodies.

ARMING degree conservation ancient given but also their possibility of identification and re-establishment of their initial form and the daily search of young persons cell that results they constitute a wide and interesting field of common research, where the precision and the safety of information can lend in the often vague outlines of this been famous art of antiquity one desirable and scientifically valid eykrj'neja.

The first therefore also sovereign question that results it is the review of parameters and the functional connection of information between them in the effort of re-establishment of lost rings that of historical reality. How it can take place however such something with the anabila'fisi of our data?

The basic proposal for the classification of sources, acceptable today for a big team of researchers, has been applied in most from the efforts of common estimate of information. However, as long as positive and it appears this for our further course does not cease it contains also particularly nebulous parameters that up to now experience have proved that it can they lead to erroneously cell and conclusions, dysepj'lytes situations and re-establishments of truth seen from different optical.

This is owed mainly in two reasons:

A) The different fields of research and their approach that does not become automatically neither everywhere with the same method, kacw's the process and the degree of knowledge for each one from them vary for each researcher. This rungs of approach of ancient data can nevertheless be fixed with safety in four different starting lines

the fjlologjki' approach of sources
the archaeological viewpoint
the moysjkologjki' investigation and
the comparative research and the experimental re-establishment with modern terms.
The usual management of our information however does not also depend kat’ need with the most optimal possible terms in total optical and the starting lines is not faced as jsovarej's, similar and parallel speed

V) The information which comes to us with base this the classification is direct, nor kat’ need extensive, brings besides with her weights and ambiguities of past from which often it is impossible him we exempt finally.

A other classification

But as we return in our sources Re-examining the terms we can we distinguish a adja'spasti chain of sources, temporally methodological and practically. Independent from real sizes of examined objects – of sources we observe that certain by the cells they are produced in first authority, other follow, which follow other of k.o.k.Epome'nws different character of classification could be in primary and derivative sources.

The basic point that us is useful here as criterion is himself activity – in the case our that is to say musical action. For the human voice we do not have no possibility of registration of likely particularity, mainly exajtj'as the micrometer of relatively time for by any chance evolutionary – fylogenetjki' difference. For the musical bodies however, we have a very important and precious cell, the discovery. Without fail here we will need helper the picture, and they are not the few times where the picture us leads to the roughly final re-establishment of his lost cells.

Object – discovery is consequently undeniably primary source, provided that it constitutes

a. fe'ron the basic information

V. a undeniable value for the estimate of remaining information but also

g. independent unit of work of art, that brings the characteristics of development and interaction with the other sectors for the season where it is examined.

With base this reading the discovery is faced as starting line and no as confirmation of existing readings.

Two questions result :

a. Right the is directive of our discovery?

and V. we have safety ‘o'tan him we restore?

Here it does not need it is added, I believe, and the third very basic question: the are archaelogists anaskafej's allocated they deliver this special information in the critical time where we still can n’ we draw entire his energy? But this it is more well discussed in the proposals.

The evaluation of discovery

As was said and more, the first condition for the asked interconnection of discoveries and operation, Archaeology and Musical Antiquity, it is the completed picture of discovery, the himself this kac’ eayto' as much as comparatively with other similar and proportionally.

The second condition is the technologically possible today investigation of operation of – production of sound from the ancient object, creation of file of registration of sounds from various discoveries at categories.

Third are the connection and estimate of sound results with the corresponding data of science and art on the dance, the space and his acoustics, the reason as text and so on

Provided that it exists henceforth this material in the hands of musicologists is possible their own synthetic henceforth evaluation for the combination and the harmonisation the more (1,2 and 3) data and questions on the music with the narrowest significance of search of past.

In this proposal we limited itself in the registration of thoughts and questions with regard to the first condition. We will attempt n’ we elect the importance of this questions concerning a very known example, the ly'ra of Elgjn.

This discovery takes his name from the collection Elgjn, in which it belongs. It reached in London in 1816, with remainder (known) discoveries 1 . It is exposed in the British Museum and brings cetane number of discovery GR 1916.6-10.501. It is the cells ly'ras that were found in burial that is dated at approach in the 4 aj. p.H. 2 in the band of arhaj'as road to the Eleusis.

The reproduction of publicised information which reaches up to us constitutes complex as much as labyrinthian in his investigation setting, which requires particular indication in order to becomes perceptible the basic value of multiple proposed approach.

A confusion that keeps almost one century places this body between completed as for their examination, restored and exposed in the wide public. It is however thus the things?

Researchers in the past have expressed doubts for whether he is actually one or two bodies, which the cells of syneptygme'na constitute today the re-establishment known arhaj'as Greek ly'ras. His report with restored shell – ihej'o includes however, dj'pla s’ this, a department of ancient shell, reducing automatically in the common origin and identification of object m’ what is restored exhibition.

At the investigation of subject and his parameters result the followings:

J. That in the collection of British Museum exists only a ly'ra

JJ. That it should indeed existed second ly'ra, that our cells of are mainly unknowingly, as well as her current place or situation (only k. L . Beschi 3 djexe'rhetaj enlighteningly this case) and

JJJ. That, finally, the two ly'res emanate from different excavations, which the common time of or the common chance joined the discoveries, excluding only the second body, in certain future phase to present itself in scientific publication and to interpret thus with more precision the situation.

IV . With regard to in the ancient department of shell – ihej'oy that it accompanies the restored body results that this shell is not related only that as a sample – no from the better saved – of treatment ihej'oy ly'ras. The real origin of particular cell is from the Jalyso' of Rhodes, as report the corresponding researchers.

Why now the particular report?
Our information with regard to in primary as were mentioned before sources is the more important and sure vaulting horse, above in which the ideas and the opinions can support itself and cause questions, proposals and conclusions. It is not possible we are based in on second object - discovery. But in order to it has real value as for this, will be supposed also the discovery to have his cell of identity, to be possible us to lead with safety and to be possible to speak to the language that we have selected as common for this approach.

The proposals. The energies that should become from the same viewpoint.

What should become?
It can be recommended a permanent file of discoveries with up to now existing knowledge round the subject, which is enriched and it is renewed continuously, without the suspensive and dy'skampti operation of management of discoveries from the corresponding services. The delivery and the safety have much bigger value than their circumspect and often very long-term evaluation from researchers that are not specialised in the subject. S’ this naturally very big role is called to play the application of legislation that concerns in the exploitation and publication of archaeological discoveries from the central service of Ministry of Culture. The suspicion of anaskafe'a archaelogist that has found front s’ a discovery musical body will be supposed to become comprehensible that it is interpreted as big occasion is given immediately precious information on further treatment and no as eptasfra'gjsto secret, communicable in ten, twenty, thirty times depending on the obligations anaskafe'a.

Become steps as for the essential and functional collaboration between the sectors of research, are given basic and single formulated parameters that concern in this collaboration, finally a common language the communication in this sectors it ensures the essential and constant consent in the individual analyses, but also the absolute confidence that pe'ran the ecjmjki's obligation we opposite have in the discovery.

The discovery is kat’ beginning responsibility and price for archaelogist – all however gets to know that without the essential environment his information will be lost, will become vora' in the time and will function simply as a interesting moysejako' exhibit with doubtfully cell of identity. It is something which we believe that apey'hontaj all.

Closing, I would want to add still a observation.

A archaelogist went up in the step for such thematic and you thanks once again gj’ this. I get to know however well who it was the first thought that can possess many from the audience: the archaelogists and historical is art their kat’ extension we have helpers for many ap’ the questions of daily life at the antiquity, with gentleman and being first role n’ they recall individually the probative power recorded in picture phase of this life. As long as attractive and she is this parameter of our collaboration does not cease n’ constitutes one of small value and rather fictitious cell for n’ we restore this everyday routine.

I explain itself:

Attempting a examination offered up to today sources of arhaj'as music, we can observe, s’ that it concerns in the Greek space, that generally the depictions that us give information on the existence of forms of music in in the everyday routine of individual of precocious antiquity, are enough, so that they convince for the delivery of musical action of many centuries.

J. The depiction, for example, pneystoy' or triangular (poly'hordoy) body in figurines of Kykladjki's of Art (ends of 3 is millenium p.H.), the in detail description of composer of type pneystoy' and enough evolved type e'ghordoy in the written carnivorous of Saint Trinity (14 os aj. p.H.), testify a course very more distant than the one that is described by the written sources for the production of musical sounds.

JJ. They are publics acceptable the opinion, that the depiction of object parjsta' that on big time interval it preexists in use and constitutes already known point of report for the author of depiction 4 .

This opinion is often supported in reinforcement of safety of information, that provides the iconography in the subject. The himself from alone her it cannot be characterized as being mistaken. The iconography is, a'llwste a basic source of information on the reading of antiquity, and more specifically on subjects of daily life.

The exploitation of however this information on the ancient music and the ancient musical bodies contains enough impossible points (as eg the compatibility of depiction, the personal perception of artist of antiquity 5 ), which can cause confusion for the real data. 6

The information, consequently, the iconography cannot be considered absolutely sure for the re-establishment of saved objects. 7

Deductively, we can fix the place that of proposal as research in real and no in the desirable growth of picture, provided that it attempts n’ it analyzes the primary component (the discovery) with the support of remaining sources (written or figurative testimonies).

1 For the discoveries of collection Elgjn, vl. JHS 36,.1916, 214 k . e (“Lord Elgin and his collection”).
2 From the same burial emanate two wooden pipes from sykomore'a.
3 Beschi L., “La tomba di una fanciulla antica”, Studi Miscellanei 30, 99-108.
4 The knowledge of operation of object (in this case the production of music from a body that is portrayed) does not constitute naturally, essential condition for his placement in a representation. The picture of object is consequently symbol and no faith representation.
5 His dil. interpretation of reality, as it is expressed through the art toy(zwgrafjki', sculptural k.l.p.)
6 Individual cell of this basic disagreement c’ they are reported here nor moreover it is deliberate, in the frames that of work. However, in each use of information of this source, it owes to function the sect of reliability in the description of reality.
7 For this reasons a'llwste, up to today efforts of re-establishment of ancient musical bodies with base the iconography to them they are only covered at a big part by the modern artistic creation.

http://systran.otenet.gr/cgi-bin/systran.cgi?lp=el_en&f=2&url=http://www.iema.culture.gr/psme/Omilies/banou_speech.htm