Greek Traditional Songs & Instruments
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SILK ROAD: the Silk Road
SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished. -
A Brief History of the Lyre
A BRIEF HISTORY OF THE LYRE THE DIFFERENCE BETWEEN THE LYRE AND THE HARP The lyre seems to have been an evolution from the even more ancient harp, and what I think drove this evolution, was the desire by specifically nomadic cultures in the ancient Middle East, to create a harp-like instrument which unlike the larger harp, was portable. The harp is an incredibly ancient instrument and the very first illustrations of the harp can be found from c.3300BCE – 3000BCE, in rock etchings found in Megiddo, in the North Western Valley of Jezreel in ancient Israel: Further details about of this ancient etching of the first known depiction of the fully evolved triangular harp, complete with harmonic curve, can be seen in of Joachim Braun's highly informative book, available from Amazon: Music in Ancient Israel/Palestine - Archaeological, written & Comparative Sources (Wm. B. Erdmans Publishing Company, 2002) These rock etchings date from an incredibly ancient era, before the Bronze Age, and before the First Dynasty of ancient Egypt. This remote era in archaeology, is known as the "Chalcolithic" period (4000 - 3200 BCE) - the "Copper Age". The triangular harp depicted in the Megiddo etchings is so fully evolved, that the history of the harp must predate even this ancient illustration by at least a few thousand years! The ultimate ancient evolution of the harp, may have been the result of a long, progressive series of developments in refining the plucked sound made by the basic strung bow and arrow of the Stone Age... Incredibly, this Mesolithic ancestor of both the harp & lyre, the basic musical bow, is still very much alive & well today in Africa - a continuous musical tradition, dating back at least 60,000 years or more.. -
Yayını Görüntülemek Için Tıklayın
Prof. Sir John Boardman Sir John Boardman’ın 90. Yaşı Onuruna In Honour of Sir John Boardman on the Occasion of his 90th Birthday TÜBA-AR Türkiye Bilimler Akademisi Arkeoloji Dergisi Turkish Academy of Sciences Journal of Archaeology Sayı: 20 Volume: 20 2017 TÜBA-AR TÜBA Arkeoloji (TÜBA-AR) Dergisi TÜBA-AR uluslararası hakemli bir TÜRKİYE BİLİMLER AKADEMİSİ ARKEOLOJİ DERGİSİ dergi olup TÜBİTAK ULAKBİM (SBVT) ve Avrupa İnsani Bilimler Referans TÜBA-AR, Türkiye Bilimler Akademisi (TÜBA) tarafından yıllık olarak yayın- İndeksi (ERIH PLUS) veritabanlarında lanan uluslararası hakemli bir dergidir. Derginin yayın politikası, kapsamı ve taranmaktadır. içeriği ile ilgili kararlar, Türkiye Bilimler Akademisi Konseyi tarafından belir- lenen Yayın Kurulu tarafından alınır. TÜBA Journal of Archaeology (TÜBA-AR) TÜBA-AR is an international refereed DERGİNİN KAPSAMI VE YAYIN İLKELERİ journal and indexed in the TUBİTAK ULAKBİM (SBVT) and The European TÜBA-AR dergisi ilke olarak, dönem ve coğrafi bölge sınırlaması olmadan Reference Index for the Humanities arkeoloji ve arkeoloji ile bağlantılı tüm alanlarda yapılan yeni araştırma, yo- and the Social Sciences (ERIH PLUS) databases. rum, değerlendirme ve yöntemleri kapsamaktadır. Dergi arkeoloji alanında yeni yapılan çalışmalara yer vermenin yanı sıra, bir bilim akademisi yayın organı Sahibi / Owner: olarak, arkeoloji ile bağlantılı olmak koşuluyla, sosyal bilimlerin tüm uzmanlık Türkiye Bilimler Akademisi adına Prof. Dr. Ahmet Cevat ACAR alanlarına açıktır; bu alanlarda gelişen yeni yorum, yaklaşım, analizlere yer veren (Başkan / President) bir forum oluşturma işlevini de yüklenmiştir. Sorumlu Yazı İşleri Müdürü Dergi, arkeoloji ile ilgili yeni açılımları kapsamlı olarak ele almak için belirli Managing Editor bir konuya odaklanmış yazıları “dosya” şeklinde kapsamına alabilir; bu amaçla Prof. -
A Brief History of the Lyre
A BRIEF HISTORY OF THE LYRE THE DIFFERENCE BETWEEN THE LYRE AND THE HARP The lyre seems to have been an evolution from the even more ancient harp, and what I think drove this evolution, was the desire by specifically nomadic cultures in the ancient Middle East, to create a harp-like instrument which unlike the larger harp, was portable. The harp is an incredibly ancient instrument and the very first illustrations of the harp can be found from c.3300BCE – 3000BCE, in rock etchings found in Megiddo, in the North Western Valley of Jezreel in ancient Israel: Further details about of this ancient etching of the first known depiction of the fully evolved triangular harp, complete with harmonic curve, can be seen in of Joachim Braun's highly informative book, available from Amazon: Music in Ancient Israel/Palestine - Archaeological, written & Comparative Sources (Wm. B. Erdmans Publishing Company, 2002) These rock etchings date from an incredibly ancient era, before the Bronze Age, and before the First Dynasty of ancient Egypt. This remote era in archaeology, is known as the "Chalcolithic" period (4000 - 3200 BCE) - the "Copper Age". The triangular harp depicted in the Megiddo etchings is so fully evolved, that the history of the harp must predate even this ancient illustration by at least a few thousand years! The ultimate ancient evolution of the harp, may have been the result of a long, progressive series of developments in refining the plucked sound made by the basic strung bow and arrow of the Stone Age... Incredibly, this Mesolithic ancestor of both the harp & lyre, the basic musical bow, is still very much alive & well today in Africa - a continuous musical tradition, dating back at least 60,000 years or more.. -
'Tuning the Lyre, Tuning the Soul'
Greek and Roman Musical Studies 8 (2020) 111-155 brill.com/grms ‘Tuning the Lyre, Tuning the Soul’ Harmonia, Justice and the Kosmos of the Soul in Plato’s Republic and Timaeus Tosca A.C. Lynch Jesus College, University of Oxford, Turl Street, Oxford, OX1 3DW [email protected] Abstract This paper will focus on Plato’s thought-provoking depiction of justice as special kind of harmonia (Resp. 4.443c-444a) that epitomises the best possible organisation of the soul, exploring his nuanced use of the model of lyre tunings in performative, theoreti- cal as well as educational terms. By comparing Plato’s use of harmonic imagery with technical discussions of lyre tunings and their key role in educational settings, I will show how Plato exploited distinctive features of traditional Greek lyre harmoniai to give shape to his innovative understanding of the structure of the soul and the harmo- nious, but not strifeless, relationship between its individual components. In the sec- ond part of this paper, I will look at how the model outlined in the Republic sheds light on the musical structure that gives shape to the World Soul in the Timaeus, advancing a new interpretation of its elusive harmonic organisation. Keywords Plato’s harmonics – harmonia – justice – lyre tunings – musical education – Republic – Timaeus – Philolaus Plato’s dialogues offer many revealing discussions of the ethical, political, psy- chological and educational importance that music had for the Greeks. This is especially true in the case of the Republic and the Laws, works which describe in detail the political set-up of two ideal constitutions as well as the lifestyle and ethical values embraced by their citizens. -
Manual English.Pdf
In 1094 the Greek Emperor Alexius I asked Pope Urban II for aid. Turkish armies had overrun the Eastern provinces of the Greek empire empire and were getting close to the capital, Constantinople. The Pope appealed to Western European knights to put their differences and petty squabbles aside and help the Greeks in the east. He summoned them together to take part in a Holy War that would also serve as a pilgrimage to Jersalem. The first Crusade would soon begin. 1 TABLE OF CONTENTS 5.3 The Mercenary Post . .35 1.0 GETTING STARTED . .4 5.4 Available Units . .35 4. noitallatsnI dna stnemeriuqeR metsyS 1.1 metsyS stnemeriuqeR dna . noitallatsnI . 4. 5.5 Gathering your Forces . .38 5. .sedoM emaG dna emaG eht gnitratS 2.1 gnitratS eht emaG dna emaG .sedoM . 5. 5.6 Marching Orders . .39 1.3 Game Options . .6 5.7 Changing your Units Stance. .39 1.4 Game Overview . .7 5.8 Military Commands. .40 1.5 About t eh .launaM . .. 7. 5.9 Map Bookmarks . .42 1.6 Winning and Losing. .8 1.7 Playing a Multiplayer Game. .9 6.0 DEFENDING YOU R P EOPLE . .42 1.8 Map Editor Overview. .11 6.1 The Gatehouse. .42 1.9 Crusader Games. .12 6.2 Building High and Low Walls . .43 6.3 Turrets and Towers . .43 2.0 GAME B ASICS . .15 6.4 Placing Stairs . .44 2.1 Main Screen Overview and Navigating the Map . .15 6.5 Traps . .44 2.2 Camera Interface. .15 6.6 Moat Digging . .44 2.3 Placing your Keep. -
Orthodox Friendship Meeting
Orthodox Friendship Meeting “Dancing” as a mean of self- expression, and communication is one of the most important human manifestations, and it is directly related to the history, the civilisation and the progress of one's society. Traditional dancing in Greece - “Horos” In Greece, the term traditional or folk dancing applies mostly to the dances of rural areas, and for the most part it is a 'product' of oral tradition rather than a written culture. In addition, Hellenic dances are characterised by “anonymity and collectivity”. Greek dancing along with music and singing, it is strongly connected to the time when Greece was under the Ottoman Occupation, lasting from the mid-15th century until the successful Greece's War of Independence. During the Ottoman Occupation, Hellenes have never stopped dancing and singing, and in this way they preserved their language and their traditional music and choreography both of which particularly blossomed during the 18th and 19thcentury. Among the limited privileges that invaders granted to enslaved Greeks, was the right to practise their religion. Folk dancing and folk songs together with festivals and the practice of the Greek Orthodox religion were decisive factors for the preservation of the Greek national and social identity. The Greek Music Greek musical history extends far back into the ancient Greece, and it is also strongly connected to the Byzantine period. Music, songs, poetry and dancing (horos), are the inseparable forms that have become synonymous to Ancient Greek civilization. The Great Ancient Greek Philosophers have once considered 'music' as the supreme form of education. Plato believed that: “Music is a moral law. -
PANAYOTIS F. LEAGUE Curriculum Vitae Harvard University Music
PANAYOTIS F. LEAGUE Curriculum Vitae Harvard University Music Department 3 Oxford Street Cambridge, Massachusetts 02138 617.999.6364 [email protected] EDUCATION 2017 PhD, Music Department (Ethnomusicology), Harvard University Dissertation: “Echoes of the Great Catastrophe: Re-Sounding Anatolian Greekness in Diaspora” Advisors: Kay Shelemay and Richard Wolf 2012 M.A., Department of Musicology and Ethnomusicology (Ethnomusicology), Boston University 2008 B.A. (with Highest Distinction), Classics and Modern Greek Studies, Hellenic College PROFESSIONAL APPOINTMENTS 2019 Florida State University, Assistant Professor of Ethnomusicology 2019 Milman Parry Collection of Oral Literature, Harvard University Associate for the James A. Notopoulos Collection 2019 (Summer) Paraíba State University, João Pessoa, Brazil Visiting Assistant Professor of Ethnomusicology (via Fulbright U.S. Scholar Award) 2019 (Spring) Harvard University, Lecturer in Music 2018-2019 Massachusetts Institute of Technology, Lecturer in Music 2018 Milman Parry Collection of Oral Literature, Harvard University Milman Parry Collection Fellow 2018 Managing Editor, Oral Tradition 2017 Milman Parry Collection of Oral Literature, Harvard University James A. Notopoulos Fellow League, 2 2017 Harvard University, Departmental Teaching Fellow in Music LANGUAGES Fluent: English, Greek, Portuguese Reading proficiency: Spanish, French, Italian, Ancient Greek, Latin, Turkish, Irish Gaelic Learning: Yoruba, Tupi-Guarani HONORS AND AWARDS 2018 Traditional Artist Fellowship, Massachusetts Cultural Council 2016 Professor of the Year Award, Hellenic College 2015 Harvard University Derek Bok Center for Teaching and Learning Certificate of Distinction in Teaching for “Introduction to Tonal Music I” 2015 Victor Papacosma Best Graduate Student Essay Prize, Modern Greek Studies Association, for “The Poetics of Meráki: Dialogue and Speech Genre in Kalymnian Song” 2015 James T. -
Kithara of the Golden Age
KITHARA OF THE GOLDEN AGE The kithara was the highly advanced, large wooden lyre favoured by only the true professional musicians of ancient Greece, which reached its pinnacle of perfection during the “Golden Age” of Classical Antiquity, circa 5th century BCE. My album "The Ancient Greek Kithara of Classical Antiquity" features the wonderfully recreated Kithara of the Golden Age of Classical Greece - hand-made in modern Greece by Luthieros: http://en.luthieros.com/ Since late 2014, I have been collaborating with Luthieros in their inspirational "Lyre 2.0 Project" - dedicated to reintroducing the wonderful lyres of antiquity back into the modern world, to make these beautiful instruments accessible to each and every modern musician. This new series of recordings hopefully demonstrate why the kithara was so venerated in antiquity, as the instrument of the professional musician - perfect for both accompanying the human voice and for as an incredibly versatile solo instrument. In particular, I attempt to demonstrate the wonderfully reconstructed 2500 year old vibrato mechanism, for which there is an almost overwhelming body of visual evidence to support this theory. THE OVERWHELMING BODY OF VISUAL EVIDENCE FOR THE VIBRATO MECHANISM All original illustrations of the ancient Greek kithara clearly show what appear to be 2 tiers of inverted ‘U’ shaped curved springs beneath the yoke to which the strings are attached, with the top of the arms carved almost wafer thin, (often with projections which could certainly be interpreted as actual articulated hinges), which almost certainly was to allow for lateral movement of the yoke and the attached strings, complete with 2 vertical levers either side of the yoke, which if light lateral pressure was applied, would certainly have an eerie vocal vibrato effect. -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
Karpouzi Trio Margaret Loomis Len Newman Spyros Koliavasilis
The American Folklife Center of the Library of Congress presents Traditional Ethnic and Regional Music and Dance that’s “Homegrown” in Communities across the U.S. HOMEGROWN IN WHITTALL PAVILION KARPOUZI TRIO MARGARET LOOMIS LEN NEWMAN SPYROS KOLIAVASILIS MUSIC from GREECE and ASIA MINOR Wednesday May 7, 2014 REE AND OPEN 12 NOON – 1 PM F Whittall Pavilion TO THE PUBLIC Ground Floor, Thomas Jefferson Building Metro Stop: Library of Congress Capitol South, one 10 First Street, SE, block south of the Washington, DC Jefferson Building Cosponsored with the Library of Congress Music Division and Maryland Traditions Request ADA accommodations five days in advance at (202) 707-6362 or [email protected] For more information contact Thea Austen 202-707-1743 KARPOUZI TRIO MUSIC from GREECE and ASIA MINOR Karpouzi plays music on traditional instruments Greek world. Spyros also been awarded an honorary from the Greek mainland and islands.The band loves degree from the University of Tulsa for his musical to play for dance parties and community celebrations, scholarship. His next research project will focus on and always, even in concerts, invites the audience out the clarinet traditions in and around Mesogeia in of their seats and onto the dance floor. Karpouzi’s Attica, near his birthplace in Markopoulo. members are Spyros Koliavasilis (vocals, oud, laouto, Spyros also composes music. His CD, kemane), Margaret Loomis (santouri) and Len Mediterranean Thoughts, contains his compositions as Newman (laouto). well as original arrangements and improvisations on Dr. Spyros Koliavasilis is a gifted vocalist and traditional music. multi-instrumentalist, playing and teaching oud, Dr. -
Ancient Lyre Strings
ANCIENT LYRE STRINGS This experimental extended length single is actually a practical "archaeo- musicological experiment", in both recreating a truly authentic ancient timbre for my lyre & discovering what playing techniques are possible to perform on a Kithara-style lyre of antiquity, when strung with authentic natural fibre strings. To further recreate the ancient musical timbre in this recording, the lyre is also tuned to the wonderfully pure-sounding just intonation of antiquity. Trying to find authentic sounding strings for my lyre has so far been the most difficult challenge - although gut was generally used in antiquity, the polished gut harp strings used today, bear little in common with the closely wound gut fibre strings of antiquity. String expert Peter Pringle (a regular contributor to the fascinating Facebook Group "The Lyre") suggested that natural fibre wound silk strings would sound closest match to the unpolished gut used on the lyre strings of antiquity & kindly made some for my lyre... ANCIENT MUSICAL STRING TECHNOLOGY Peter explains some fascinating facts about the little discussed subject of ancient musical string technology: "Silk strings are traditionally made by twisting pure silk filaments together using binders and glues of various sorts to produce a stable cord with the appropriate hardness and density (which is similar to a dried gut string). The ancient string makers guarded their recipes and techniques with all the secrecy of modern industrialists. They added all sorts of things to their binders - powdered silver and gold, and minerals like rock crystal, jade, lapis, etc. - in order to impart certain sonic properties to the finished product.