The Modes of Ancient Greek MusicClarendon Press, 1894 - 145 pàgines |
Altres edicions - Mostra-ho tot
Frases i termes més freqüents
accent Aeolian ancient Aristides Quintilianus Aristotelian Problems Aristotle Aristoxenean Aristoxenus called character Chromatic cithara compass Diatonic genus diatonic scale Diezeugmenôn Disjunctive Tone Dorian mode Enharmonic genus ethos evidently flute fragment Greek music harmony Heraclides Ponticus hymn Hypatê Hypatôn Hyperbolaiôn Hypo Hypo-dorian Hypo-lydian Hypo-phrygian inscription instrumental Ionian key-note later writers Lichanos lowest note Lydian Lydian mode lyre Meib melody Mesê Mesôn Mixo-lydian musical scale musicians Nêtê notation octachord octave scale Paramesê Paranêtê Parhypatê passage Perfect System Phrygian Phrygian mode pitch Plato Plutarch Ptolemy Pythagorean quarter-tones recognised regard rhythm róvos scheme of keys semitone seven species succession of intervals syllable technical writers tetrachord Tóvos Tritê Westphal words ἀλλὰ ἁρμονία γὰρ δὲ διὰ πασῶν Δωριστί εἰς ἐκ ἐν ἐστιν καὶ Λύδιον μέλος μὲν μόνον οἱ οὐ περὶ σύντονον σύστημα τὰ τὰς τε καὶ τῇ τῆς τοῖς τὸν τόνος τοὺς τῷ τῶν
Passatges populars
Pàgina 125 - of physical facts and the same note as an index of temper or emotion. A change of key affects us, generally speaking, like a change of colour or of movement—not as the heightening or soothing of a state of feeling. In respect of the second element of vocal expression,
Pàgina 113 - Several indications combine to make it probable that singing and speaking were not so widely separated from each other in Greek as in the modern languages with which we are most familiar.
Pàgina 101 - that the musical scales denoted by these terms were primarily distinguished by difference of pitch,—that in fact they were so many keys of the standard scale known in its final form as the Perfect System.
Pàgina x - that a large portion of what has passed into the domain of “well-authenticated fact” is complete misapprehension, as Greek scholars have not time for a thorough study of music up to the standard required to judge securely of the matters in question, and musicians as a rule are not extremely intimate with Greek
Pàgina 115 - that there are two movements of the voice, not properly discriminated by any previous writer; namely, the continuous, which is the movement characteristic of speaking, and the discrete or that which proceeds by intervals, the movement of singing. In the latter the voice remains for a certain time
Pàgina 43 - or any other note is out of tune, it seems to be perceived only when that note is struck? Is it to be explained on the ground that all good melodies often use the
Pàgina 115 - If the notes and intervals of the speaking voice are allowed to be separate and distinct, the form of utterance becomes singing
Pàgina 43 - and all good composers resort to it frequently, and if they leave it soon return again, but do not make the same use of any other note? just as language cannot be Greek if certain conjunctions are omitted, such as
Pàgina 115 - one note, and then passes by a definite interval to another. In the former it is continually gliding by imperceptible degrees from higher to lower or the reverse'.