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Music in Ancient Israel/Palestine with Reference to Tonality and Development of the Psalms

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MUSIC IN ANCIENT ISRAEL/PALESTINE WITH REFERENCE TO TONALITY AND DEVELOPMENT OF THE PSALMS WYNAND JOHANNES CHRISTIAN PRETORIUS MUSIC IN ANCIENT ISRAEL/PALESTINE (AIP) WITH REFERENCE TO TONALITY AND THE DEVELOPMENT OF THE PSALMS by WYNAND JOHANNES CHRISTIAN PRETORIUS submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject BIBLICAL ARCHAEOLOGY at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF CLvW SCHEEPERS JUNE 2018 NAME: Wynand Johannes Christian PRETORIUS Student number: 6198805 Degree: Master of Arts – Biblical Archaeology I declare that “Music in Ancient Israel/Palestine (AIP) with reference to tonality and development of the Psalms” is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. I further declare that I submitted the thesis to originality checking software. I further declare that I have not previously submitted this work, or part of it, for examination at UNISA for another qualification or at any other higher education institution. 21/06/2018 SUMMARY Music has formed a part of human life as far back as demonstrable. Music existed long before musical instruments made their appearance. The examination of textual evidence read in conjunction with the available archaeologic evidence from the time and area clearly demonstrates which musical instruments were available and the instances they were used at. It clearly points to the lyre as the primary proponent of the musical culture of the time with regards to melodic music. This is confirmed from what we learn from the ancient tuning tablets. There thus is a direct demonstrable connection between the instrument and the theory of the time. Work done on the musical elements of the cantillation marks of the Hebrew Bible comfortably fits into this framework and appears to be a direct influence on the manner in which the Psalms were sung and composed. A combination of literary, archaeological and musical sources can thus be used within a literary and historical approach to demonstrate the availability of musical instruments in AIP, the manner in which tonality was recorded and its influence on the development of the Psalms. KEY WORDS Ancient Near East, Archaeomusicology, lyre, open-ended-multi-stringed instruments, lyre, Nippur tablets, musical notation, cantillation marks, Psalmody. SUMMARY iv KEY WORDS iv LIST OF ILLUSTRATIONS xiii ACKNOWLEDGEMENTS xx DEDICATION xxi INDEX: 1 INTRODUCTION 1.1 Music and culture in history 1 1.2 Problem statement 6 1.3 Hypothesis 7 1.4 Motivation 7 1.5 Research Methods 8 2 SOURCES 2.1 Introduction 10 2.2 Literary sources 11 2.2.1 The Hebrew Bible 12 2.2.2 The Septuagint 14 2.2.3 The Vulgate 15 2.2.4 The Dead Sea Scrolls 17 2.2.5 Additional Jewish Sources 18 2.2.5.1 The Talmud 19 2.2.5.2 The Mishnah 19 2.2.5.3 The Tosefta 20 2.2.5.4 The Targum 20 2.2.6 Other Sources 20 2.2.7 Christian Literary Sources 20 2.2.7.1 The Christian Bible 21 2.3 Archaeological Sources 22 2.4 Musical Sources 23 3 ARCHAEOLOGICAL SOURCES 3.1 Introduction 25 3.2 Lyre 31 3.2.1 Introduction to the Lyre 32 3.2.2 Ur – Graveyard of the Lyre 53 3.2.3 Cylinders 60 3.2.4 Beth Ha-Emeq 61 3.2.5 Megiddo 62 3.2.6 Nineveh 65 3.2.7 Beni Hasan 68 3.2.8 Kuntillet Ajrud 71 3.2.9 Ashdod 72 3.2.10 Seals 74 3.2.10.1 Timnah 74 3.2.10.2 Ashdod 75 3.2.10.3 Haifa scarab seal 76 3.2.10.4 Mount Nebo 77 3.2.10.5 Tell Keisan 79 3.2.10.6 Scaraboid seal 80 3.3 Harp 82 3.3.1 Introduction 82 3.3.2 Megiddo 93 3.3.3 Tel Maresha 94 3.4 Lute 95 3.3.1 Introduction 96 3.4.2 Tell el-‘Ajul 99 3.4.3 Beth Shean 100 3.4.4 Dan 100 3.5 Reed-pipe 102 3.5.1 Introduction 102 3.5.2 Megiddo 110 3.5.3 Tell el-Far’a-North 111 3.5.4 Achziv 113 3.5.5 Beth Shean 115 3.5.6 Qitmit plaque 115 3.5.7 Tell el-Milkh 116 3.6 Flute 117 3.6.1 Introduction 117 3.7 Cymbals 121 3.7.1 Introduction 121 3.7.2 Ugarit 127 3.7.3 Megiddo 128 3.8 Frame drum 130 3.8.1 Introduction 130 3.8.2 Mount Nebo 137 3.8.3 Achziv 138 3.8.4 Tell Shikmona 140 3.8.5 Beth Shean 141 3.8.6 Tanaach 141 3.8.7 Megiddo 142 3.8.8 Tell el-Far’ah 143 3.9 Rattles and Shakers 144 3.9.1 Introduction 144 3.9.2 Bethel 145 3.9.3 Tell Shikmona 146 3.9.4 Tell Beit Mirsim 147 3.9.5 Debir 148 3.9.6 Hazor 149 3.9.7 Qitmit 149 3.10 Cypress Wood Instruments 151 3.10.1 Introduction 151 3.11 Shalishim 151 3.11.1 Introduction 152 3.12 Shofar 153 3.13 Silver Trumpets 164 3.13.1 Introduction 164 3.13.2 Bar Kochba Revolt 169 3.13.3 Beth Shean 170 3.13.4 Carchemish 172 3.13.15 Arch of Titus 173 3.14 Shell trumpet 178 3.15 Bells of Gold 179 3.16 Locust 180 3.17 Bells of Horses 181 3.18 Cymbal clapper 181 3.19 Cornet 182 3.20 Lesser known Instruments and Figments 184 3.20.1 Alamoth 184 3.20.2 Gittith 184 3.20.3 Mahol 185 3.20.4 Neginoth 187 3.20.5 Sheminith 187 3.20.6 Viol 188 3.20.7 Cittern 190 3.20.8 Shields 191 3.20.9 Dulcimer 192 3.20.10 Shushan 194 3.21 Foreign Instruments 194 3.21.1 Mashroki 194 3.21.2 Sumphonia 195 3.21.3 Pesanterin 195 3.21.4 Sabekka 196 3.21.5 Kataros 197 3.22 Examples Outside Palestine 197 3.22.1 Introduction 197 3.22.2 Adab 198 3.22.3 Ebla 199 3.22.4 Mari 200 3.22.5 Stele of Gudea 201 3.22.6 Votive plaques from Mesopotamia 202 3.22.7 Tell al-Asmar 203 3.22.8 Inandik 204 3.22.9 Nineveh 204 3.22.10 Battle of the River Ulay 206 3.23 Also from Israel 207 3.23.1 Introduction 207 3.23.2 The Jerusalem Orpheus 208 3.23.3 The David Orpheus of Gaza 211 3.23.4 The Sheikh Zuweid Mosaic 212 3.23.5 Mosaic from the Roman Villa at Sepphoris 216 3.23.6 The Synagogue at Sepphoris 219 3.24 The Voice 221 3.25 David’s Band 229 3.26 Conclusion 230 4 MUSIC AND TONALITY 233 4.1 Introduction 233 4.2 Introduction to Tuning and Pythagorean Mathematics 236 4.3 Musical Modes 248 4.4 Cuneiform Tablets 251 4.4.1 UET VII 126/Nabnitu XXXII 253 4.4.2 N 4782 260 4.4.3 CBS 10996 261 4.4.4 KAR 158/VAT 10101 264 4.4.5 U.7/80 or UET VII 74 265 4.4.6 MS 2340 267 4.4.7 N 3354 269 4.4.8 BM 65217 and 66616 270 4.4.9 MS 5105 271 4.4.10 YBC 11381 274 4.4.11 CBS 1766 275 4.4.12 the Hurrian Hymns/Songs 278 4.4 Oxyrhynchus hymn 282 4.5 Music at the Temple 283 5 THE PSALMS 308 5.1 Introduction 308 5.2 Musical Notations 328 5.3 Trope and Cantillation 334 6 IN CONCLUSION 348 LIST OF ILLUSTRATIONS CHAPTER 1 Fig 1.1 Ancient human migration patterns from the National Geographic genetic study. CHAPTER 2 Fig 2.1 St Gerome translating the Bible into Latin Fig 2.2 Timeline positioning the Dead Sea Scrolls CHAPTER 3 Fig 3.1 Repeating and non-repeating sound waves Fig 3.2 King David Fig 3.3 Open-framed harp and lyre Fig 3.4 Bronze figure with lyre, Aegean, Geometric period Fig 3.5 Arched closed-frame harp Fig 3.6 The symbol on my own Steinway piano Fig 3.7 Beganna Fig 3.9 David mosaic from Gaza Fig 3.9 Restored Sumerian lyre from the British Museum Fig 3.10 Great Lyre from the King’s Tomb Fig 3.11 Detail from the Standard of Ur Fig 3.12 Detail of front panel of Great Lyre Fig 3.13 Detail from the panel on the bull-headed lyre Fig 3.14 One of the 3 original lyres found at Ur Fig 3.15 Musical instruments found in the Royal graveyard Fig 3.16 Queen’s harp from the Royal cemetery in Ur Fig 3.17 Cylinder seal with modern impressions Fig 3.18 Impression of scene from gold cylinder seal Fig 3.19 Reconstruction of music scene Fig 3.20 Ivory fragment from Megiddo Fig 3.21 Jar from Megiddo Fig 3.22 Ivory carving from Megiddo Fig 3.23 Prisoners playing lyres, southwest palace of Sennacherib, Nineveh Fig 3.24 Relief from palace, Nineveh Fig 3.25 Captured musicians Fig 3.26 Defeated soldiers and musicians Fig 3.27 Musicians playing the lyre Fig 3.28 Rendering of the coloured north wall painting Fig 3.29 A colour rendering from row 3 Fig 3.30 Copy of the small Hebrew harp on the Beni Hasan mural Fig 3.31 Drawing from Kuntillet ‘Ajrud Fig 3.32 Terracotta statue of musician with kinnôr Fig 3.33 Terracotta incense burner from Ashdod with five musicians Fig 3.34 Tell Batash seal Fig 3.35 Fragment of Ashdod seal Fig 3.36 Haifa seal Fig 3.37 Limestone seal from Nebo Fig 3.38 Seal from Tel Aviv Fig 3.39 Seal from Tell Keisan Fig 3.40 Modern recreation of the scaraboid seal Fig 3.41 Statuette with triangular harp, Metropolitan Museum Fig 3.42 Coins from the Bar Kochba revolt Fig 3.43 Elements of a harp Fig 3.44 Psaltery Fig 3.45 Part of an ivory carving found in the ruins at Megiddo Fig 3.46 Assyrian type harp according to Engel Fig 3.47 Portion from Maresha fresco Fig 3.48 Collection of clay figures of lute players Fig 3.49 The barbat or lute originated in Central Asia Fig 3.50 Terracotta statue of musician with lute from Tell el-Aijul from Hyksos period Fig 3.51 Bronze figurine from Beth Shean Fig 3.52 Dancing musician from Tell Dan, Late Bronze period Fig 3.53 Relief of musician from Larsa, Ira Babylonian civilisation Fig 3.54 Small shawm Fig 3.55 Zummara Fig 3.56 A Roman triumph depicting musicians with double reed pipes Fig 3.57 A Pair of Lovers Fig 3.58 Jesus Christ on a floor mosaic from the Cathedral of Bishop Theodore, Aquileia Fig 3.59 Bronze figure from Megiddo with chalil on stand Fig 3.60 Faience statue of sitting Hamadryas Fig 3.61 Female musician from Achziv Fig 3.62 Shikmona fragment Fig 3.63 Plaque of musician from Beth Shean Fig 3.64 Chalil musician: Qitmit plaque Fig 3.65 Double flute player, Tell Malhata Fig 3.66 Single flute from Megiddo Fig 3.67 Decorated En-Gedi flute Fig 3.68 Tseltselim – cymbals, Roma mosaic Fig 3.69 Cymbals Fig 3.70 Melodic cymbals of the Levite Singers Fig 3.71 Kneeling ivory statuette from tomb 3464, Ugarit Fig 3.72 Bronze cymbals excavated at Megiddo, possibly of Phoenician origin Fig 3.73 Mary dancing Fig 3.74 Females playing the tympanon Fig 3.75 Tambourine (?) player, probably Cypro-Archaic, made at Kition Fig 3.76 Modern type tambourine Fig 3.77 What is she playing? Fig 3.78 Statuette of musician from Mount Nebo playing a toph Fig 3.79 Tambourine (?) players, clay figurines of women musicians dating 8-7th century BCE Fig 3.80 Phoenician figurines of goddesses as musicians playing toph and halil Fig 3.81 Female musician from Shikmona Fig 3.82 Relief plaque from Beth Shean illustrating a female musician with a toph Fig 3.83 Female musician with toph Fig 3.84 Figurines from Megiddo Fig 3.85 Terracotta relief plaque of female musician with a drum.
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    Please do not remove this page Hannah Kendall's The Spark Catchers Transcribed for Wind Ensemble: Expanding Women Composer's Representation in the Repertoire Wood, F. Mack https://scholarship.miami.edu/discovery/delivery/01UOML_INST:ResearchRepository/12378719190002976?l#13378719180002976 Wood, F. M. (2021). Hannah Kendall’s The Spark Catchers Transcribed for Wind Ensemble: Expanding Women Composer’s Representation in the Repertoire [University of Miami]. https://scholarship.miami.edu/discovery/fulldisplay/alma991031569587802976/01UOML_INST:ResearchR epository Open Downloaded On 2021/09/27 07:36:10 -0400 Please do not remove this page UNIVERSITY OF MIAMI HANNAH KENDALL’S THE SPARK CATCHERS TRANSCRIBED FOR WIND ENSEMBLE: EXPANDING WOMEN COMPOSER’S REPRESENTATION IN THE REPERTOIRE By F. Mack Wood A LECTURE RECITAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida May 2021 ©2021 F. Mack Wood All Rights Reserved UNIVERSITY OF MIAMI A lecture recital essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts HANNAH KENDALL’S THE SPARK CATCHERS TRANSCRIBED FOR WIND ENSEMBLE: EXPANDING WOMEN COMPOSER’S REPRESENTATION IN THE REPERTOIRE F. Mack Wood Approved: ________________ _________________ Robert M. Carnochan, D.M.A. J. Steven Moore, D.M.A. Professor of Conducting Professor in Practice ________________ _________________ Jay C. Rees, M.M. Guillermo Prado, Ph.D. Professor of Music Dean of the Graduate School ________________ Dorothy Hindman, D.M.A. Associate Professor of Composition WOOD, F. MACK (D.M.A., Instrumental Performance) (May 2021) Hannah Kendall’s The Spark Catchers Transcribed for Wind Ensemble: Expanding Women Composers’ Representation in the Repertoire Abstract of a dissertation at the University of Miami.
  • C Quliyev Bayati 2Cild.Pdf

    C Quliyev Bayati 2Cild.Pdf

    Bayatı "ATLAS ENSEMBLE" üçün p a r t i t u r a *** Bayaty for "ATLAS ENSEMBLE" s c o r e ORCHESTRA: Flute / Piccolo Dizi / Xun in C Ney in C Suona / Guanzi in C Zurna in C Oboe Balaban in C Sheng 1 in C Sheng 2 in C Clarinetti in B / in A / Basso Clarinetto Pipa / Liugin in C Tar in C Ud in C Mandolin Kanun in C Zheng in C Santur in C Arpa Timpani Piatto sospeso Cinese tom-toms Tam-Tam Soprano Female khanende singer Violino Erhu in C Kamancha in D Kemenche in C Viola Viola da gamba Violoncello Contrabass ATLAS ENSEMBLE-nin (HOLLANDİYA) SİFARİŞİ İLƏ - 2004 COMMISSIONED BY ATLAS ENSEMBLE (NEDERLAND) - 2004 Bayatı Bayaty Cavanşir QULİYEV Javanshir GULIYEV q=135 > Piccolo > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ œ œ bœ œ œ œ Flute/Picc. 4 j œ œ #œ œ œ #œ œ °& 4 Œ ‰ œ J ‰ Dizi f > œ œ œ > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ bœ œ œ Dizi/xun inC 4 j œ œ #œ œ œ #œ œ & 4 Œ ‰ œ J ‰ f > > > #>œ œ œ œ œ œ Ney in C 4 j #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 Œ ‰ œ œ œ œ J ‰ ¢ Guanzi f Suona/Guanzi in C 4 °& 4 j ‰ Œ Ó ∑ ∑ f œ > Zurna in C 4 œ & 4 ‰ Œ Ó ∑ ∑ f J > > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ œ œ bœ œ œ œ Oboe 4 j œ œ #œ œ œ #œ œ & 4 Œ ‰ œ J ‰ f > Balaban in C 4 j j œ œ œ & 4 Œ ‰ œ #œ œ œ œ #œ œ œ œ œ œ œ œ bœ œ œ œ ‰ #œ œ bœ œ œ ¢ f œ œ > œ > > Sheng in C 1 4 j °& 4 œ ‰ Œ Ó ∑ ∑ f Sheng in C 2 4 & 4 j ‰ Œ Ó ∑ ∑ f œ Cl.