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The Music of the Bible, with an Account of the Development Of
\ \ ^ \ X \N x*S-s >> V \ X \ SS^^ \ 1 \ JOHN STAINER,M.A.,MUS,.DOC., Cornell University Library ML 166.S78 3 1924 022 269 058 CORNELL UNIVERSITY LIBRARY ^^S/C [7BRARY Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022269058 THE MUSIC OF THE BIBLE WITH AN ACCOUNT OF THE Development of Modern Musical Instruments from Ancient Types BY JOHN STAINER, M.A.. MUS. DOC, MAGD. COLL., OXON. Cassell Fetter & Galpin LONDON, PARIS & NEW YORK. V Novell o, Ewer & Co.: LONDON. [all rights reserved.] PREFACE. No apology is needed, I hope, for issuing in this form the substance of the series of articles which I contributed to the Bible Educator. Some of the statements which I brought forward in that work have received further con- firmation by wider reading; but some others I have ventured to qualify or alter. Much new matter will be fotmd here which I trust may be of interest to the general reader, if not of use to the professional. I fully anticipate a criticism to the effect that such a subject as the development of musical instruments should rather have been allowed to stand alone than have been associated with Bible music. But I think all will admit that the study of the history of ancient nations, whether with reference to their arts, religion, conquests, or language, seems to gather and be concentrated round the Book of Books, and when once I began to treat of the com- parative history of musical instruments, I felt that a few more words, tracing their growth up to our own times, would make this little work more complete and useful than if I should deal only with the sparse records of Hebrew music. -
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.. -
The Music of the Bible, with Some Account of the Development Of
. BOUGHT WITH THE INCOl^E .. FROM THE SAGE ENDOWMENT FUlSfD THE GIFT OF Henrg W. Sage 1891 ,. A>.3ooq..i.i... /fiMJA MUSIC LIBRARY Cornell University Library ML 166.S78 1914 The music of the Bible with some account 3 1924 021 773 290 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021773290 Frontispiece. Sounding the Shophar. (p. 224/ THE MUSIC OF THE BIBLE WITH SOME ACCOUNT OF THE DEVELOPMENT OF MODERN MUSICAL INSTRUMENTS FROM ANCIENT TYPES BY JOHN STAINER M.A., MUS. DOC, MAGD. COLL., OXON. NEW EDITION : With Additional Illustrations and Supplementary Notes BY the Rev. F. W. GALPIN, M.A., F.L.S. London : NOVELLO AND COMPANY, Limited. New York: THE H. W. GRAY CO., Sole Agents for the U.S.A. [ALL RIGHTS RESERVED.] 5 ORIGINAL PREFACE. No apology is needed, I hope, for issuing in this form the substance of the series of articles which I contributed to the Bible Educator. Some of the statements which I brought forward in that work have received further confirmation by wider reading; but some others I have ventured to qualify or alter. Much new matter will be found here which I trust may be of interest to the general reader, if not of use to the professional. I fully anticipate a criticism to the effect that such a subject as the development of musical instruments should rather have been allowed to stand alone than have been associated with Bible music. -
Music in the Bible by Theodore W
Music in the Bible By Theodore W. Burgh Music is an essential element of ancient and modern cultures. It often shapes chronological periods, as did the Motown recordings of the 1960’s and 70’s, and marks what we grieve and celebrate. While many of the uses of music in the ancient Near East are similar to those of today, the sound and experience of music in ancient times was different. It is hard for us to imagine not being able to pull music from the air and download it upon request. In antiquity, people only heard music in live musical performances. Nothing was recorded, sampled, mixed, or mass-marketed. Although we don’t know how ancient music sounded, judging from the ways it was used we do know that music was important then as it is now. By studying the ancient remains of instruments, descriptions of musical activity in texts like the Bible, and artistic representations, we gain valuable information about these enigmatic past societies and peoples—from aspects of relationships between men and women, the types of instruments used in sacred and secular performances, and occasions when music was performed. A glance at several biblical stories reveals the importance of music in the daily life of antiquity. For instance, writers describe how people used music to express an array of emotions, convey valuable information, and entertain. Moreover, there are numerous ceremonies and celebrations in the Bible where musical performance was a major part. Several passages contain descriptions of actual instruments, names of musicians, as well as places and times music was played. -
The Catalogue Announcing the Spanning from 1960 to the Present Work’S Sale
Sponsored by: ART TORONTO 2008 Toronto International Art Fair (TIAF) TIAF 2008 Advisory Committee René Blouin, Galerie René Blouin 602-1788 West Broadway Jane Corkin, Corkin Gallery Vancouver BC V6J 1Y1 Michael Gibson, Michael Gibson Gallery Tel: 604 730 2065 Grita Insam, Fax: 604 730 2049 Galerie Grita Insam Toll Free: 1 800 663 4173 Olga Korper, Olga Korper Gallery Bernd Lausberg, Lausberg Contemporary 10 Alcorn Ave, Suite 100 Begoña Malone, Galería Begoña Malone Toronto ON M4V 3A9 Tel: 416 960 4525 Nicholas Metivier, Nicholas Metivier Gallery Johann Nowak, DNA Email: [email protected] Miriam Shiell, Miriam Shiell Fine Art Website: www.tiafair.com President Christopher G. Kennedy Senior Vice-President Steven Levy Director Linel Rebenchuk Director of Marketing and Communications Victoria Miachika Production Coordinator Rachel Boguski Administration and Marketing Assistant Sarah Close Graphic Design Brady Dahmer Design Sponsorship Arts & Communications Public Relations Applause Communications Construction Manager Bob Mitchell Printing Friesens Corporation, Altona Huber Printing, North Vancouver Foreword The recognition of culture and art as an integral component in creating livable and sustainable communities is well established. They are primary vehicles for public dialogue about emotional, intellectual and aesthetic values, providing a subjective platform for human connection in our global society. An International art fair plays an important role in the building and sharing of cultural values. It creates opportunities for global connections and highlights the diverse interests of artists, collectors, dealers, museums, scholars and the public. It is with great excitement and pride that I am presenting the 9th annual Toronto International Art Fair - Art Toronto 2008. With an impressive line up of national and international galleries alongside an exciting roster of cultural partners and participants, TIAF has become an important and vital event on the Canadian cultural calendar. -
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. -
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. -
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. -
Ontario Arts Council from April 1, 2000 to March 31, 2001
2000 – 2001 Annual Report / Grants Listing • Rapport annuel et liste des subventions 2000-2001 In accordance with the provision of Section 12 of the Arts Council Act, I respectfully submit the report covering the activities of the Ontario Arts Council from April 1, 2000 to March 31, 2001. Conformément aux dispositions de l’article 12 de la Loi sur le Conseil des arts, c’est avec le plus grand respect que je dépose le présent rapport sur les activités du Conseil des arts de l’Ontario pour la période allant du 1er avril 2000 au 31 mars 2001. Julia Foster Chair, Ontario Arts Council Présidente, Conseil des arts de l’Ontario Ontario Arts Council • Conseil des arts de l’Ontario Ontario Arts Le Conseil des arts Council de l’Ontario In 1963, provincial legislation was enacted to empower the En 1963, une loi provinciale a donné au Conseil des arts Ontario Arts Council (OAC) with the mandate to promote de l’Ontario (CAO) le mandat de promouvoir l’étude et la the study, enjoyment, and production of works of art for production d’œuvres artistiques dans la province entière the enjoyment and benefit of all Ontarians. pour que tous les Ontariens puissent en profiter. As a publicly funded, arm’s-length agency of the Ministry of À titre d’organisme autonome relevant du ministère du Tourism, Culture and Recreation, OAC is fully responsible Tourisme, de la Culture et des Loisirs, le CAO assume for its policies, decisions, and the awarding of grants through l’entière responsabilité de ses politiques et de ses décisions. -
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. -
Order Form for Recordings
Marini Made Harps LLC Order Form for Recordings 2021 Harp Prices Please send the following tapes/CD's (PLEASE PRINT OR USE ADDRESS LABEL) All harps come pre-strung with a tuning wrench To:_________________________ and extra strings (low wound strings not included). Prices below do not include sharping levers, hand ____________________________ carvings, exotic wood, stools, stands, sales tax, ____________________________ shipping or other accessories. (1) Hymns on the Harp (harp instrumental) Note: Prices Listed are for semi-gloss finish… ____ Cassette only Roma Classic (46 strings)……. $12,840.00 (2) Christmas Carols On the Harp Roma Bella (40 strings)……....... $5,930.00 (harp instrumental) _____Cassette Sold Out CD Regency Robusto (38 strings)…. $3,730.00 (3) There is a Fountain (harp instrumental) Roma Rosa (36 strings)............. $5,730.00 _____Cassette _____CD Hallel Harp (36 strings)….......... $2,705.00 (4) Beautiful Saviour (harp instrumental) _____Cassette _____CD Regency (34 strings)................. $3,445.00 (5) When Peace Like a River Affordable Regency (34 strings).... $2,870.00 (vocal and harp with violin and flute) _____Cassette _____CD Ultra-Lite (34 strings)................ $3,080.00 (6) Thine is the Glory (piano instrumental) Hallel Harp (31 strings)….......... $2,045.00 _____Cassette _____CD Bass LAP (28 strings)………….... $1,425.00 (7) Be Thou My Vision (vocal and harp with violin, piano, guitar, cello & flute) Hallel Harp (27 strings)…............. $855.00 _____CD Bass Minstrel (27 strings) …......... $980.00 (8) This is the Day (vocal and harp with violin, piano, guitar, cello & flute) The LAP Harp (26 strings) ……... $1,110.00 _____CD Celtic LAP Harp (26 strings) …... $1,210.00 (9) The Marini Family (vocal and harp with other instruments) _____CD Affordable Hallel (26 strings) …….