Eulimene 2003

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ARCHAEOMUSICOLOGY AND ETHNOMUSICOLOGY IN DIALOGUE

I

It i mor and more realis d in our day that the tudy of anci nt civilisation ignifi antly nhan ed by the application of the anthropological m thod in archa olog . h ologi t , and in g n ral tudent of the human pa t, wheth r r mot or mor r nt, h uld, it i maintained, approach an ancient 0 iety not only with th ir own, tabli h d within the discipline of archaeology, methodological tool , but also with tho of th r I t d to it di ciplin of anthropology. In thi in e tigation of th validit of th b t t m nt, that i, of th relevance of anthropology to the d I pm nt f r h ology, the pr ent article (see footnote 1) confront on compon nt of th i u : th r lev nc of ethnomu icology to archaeomu icology, the study of th mu i al y tern of anci nt oci tie , focu ing on Hellenic antiquity. h p rtinent que tions to b a ked at the outset of our di cu ion ar th following: n anthropology be of alue to archaeology? More pecifically, can th method of nthr pology be u d in th tudy of ancient ocietie? Indeed, hould it b u d in thi way? Hav ar haeologist come to the point of agreeing that the anthropologi al m thod i th b t approach to th study of ancient ocieties? in ,in thi pap r, I hall conc ntrate on only on a pect of cultural life, mu i , th abov que tion are modified a follows: an thnomu icology be of value to archaeomusicology? Mor specifically, can th m thod of thnomu i ology be used in the tudy of ancient mu ic ? Indeed, hould thi b o? Hav archaeomusicologist come to the point of agreeing that th thnomu i ological method is the best approach to the tudy of ancient mu ic ? 1

11
tud of an ancient society i ba d on exi ting evid nce. h ame appli to h e idenc pecific to mu ic i threefold ( able 1): T t (th oretical treatises on music; ad hoc reference to music in the anci nt lit ratur urvi ing on papyri, codice or in cription ; cor with mu ical notation) Iconography (two- and three-dimen ional depiction of mu ical cene in ariou m dia) Prototyp in trument , found in excavation
f

u 1. 2. 3.

It will b a urn d, fOf CUff nt purpo e ,without ndang ring my argument, that th thing a a ingle thnomusicological method, accept d by the con ensu .

uch a

1 0

t ho P aroudake

Imm diat 1 appar nt from Table 1, th tud nt of anci nt mu I mu t b d quat 1 knowl dg abl on th i u and m thod of both philolog and ar ha 01 g . h uld dd t thi a third pr requi ite: ound knowl dg of th pra ti and th or 0' mu I . 1 h qu tion i , of cour e, knowledg of which mu ic, of who e mu ic? I mu IC n , or hould w a mu ic ,ju taw say languag or religion ?2

Table 1. Th kind of evidenc for the tudy of an i nt H 11 nl mu

III

ormally, th nd of anci nt H 11 nic mu ic i placed at th nd of th 4 th nt. ( Tabl 2 on page 198 blow). Gaudentio eem to b the la t H 11 n wh wrot on H 11 ni mu i in t chnical term. 3 ot long aft r that, th Roman b am int r t d in th theory, mainl , of Hellenic music, and it i , mo t probabl , thi n d th t urg d artianu apella4 and Bo thiu 5 ompo e their treati on H 11 ni mu ic, r th b n fit of atin p ak r . Int r t in the th ory of ancient H 11 nlC mu wa agaIn e pr s d in Byz ntion, wh r a numb r of cholars at Kon tantinoupoli wrote tr ati s on an i nt H 11 ni mu i in th 11 nic languag . The three mo t important on w r Mi ha I P 11 6 Pa h m r S,7 and anou I Br nnio. Th tud of an ient H 11 nic mu ic wa r urn d in R nai anc It lia ( ry nd of n pag 199 blow). h fir t publication app ared in V n zia in 1497 (th th 15 th nL). hi wa a Latin tran lation by Giorgio Valla of leon ide ' mu ical tr ti Harmonic Introduction. 9 From that point on publi ation on the ubj ct folIo d n an th r: in the beginning, atin tran la ion of th oretical treati , th n cor ith

th

uI 1983: 4-51 for an illuminating di cu sion of thi i u . Th conclu ion drawn th r i that w rld f mu i onsi t of a large numb r of di crete y t m (p. 51). Thu ,th tud nt f an i nt 11 ni mu i hould have a good knowledg of th an i nt H 11 nic mu i y tem in all it facet.
:4P/.lOV1Krl ElaayCtJyrj.

aud ntio probabl belong to the 4 th or 5 th ,.g., Dick 192 ).

nt. AD (

t 1992:273).

De nuptiis PhiLoLogiae et Mercurii ( De in titutione musica (

aaTpOVO/.l(av (

, e.g., Friedlein 1 67).

LVvTaY/.la uaVV07TTOV /r Tar TEaapar lla8TJ/.laTIKar E7TlaTrjllar, apl81lTJTIKrjV, /.lOUalKrjV, yCtJ/.lTpfav Kai

,.g., H ib rg 1929). ,e.g., ann r

LvvTaYlla TG:JV TaaapCtJv lla8TJIlaTCtJv apI8/.lTJTlKijr, 1l0UalKijr, yCtJ/.lTp(ar Kai aaTpovoll(ar (

4).
:4p/.lOVIKa. (

,.g., Jonker 1970). Valla, Giorgio (1497) CLeonidae harmonicorum introductorum. Ven Zla.

ElaayCtJYrl ap/.lOVIKrj.

_ _ _ _ _

ha omu i logy and Ethnomu icology in dialogue

191

n t t d mu i (it m in abl 3, marked core), ev n lat r edition of tr ati with n i nt t t, tran lation and commentary in variou Europ an languag . h point of, p opl b i fl , running d wn the hi tor of holar hip up to 1900 i that, all th ith r mat ur dil ttanti in th alon of Renai san Italia, or philologi t , u uall but not alway ,with ome knowledge of clas ical Europ an mu ic (both it praxi and it th r). Th li t of cour ,continue into th 20 th ntur. h r n pint in pr nting it her ; it i xtremel long and unn e ar for th pr nt purp . uffi it to y that n w scor cam to light, tr ati er-edited, ba d on a larg r numb r 0 m nu ript, and a w alth of archa ologi al find, both iconographical aJ?-d r I in trum nt , w r publi h d. Ho r, r littl had chang d in th m nt lit f h Y all aw ancient H 11 ni mu 1 h la , both philologi t and archaeologi t. th ough th Y of a uropean, and tri d to d scrib it in modern Europ an t rm , and in th philo ophi al y t m of Europ an cIa ical mu ic. en in our da ,artin t' ju tl I brat d book on anci nt Hell nic mu i ( t 1992), u t rm u h a tud nt of anci nt harp,1O bar,l1 ven cantata, oratorio, sonata. Only lately hav 11 ni mu ic, in gen ral, reali ed that th time ha om to chang m th d. hi h n thnomu icologi t rang the b 11 of dan r to th m: h pp n d mu i ologi t w r heavily ritici ed, in th light of ob ervation mad and r h on lu ion drawn from the ethnographic tudie of th mu ic of th world.

IV

thnomu icolog b gan it car r, 0 to peak, late in ,the 1 rh C ntur. h di iplin und rw nt many changes in both ope and m thod in th our of th 20 th ntur . It n chang d its nam a ; w time: comparativ mu i ology, thnic mu i olog , thno-mu icolog , thnomu icolog . ithin th la t d cad or on h uld that the disciplin a umed it own natur - to u th Ari tot I n pr ion - although th ori ntation and targ t of th di ipline ar till b ing 12 d bat d. imilarly for archaeolo y: in th b ginning there wa antiquariani m. h n m th arxi ts, th functionali ts, th tru turali t , th n w ar ha ologi t , th pr uali t , th po t-proc uali t , the cultur hi torian ; nam hi h of th di cipline, hil In arch of it 0 n natur .1: r fl t th int rnal un a in

la

.g.

doubl

harp ( e t 19 2:255). h notion of th bar i ab nt di iplin of d lopm nt d affinit di iplin , in inand

11 E.g. bar divi ion (W t 1992: 1 8) or bar-lin (W t 1992: 134). In n i nt mu i I thinking.

12 e.. ettl 1964: 1-19 and ttl 19 3: 1-11 for d finition, op and th hi tor of th thn mu i olog . erriam 1964:3-16 for a mo t eompreh n iv di eu ion on th parall I f thnomu ie logy and anthropology, and the influ n th latter e erted on th form r. h thnomu i ologi I f thn mu i olog nd anthropolog wa r ali d from the out t of th th rl 20 lh e ntur ( e, .g., Hornbo tel 1905).

1:~

appr a h

,.g.,Dark 1995:1-11 forad arandeompreh n iv pr to ar ha olog ov r th la t two eenturi .

ntationofth variou t nd n i

1 2

telio P ar udak

Ethn mu i ology, in contra t to (hi torical) mu icology, demand th t th d ripti n of a mu i be made in culture.14 hat i to ay, in hort, in cultural t rm , nl within th philo ophical framework of th culture that produces the mu i und r Inv tigation, u ing the mu ical t rminology of the in ider , or, when that i ith r limit d or non e i tent, introducing term compatible with the cultur' way of thinking. 15 It wa in 1949 (Tabl 4) that ethnomu icologi t e tabli hed the Int rnational olk Mu ic Coun il (IFMC) in the United tate. In 19 1 it changed it name to Int rn tional Council for Traditional Mu ic (IC M). It annual publication ( uppl m nting, from 1969 onward, it earlier Journal) i the important Yearbook of I TM. In 1983, following a meeting in Cambridge a year b for (1982), cha omu icologi t formed a eparate study group, under th au pice of ICTM. ev n int rnational conference on archaeomusicology were organized by th tudy Group ( ight in all, including the one in Cambridge in 1982), and the paper pre nt d w r publi h d in separate volumes. hereafter, the ICTM Study Group cea d to xi t. n w on was formed in its stead, named the International tudy Group on Mu ic h ology (I GMA), directed by Profe or Ellen Hickmann, Hannover, D utschland. hr cont r n have 0 far been organized by the new tudy Group. The pap r ar publi h d in the erie Orient-Archaologie of the Deut che Archaologi che In titut, Ori nt- bt ilung, under the title tudien zur Musikarchaologie. 16 It i mor and mor r liz d that the nature of archaeomusicology i interdi ciplinar: philolog, r h logy, ethnomusicology, anthropology, all are needed in the tudy of th mu i al ph nom na of antiquity. The dominant role of ethnomu icological method in thi coop ration is expressed by the term historical ethnomusicology, which ha lat ly app ar d in the literature.
2002 3 2000 2 199 1 1996 19947 1993 6 1 92 5 1990 4 1986 3 19 4 2 19 3 19 2 1 19 1 1969 19 9

I GMA tudy Group

ICTM tudy Group on MUSIC ICO OGRAPHY ICTM tudy Group on MUSIC ARCHAEOLOGY ITER TIO AL COU CIL FOR TRADITIONAL MU IC (ICTM) L FOLK MUSIC COU CIL (IFMC)
Table 4. The development of Mu ic Archaeology

- Yearbook - ournal

14

,e.g., Merriam 1964:6-7. AI

0,

ttl1983:98 1 on Blacking 1967.

15

For a distinction betweeen ethnomu icology and ordinary mu icolog

Kolin ki 1957: 1-2.

16 , e.g., Hickmann 2000: 1-4 for a comprehen iv outline of the history of the two tudy roup, th ir onfl r n and publications. ee al 0 WapouooKI1C; 2001. On th issu and m thod in ar haeomu icology ee further: Megaw 1988; Schneider 1986; Moberg 1986; Hickmann 2001, 1997, 1993.

mu i olog and

thnomu icology in dialogue

193

v
W hav 0 far been talking about th influence of ethnomu i ology upon omu i ology. But how i this influence rally af cted? The matter will b di u d by way of elected examples. 1. h fir t and foremost problem in th tudy of ancient mu ic i th non -or ill- r pr ntation in the evid nc of oral ub-culture. We are amply inform d by th an i nt th m 1 about th mu ic of the du at d, of the tat, of the empl, but w h r n t to nothing about the mu i of the poor, the lave, the women, th outh; onl p r r n at be t. 17 Thi automatically mean that a large part of . n i nt mu i ,lik th moon, hide from us a large portion of it bod . thnomu icological ar a tudie ha hown that th re xi t, n t to th mu 1 f the politically influential, a great numb r of genr ,oral in nature, which would 1 v no trac of th ir existence, had not ethnomu icologist hown an int r t in r 0 ding and tudying them. In the words of John Blacking (1988:333): h t nt of what i hidd n from music archa ologi t will vary according to the social tructur of th o i ty and th r lation hip of mu ic-making to other arti tic activities. 2. In protot p tringed in trument of antiquity, a count of the not h on th brid onc b lie ed that afely howed th number of tring th in trum nt p d. That i not the ca e anymore: ethnomu icolog ha demon trat d that th r ultur in which the number of notch i not equal to the numb r of tring. r king, again, (19 8:332) report that: in ganda and E. Zambia, and 1 wh r , u i ian do not place tring acro all the notche of their board zither . hi ob er ation i , P rhap , not r 1 vant to ancient H 11 nic stringed in trum nt and harp ) -for we have no evidence for lack of on to one corr pondanc n notch and tring - it, however, en itiz s us in not taking for grant d that m logical or en ibl to u may not b 0 in music culture oth r than our wn. f a pip . In th a of mu ical pip ,it wa initially thought that all the h 1 w r h ndl d by the mu icians. However, thnomu icolog ha hown that th majorit f mu i al pip of th world have mor hol than are actually u d b pip r : r r duction of th tone of a wind in trum nt cannot b r garded a evid nc of a 1 0 mod u d, becau e mu ician often elect and re trict the numb r of ton ,and alt th ound by t chnique of breath control and embouchure, and v n b partial 10 ing of fing r hole. One could have ab olutely no idea of the sound of Japan hakuh hi music, for in tanc , if the only available evidence w re th in trument (Bl king 1988:332). ar mu t therefore be tak n when dealing with ancient Hellenic auloi ( ig. 1): it mu t om how be decided which hol rved a tone hol and which on a vents (<< p ak r ).18 But ven if we can di tingui h the ound hole from the r t, can w d du th cal of th melodie play d on a pipe? In previou year it wa b li d that

17 ttl 1 64: 1-5 for a di tinction b tw n high, folk, written, and aural mu ic ultur th I lk mu i -art mu ic dichotomy, or the folk-popular-cla i al continuum N ttl 1983:303-14. 18

e, e.g., how Land Is 1963: 117 con lud s that hol V of the Brauron Aulo is a vent.

telio P aroudak

i th

1 of an aulo were deduced ither xp rimentally or mathematically,19 w had manag d to define the scal of the melodie play d on it. cha ologi t bring to light ound producing in trument uch a b 11 , 4. trump t and drum . Are w to regard the e a mu ical in trument ?20 E n if the u ually play d the role of musical instrument are we certain that they w r not al 0 u d 11 or ignal of variou kind? Wa th ound of a trumpet in the battl fi Id, for fo r, pI , r gard d a mu ic? hi i one of the mo t difficult que tion t an b cau it involve th definition of mu ic, and an internationally agre d upon definition mu i do not i t. What con titute music can ary dramaticall from on cultur t n th r. 21 5. Anoth r problem in ancient mu ic i th r con truction of mu ical in trum nt f m two- or v n three-dimen ional depiction . Often, the repre entation , if taken at fa valu, di tort reality. Ethnographic studie on organology can b of much value and n itiz th tudent to iconographic xtravagancie. Take, for ampl, th thr dim n ional lut in th hand of a He11eni tic (c. 330-320 BC) Mu e on th antin ia Ba 22 (Fig. 2): n ith r the angle betwe n ba e and facade, nor the curvatur of th id of th ound-box ould po ibly be tru ; no lute ver po e ed th e featur . It i th r for highly unlikely that the culptor is her being r ali tic. Hi r a on for di t rtin th lin were undoubtedl non-mu ical, mo t probably to do ith ral thet'c .23 6. Mo ing from in trument to music it If, the problem of tonality i a diffi ult on to Iv. ar all 0 imbu d with Europ an tonality that we automaticall rh; r it in all th mu ic to which we are expo ed. A classical example is the tory of urop an thnomu icologi t wearing that they can hear d finite tonalitie in orth Indian raga , wh n th Indian th m elve neith r intend nor can hear th m. (By tonality i m ant the p hol gica11y defined attraction b tween th notes of a cal.) Ther wa h at d d b t in th pa t among t archaeomu i ologi t a regard tonalit in ancient H 11 nic mu i .24 Th a cumulated information by ethnomusicology on the ph nomen n of t nalit ,w rldwide, ha now opened up our mind and n w tudie of tonalit in an i nt mu i will rtainly benefit from this. 7. Ar haeomu icologi t were initially rather willing to u e ethnographic mat rial in th ir tudie . Parall 1 wer ought for ompari on, p cially in non- uropean 0 i ti . h r am a time wh n this attitud wa heavily criti ized: thnographic mat rial for
19 F r alculat d, approximate aulo cal e, e.g.: chI ing r 1939; Land I 68:236; Lett r 1969; Landels 1981 :299; B "li 19 4: 118ff.; We t 1992:94 ff.

1963: 119; Land I

20

E ample are: th ,.g.,

i tra of pharaoni Egypt; the

e opotamian bell ; the

inoan trit n ; th H 11 ni

phormiskoi t.
21

ttl 1983: 19-21 for a di cu ion of the cone pt of mu ic in variou cultur . dat of th culptur and the identit of th ulptor

22 For th ontinuing d bate on th Wapoo aK11S (1995).

23

I r bridg Law n, th nf; r 1 n, pt

24

ry good paradigm of non reali m in in trumental iconography i the a of dieval urop n : th f; und in ca ation ar ver mu h mall r than tho d pi t d in icono raph ( ra m ci nt urop an Lyr : Excavat d Find and perim ntal Performanc Today. Pap r r ad at nee P rforming cient Greek Mu ic oday, b t rreichi che Akad mi der i n haft n, mb r 2003 -to b publi h d in ar h 2004). onro 1894; Winnington-Ingram 1968; W t 1992: 177 ff.

,.g.,

ha omu icolog and

thnomu i ology in dialogue

195

mp ri on, it wa in i ted, hould only corn from imilar cultur . John Blacking wa th fir t htnomu icologi t to go again t thi b lief: there i ,h said, mor ommon r und amongst world mu ic than we hould xpect (perhaps, thi is idio yncratic to mu i). 0 give an xample: the anci nt Hellene pipers u d th phorbeia,25 a harn that pa d over th ir mouth and heads (Fig. 3). This is worn today by c rtain pip r in W t Ja a, Indon ia (Fig. 4). Are we to leav this information out of our tudy of th n i nt Hell nl quivalent? hould w not benefit from it tudy? here i no doubt th t, d pit t mporal, geographic or cultural difference, an inve tigation of a c rtain pr ti in on cultur might un xpectedly, ev n significantly, illuminat a imilar pr ti in anoth r. inall , a word on tran cription of ancient core and performan f th ir cau th code of anci nt Hellenic mu ic has sur i d,26 it ha b n po ibl to tran rib th mu ic in the core without much difficulty. It wa initially b li v d that on th pitche and their durations were e tabli hed, the mu ic in the cor had b en r on tructed. But this is not what music is all about: it certainly compri e rhythm and m 1 dy but ethnomu icology now tells us that there are other component in mu ic that m b of much ignificance to the in ider of a mu ical culture, such as quality of voic , i trum ntal timbre, high or low po itioning of voic, embelli hm nt, t mpo ( a t r/ lower), d namic or other. In an ancient Hellenic core,27 or in an mu i al or , for that matt r, all that i notated i m lody and rh thm (the blu print f mu i). hi m an that all other component of ancient Hellenic mu i ar 10 t to u . d b au the are p ychological construct, and therefore ubjective, w annot hop th t th Y will v r be retrieved. We cannot, th refore, peak anymore of an auth ntic2 p r rmance of a pi ce of ancient music; the word ha now been almo t ntir ly pung d from th thnomusicological vocabulary in referring to Early Mu i r rmance, to b replaced by Hi torically Informed Performance (HIP).29 In concluding, therefore, the belief is expressed that th abov argument, ba d on el tiv but uffici nt i ue for th present di cu ion, con incingl h w wh t po iti influence ethnomu icology ha been to th tudy of anci nt mu ic. In n r 1, on could, indeed, peak of a ew Ethnomu icolog , ince the lat fifti -earl i ti , a tud f the diver e mu ical y t m f the world in a en itiz d wa , nthr pologically informed, re p ctful to oth r people' mode of p rc ption and th u ht, and a d cription of the ariou mu ical tyle in cultural conte t, a oiding unduly, W stern-type projection, or making irrelevant value judgement, whi h in th nd would only blur and distort the real picture. Ethnomu icology, a di cipline which w founded in the early 1880s in Europ , in more or less the am tim that
25
26

vid nce on the phorbeia. ainly in Alypio ' EioayGJyrj /.lOUOIKrj ( , ,.g., Winnington-Ingram 1963:24ff.). .g., Jan 1995:357ff.) and mo t recent! i teid Quintilianu' TlEpi

/.lOUOIKrlf (

27

tant an i nt Hellenic mu ica1 or hav cl to a c rtain xt nt in Pohlmann & e t 2001. n th dang rou

b en re-edit d, tran crib d and

notion of auth nticity in mu ic ee

ettl 1964: 180-84.

29 ,.g., tobart 2002: 10 n. 1. In a recent con r nc in Wi n ( e n. 23, abov ) an int r ting prim nt wa carried out, wh r a number of sing r, u trian, erman, Po1i h, and m If, x cut d in turn th ame an i nt H llenic ong. In the ensuing di u ion important conclusion wer drawn on th v ri u a pe t of performing style (Transactions to b publi hed in March 2004).

196

t lio P aroudak

nthropology wa pringing, dev loped over the fir t half of th tw nti th c ntur b ming more and mor aware of th reI vance of th conclusion drawn in anthropolog , and from th re onward moved on in clo e a ociation with it, up to th pr nt d

SELECT BIBLIOGRAPHY B /li, ni (1986) La phorb ia. Bulletin de Correspondance Hellenique 110:205-1 . _ _ (19 4) uloi gr du Louvr . Bulletin de Corre pondance Hellenique 10 :111-22. Bla king, J hn (19 ) Ethnomu icology and Prehi'storic Mu ic aking. In The Archaeology of Early Mu ic Cultures. Third International Meeting of the ICTM tudy Group on Mu ic Archaeology, dd. Ell n Hickmann & D. W. Hugh . (Orpheus, 51). Pp. 329-35. Bonn: Verlag fur t mati ch u ikwi sen chaft CmdH. (1 67) Venda Children's ong: A Study in Ethnomu icological Analy i. J hann burg: Witwat r trand niv r ity Pre . rk, . . (1995) Theoretical Archaeology. London: Duckworth. i k, d If (ed.) (1925) Martianus Capella De nuptii Philologiae et Mercurii. L ipzig: eubn r. F i dl in, otfri d ( d.) (1867) Anicii Manlii Torquati everini Boetii De in titutione mu ica libri quinque. Leipzig: Teubn r. ib r , J .L. ( d.) (1929) Anonymi logica et quadrivium, cum cholii antiques. D t Kg!. an k id n kab rn el kab. Hi t.-filol. edd I Is r. Vol. 15.1. K0benha n: H0 t. H in, rn t (19 0) Indon ia. 1. West Java. 2. Folk Mu ic. In The ew Grove Dictionary of Mu ic and Musician, d. tanley adie. London: Macmillan. ickmann, Ell n (2001) Archaeomu icology (g.v.). In The ew Grove Dictionary of Mu ic and Mu ician ,edd. tanl adie & John yrell. 2 nd Edition. London & w York: a millan. _ _ (1997) Musikarchaologi (q.v.). In Die Mu ik in Geschichte und Gegenwart, d. Ludwig in h r. 2 nd Edition. Ka el et al: Barenreiter; tuttgart & Weimar: M tzl r. _ _ (1993) u ikarchaologi - M tapher und M thod . In Mi cellanea archaeologica Thaddaeo Malinow ki dedicata quae Franci cus Roznowski redigendum curavit. 11. Pp. 177- 7. lup k. rnbo t I, Erich M. (1905) Di Probleme der v rgleichend Mu ikwi nschaft. Zeit chrift der Internationale Musikwissenschaft 7:85-97. Jan, arl (1995) (ed.) Musici criptore graeci. tuttgart & L ipzig: eubn r. (R pr. 1 95). J nk r, . H. ( d.) (1970) MavouT;A Bpuvv(ou :4pI-lOV1Ka. The Harmonic of Manuel Bryenniu. Edited With Translation, Notes, Introduction and Index of Words. Croning n: WoIt r - oordhoff Publi hing. lin ki, i z la (1957) Ethnomu i ology, It Probl m and ethod . Ethnomu icology ew letter 10:1-7. Land I ,John . (1999) Mu ic in Ancient Greece and Rome. London & w York: Rout! dge. _ _ (19 1) Th R con truction of Anci nt Greek uloi. World Archaeology 12.3:29 -302 & pH. 6 -6 (196 ) ewly Di COy r d ulos. Annual of the Briti h chool at Athen 63:231-38 & pH. 5455. _ _ (196 ) h Brauron ulo .AnnualoftheBritihSchoolatAthen 58:116-19. tt r , Ri hard J. (1969) he al of ome urviving uloi. Classical Quarterly 63: 266-6 M gaw, J.V.. (1988) The Emperor's ew lothe: he ew Mu ic Archaeology. In The Archaeology of Early Mu ic Cultures. Third International Meeting of the ICTM tudy Group on Mu ic Archaeology, dd. Ellen Hi kmann & David W. Hugh . Bonn: rlag fur t mati h musikwi sen chaft GmbH. M rriam, Alan P. (1964) The Anthropology of Music. Evan ton, Illinois: orthwe tern Univ r ity.

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I gy and

thnomu icology in dialogu

197

rg, arl- el (1986) On usic Archa olog . In econd Conference of the ICTM tudy Group ad m of on Mu ic Archaeology, ed. C.. Lund. 1. Pp. 237-39. to kholm: Royal w di h u 1 . nr, .B. (1894) The Mode of Ancient Greek Mu ic. Oxford: Clar ndon Pre . ttl, Bruno (19 3) The tudy of Ethnomu icology. Twenty-Nine 1 ue and Concept. rbana & hicago L ndon: Uni r ity of Illinoi Press. _ _ (1964) Theory and Method in Ethnomu icology. London: The Free Pre of lenco Hi ra miHan Ltd. Phlmann, Egert & Martin L. W t (edd.) (2001) Document of Ancient Greek Mu ic. The tant Melodie and Fragments Edited and Transcribed With Commentary. Oxford: lar ndon Pr 'If p UOOKI} ,L;IAlOC; (2001) 'H Nia ApXalO\lOVCHKoAoyia. In http://www.iema.culture.gr/psme/Omilies/psaroudakis_speech.htm _ _ (1995) Movoa llE AaovTo: To nEpi<pfU10 MovolKo AvayAv<po Tils MavTlvEias. "EvaS AVOlXTOS <DaKEAAos Tils ApxaloAoyiaS. MOY.L.A. 1: 14-16. chI ind r, Kathl n (1939) The Greek Aulo . A Study of It Mechani m and of It Relation to the Modal y tem of Ancient Greek Mu ic, Followed by a Survey of the Greek Harmoniai in urvival or Rebirth in Folk-Mu ic. London: ethu n. hn id r, Albrecht (1986) ApxaloAoyew. ome Comments on Method and our e In U 1 r ha ology. In econd Conference of the ICTM tudy Group on Mu ic Archaeology, d. Lund. Pp. 195-223. Stockholm: Royal w di hAcademy of Mu i . World t b rt, H nry (2002) uth nticity rime: he Early Music Rack t and the M y of u ic. British Forum for Ethnomu icology ew letter 24: 10-12. ann ry, Paul ( d.) (1994) Quadrivium de George Pachymere ou LuvTaY/-la TWV TEooapwv /-la8'7/-laTwV apI8/-l'7T1Kryr, /-lOUoIKryr, yEW/-lETpfar Kai aOTpOVO/-lfar. Te te revi e et etabli par le R.P.E. tephanou A.A. odena: Tipo-Litografia Dini s.n.. (Repr. 1940, aticano: Bibli t po t li a Vaticana). t, Martin L. (1992) Ancient Greek Mu ic. Oxford: larendon Pre . Winningt n-Ingram, R.P. (1968) Mode in Ancient Greek Music. Am t rdam: dolf . Hakk rt. (R pr. 1936, London: Cambridge niversity Pre ). _ _ ( d.) (1963) Aristide Quintilianu De musica libri tres. Leipzig: T ubn r.

Stelios Psaroudakes Fa ulty of Mu i tudi

niv r ity of th n

Stelio P arou dak

able 2.

th

riti tan

f anci nt H llenic music (Hellenes and Roman )

1300 11 th 10 th 7 th 5 th Manouel Bryennios (14 th cent.) G orgios Pachymer s (1242-1310) Micha 1 P 110 (1018-1079) Dion io I idoru Boethius Anonymi B llermann Cassiodorus Martianu ap lla ugustinu Gaudentios Mariu Victorinu Alypio Bakcheios the Senior Ari tide Quintilianu exto m p iriko Porphyrio Klaudios Ptolemaios drastos The n of myrn Dionysio Halikarna eus Kleoneides ikomacho of ra a Ptolemai of Kyren Panaitios (Ps-Ploutarchos) Thra yllo Didymo Philodemo Alkidama (?) (Papyru Hib h 13) Erato then s ukl id Theop hrastos Ari toxeno of Taras genor of Mytil ne tratoniko H rakl id s of Ponto Archytas (Ari totel ) (Platon) Simos Philolao Hippa os of Metapontion Eratokl Damon Pythagoras of Zakynthos Lamprokl Pythagora of amo Lasos of Hermione

AD

BC

r h

omu i ology and Ethnomusieology in dialogue

199

Table 3. Publi ation on an ient Hell nle mu

inee Renai anee core cor cor Score Scor dition Edition Edition Edition dition Edition cor ore core Scor core tud tudy Score cor core

Leipzig, Jan

Leipzig, J an

1 1 1
1 1

2
1 3

2 7

1 6 1 66 1 6 1 1
1

17 17 17 1 16 9

ypio uripid Orestes th naios Paian Lim nio Paian ikilo "Epitaph" M omede Hymn The Mode ... Die Delphi chen ... thenai Paian Lim nio Paian uripid Ore te ikilo "Epitaph" Die Mu ik ... i tides Quintilianus Histoire ... i t no (harmonic) P udo- Ploutarchos P udo- Plou tarcho n mi I-Ill Die Hymnen ... M om d (word only) i to no (rhythmics) Di ertation ... t I maio Porphyrio Br nnio (harmonic)
plO

Oxford, Monro 6tingen, ru iu Pari , R inach Wien, W ely Wi n, Wessely Leipzig, We tphal B rlin, Jan Gand, Gevaert Berlin, Marquard Breslau, We tphal L ipzig, Volkmann Berlin, Bell rmann Berlin, Bellermann Leipzig, Sn dorf V nezia, Morelli and, Bur tte Oxford, alIi

c r
Study Edition tudy Edition Edition dition dition tudy Edition Edition tud Edition & Latin ran Edition & Latin Tran dition & Latin Tran Edition Latin r n Edition Latin ran Edition & Latin ran Edition & Latin Tran Editi n Latin ran Edition & Latin ran Edition & Latin Tran S or Edition Latin ran dition Edition dition cor Latin ran lati n Latin ran lation Latin ran lation

Am terdam, M ibom

16 0 162 1 1

i t id Quintilianu Bakch ios ukl id aud ntios ikoma ho P ud -Pindaros B kch io i to n (harmonic) ikomacho pio om de Ptol maios no (harmonic)

lation lation lati n lation lati n lati n lati n lati n lation lation lation

Roma, Kir her Pari , Mor llu L yd n, M ur IU

Fir nze, Galil V nezia, raviensi Yen zia, Graviensi Ven zia, alIa

lio P aroudak

IGURES

(i--O

-)----:-O-O----...;f>;o_ _O=--.------J) C
III
IV

-~.~---

. . . . . . . . . . .~-# . . . .t

Fi 1. h "Brauron ulo". Drawing, above, and photograph, blow. Lat 6 th _ earl 5 th cent. B . Br uron, ha ological u eum 1059. (From L nd I 1963:116 Figs. 1-2).

Pig 2. Mu e with a lute. D tail of r li f on a plaqu of th "Man tin ia Ba ". Dat: . 330-320 B (Praxit le ?). then, ational Archaeologi al Mu eum 215-216-217. (Photograph tak n by th author).

Fig 3. uI pIa er w aring th phorb ia. Amphora, OB. D tail. London, Briti h u eum E 270. ( rawing in and I 1999:31 Fig. 2a.8).

Fig 4. W tJa a. Mouth band worn by a hawm (taromp t) pip r In a gendang p nca en emble ( ein 1980:211 Fig. 25).

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