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By Lucia Prauscello

This quantity investigates the transmission and old reception of historic Greek texts with musical notation. It offers a reconstruction of the dynamics of reception orienting the re-use and re-shaping of musical and poetic culture within the leisure tradition of the post-classical Greek international. The learn makes complete use of literary, papyrological and epigraphic facts, and specifically incorporates a specific philological research of surviving musical papyri and in their dating to the editorial job of Alexandrian scholarship. The research is helping to relocate musical files on the earth in their construction and reception.

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From the Preface :

This e-book illustrates a suite of track manuscripts which was once made in recent times to profit the basis for modern functionality Arts. the gathering was resolute by way of situations instead of any means of choice. hence it indicates the various instructions within which tune notation is now going. The manuscripts should not prepared in accordance with different types of track, yet alphabetically in accordance with the composer's identify. No explanatory details is given.

The textual content for the booklet is the results of a procedure making use of I-Ching likelihood operations. those made up our minds what number phrases concerning his paintings have been to be written through or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were specially written for this booklet, they're preceded by way of a paragraph signal and by means of the author's identify. different feedback have been selected or written through the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter measurement, depth, and typeface - have been all decided unintentionally operations. This approach used to be in an effort to reduce the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.

A precedent for the textual content is the Questionnaire. (The composers have been requested to jot down approximately notation or some· factor proper to it. ) A precedent for the absence of knowledge which characterizes this e-book is the modern aquarium (no longer a dismal hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass condominium with the entire fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this booklet. The editors are thankful to the numerous composers and track publishers who've made this presentation of mid-twentieth century tune notation attainable.

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Barker GMW II, 156 also regards this passage as substantially sound. 90 Cf. Aristox. El. harm. 2. 38 (= 48, ll. 11 ff. Da Rios), especially the statement that §k dÊo går dØ toÊtvn ≤ t∞! ik∞! ¤! e≈! yai m¢n går de› tÚ ginÒmenon, mnhmoneÊein d¢ tÚ gegonÒ!. ) within Aristoxenus’ reflection see Rossi 1963, 29 n. 7 and 32 n. 76. 91 As to the increasing disaffection displayed by the Athenian audience towards the choral lyric in general and Pindar in particular, at least from the last quarter of the fifth century BC onwards, see Irigoin 1952, 12–21 (especially 19–21).

M¢n går pezØ l°ji! oÈdenÚ! oÎte ÙnÒmato! oÎte =Æmato! biãzetai toÁ! xrÒnou! in, éllÉ o·a! ei tå! ullabå! tã! te makrå! ka‹ tå! , toiaÊta! fulãttei. in aÈtå! te pollãki! efi! ténant¤a metaxvre›n: oÈ går ta›! ullaba›! i toÁ! , éllå to›! xrÒnoi! tå! ullabã!. The same thing happens also with regard to rhythm. Prose diction does not infringe or change the quantities of a noun or a verb but preserves the syllables, the long as well as the short ones, just as it found them to be by nature. On the contrary the rhythmike and the mousike change the time value of the syllables by shortening or lengthening them so that they are often converted into their opposites: in fact the rhythmike and the mousike do not adapt the time values to the quantity of the syllables but the quantity of the syllables to the time values.

KenÚ! braxÊ!. Yet the concrete surviving examples of leimma trans- 17 Gentili 1988, 11–2: “[. ] dobbiamo presumere che già nel V sec. C. ” In this direction, although at a more embryonic stage, see also Wilamowitz’s final observations in id. 1895, 31–2. More recently Gentili 1998, 146–9 has further developed his reflections on free responsion. 18 Gentili’s remarks, however correct in themselves, need anyway to be circumscribed. The statistically low incidence of free responsion in Greek lyric as a whole limits significantly the extent to which this phenomenon could be measured by the audience during the performance.

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