It says according to Dionysios of Halicarnassus, "melody is subordinate to the requirements of the music..."
Lynyrd Skynyrd wrote:
The POLice said, 'we can't drink in the bar;' what a shame...
Cheap Trick wrote:
The Dream PolICE, they live inside of my head...
pster wrote:I know the other two circumflexes are a bit better. But look at olws, the acute on the o gets two notes but with a falling pitch!
I'm confused by that quote. Dionysios of Halicarnassus said the first part, but Allen said the second?
Markos wrote:It's just an uninformed guess, but I have always believed that in actual Ancient Greek speech, the rules of stress (to say nothing of the rules of pitch) would have been routinley modified for a variety of reasons. Even more so, I assume, when singing.
IreneY wrote:I do think that pitch accent had fallen by the wayside by then
Paul Derouda wrote:Isn't it rather one note on "o" and two notes with falling pitch on "lws"?
pster wrote:Hagel says on his website:
"Individual accents produce smaller deviations from the overall melody (as in the extant musical documents). Each (major) accent may be realized by a rise to the accented syllable, but must be followed by a melodic fall. In the case of circumflex syllables, the post-accentual fall may be realized on the second part of the accented syllable, resulting in a two-note 'melisma'. The gravis accent forces the melody to rise without any downtrend up until the next accented syllable."
[...]
So Hagel seems to have the grave doing upwards work!
cb wrote:hi pster, from what i've read a 7 stringed instrument wouldn't have come anywhere near 2 octaves. it would be less than an octave. 2 conjunct tetrachords, each a 4th, ie from the top note to the middle string is a 4th and from the middle string to the bottom string is a 4th. then homer would have most likely been in enharmonic mode, for which here are some tunings from west on ancient grk music pg 168:
http://books.google.fr/books?id=So-Qpz6 ... &q&f=false
http://www.tonalsoft.com/monzo/aristoxe ... xenus.aspx
scroll down to the audio of the different versions, eg:
http://www.tonalsoft.com/monzo/aristoxe ... nh-gps.mid
cheers, chad
spiphany wrote:pster wrote:Hagel says on his website:
"Individual accents produce smaller deviations from the overall melody (as in the extant musical documents). Each (major) accent may be realized by a rise to the accented syllable, but must be followed by a melodic fall. In the case of circumflex syllables, the post-accentual fall may be realized on the second part of the accented syllable, resulting in a two-note 'melisma'. The gravis accent forces the melody to rise without any downtrend up until the next accented syllable."
[...]
So Hagel seems to have the grave doing upwards work!
Well, sort of. Hagel's interpretation of pitch-accent (in his article Homer Singen)involves the tone-changes covering the entire word, not just the accented syllable; i.e., the accented syllable is a pitch-peak within the word, but the tone rises in the previous syllables and falls after it. So normally the beginning of a word has a rising tone, the grave extends what would be happening anyway (instead of causing a drop in tone, as with the other accents). I'm afraid I don't quite understand what he says about the circumflex.
Scribo wrote:
As for Seikilos have you tried playing out the music vs the lines? I find the melody sort of resolves itself nicely. If I recall correctly, West assigns the trouble in the beginning to conventional beginnings in such metres. God knows where the book has gone now in all my mess though.
I really can't remember the words or the song actually. I know the timing was roughly a 6/8 beat and the first phrase or two was like: |g d d| b c d c| Argh frustrating!
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