cantator wrote:Can you tell me why you selected the interval of a major third as the sounding interval ?
I assume Bardo just picked that at random to ask a general question. The changes in pitch matter more than their exact interval.
Do we have any reference to the pitch intonations indicated by the accents ? If so, who/what should I be looking for ? I'd like to know more about the methods followed in recreating ancient Greek pronunciation.
The best reference for all these questions is the book Vox Graeca
, by Sidney Allen.
I was taught that the circumflex represented a rise and fall in pitch. Guess I'll have to look into that assumption.
Well there's not complete agreement on this, some thinking it's a falling pitch, some a rise-and-fall. The former seems most likely to me, so I use that.
The use of modern musical intervals seems an arbitrary usage,
That's just a way to discuss the question. I certainly haven't tried to match my pitch contours to particular intervals.
Btw, is it your opinion that once a pitch is reached (via the accent) that the recitation continues at the new pitch level until another accent is received ? Or is there a central tone that is returned to after the accent ?
It is probable that the acute is distinguished not by the pitch of syllables before it, but by the lowered pitch of the following syllable (I'm sorry, but I can't dredge up the reference for this right now). So there's a baseline above which acute and circumflex do their work (which baseline is actually a pitch arc over the course of an entire phrase).
The many papers of A. M. Devine and L. D. Stephens cover all these questions, though these are fiercely technical.