Texte remanié de: Thèse de doctorat--Histoire grecque--Rennes 2, 2003. Titre de soutenance : Les voies sonores d'Apollon : l'arc, la lyre et les oracles. / Bibliogr. p. 303-322. Index.

Cette thèse vise à établir différentes relations et différents liens musicaux, ainsi que des évolutions, dans le cadre de la guerre antique, en d'autres termes, il s'agit d'établir des parallèles entre la musique militaire et d'autres musiques guerrières. Pour ce faire, elle se concentre en priorité sur la musique militaire qui forme le fil conducteur de l'ouvrage. On étudie en particulier beaucoup la musique de trompette, en se posant les questions suivantes : la musique militaire a-t-elle pu être à l'occasion artistique ? A-t-elle pu servir à se détendre ? Quelles sont les constantes et les évolutions de la musique militaire et des instruments de musique militaire au cours de l'antiquité grecque et romaine ? A cette fin, toutes les sources anciennes qui traitent de la musique en général et de la musique militaire sont mentionnées. Les sources historiques et philosophiques sont prises aussi en considération, ainsi que les traités de musique (Aristide Quintilien, Philodème de Gadara). Les instruments sont passés en revue : trompette, aulos et tibia, lyre et orgue hydraulique. Un chapitre est consacré aux musiciens de l'armée et aux guerriers musiciens. Les hymnes delphiques d'Athénaios et de Liménios sont étudiés, ainsi que le fragment épique d'Oslo. / This thesis aims to define different relations and different musical links, and some evolutions as well, in the framework of the ancient war, in other words, it means to establish parallels between military music and other warlike musics. For that, this thesis focuses principally to military music which forms the principal line of the work. We particularly study a lot of trumpet's music, and we answer or define the following questions : had military music been for occasions artistic music? Or music for relaxation? What are the common points and evolutions of military music and military music instruments along greek and roman antiquity?To treat these subjects, all the ancient sources which are concerned by antic music generally and military music particularly are mentioned. Historic and philosophic sources are taken in consideration too, and musicologic books as well (Aristide Quintilien, Philodème of Gadara). Music instruments are studied : trumpet, aulos and tibia, lyre and hydraulic organ. A chapter is dedicated to the warfare musicians. The delphic hymns of Athenaios and Limenios are studied, and the epic fragment of Oslo as well.

The harp lute is a generic term given to certain types of plucked stringed instruments originally invented by an English musician-retailer, Edward Light, in London at the beginning of the nineteenth century. Combining elements of the highly popular contemporary instruments the harp and the guittar (English guitar), the ideal hybrid instrument, the ‘harp lute’ was constructed. Although the name ‘lute’ was given, since the body consisted of three or seven staves and integrated open major tuning with a natural scale for floating strings it is more closely related to the harp and the guittar than the conventional lute. Incessant application of inventors’ changes to the instruments generated appearances in a variety of forms, sizes, designations and number of strings. Being moderately priced but excessively decorated and relatively easy to learn, harp lutes, as liberal arts instruments, quickly became fashionable in the London music scene, especially amongst middle class ladies. Despite being highly decorative instruments, harp lutes were normally very economic to make. Their construction was adapted for the growth of mass-produced musical instruments, and was therefore moderately and affordably priced. Aalthough there is a great number of surviving harp lutes in public museums, academic institutions, private collections, and a large quantity of published music, as well as archival sources related to the instruments kept in public libraries within researchable conditions, there has been hardly any serious academic study of these instruments since a 1908 survey by Robert Bruce Armstrong. Thereafter, problematically, many accounts relating to harp lutes have relied on erroneous aspects of his research (the date of invention 1798, for instance, may be wrong). This lack of substantial information induced further issues so that, due to the complexity of the instrument designs and the existence of the similar kinds, ambiguous designations have been applied to each model of harp lute, bringing with it added confusion in determining terminology. This thesis, therefore, aims to clarify the terminology and to provide a complete account of the harp lutes, particularly those by Edward Light, in the British Isles during the first half of the nineteenth century. To enable classification of these instruments, it became important to research all available information on Edward Light as musical instrument retailer, musician and inventor. Thus, all models of the harp lutes will be revealed chronologically, shedding light on their constructional transformation as opposed to musical aspects – if readers need more information on musical aspects, they should refer to Armstrong (1908); the purpose of this thesis is to clarify the evolutionary process of the harp lute with partial reference to the social and cultural changes in Britain. There will less focus on music. The inventor Edward Light’s outstanding commercial acumen in musical instrument retailing and inventing will be highlighted, while in order to understand his attempts at harp lute manufacturing (in cooperation with the makers, e.g. Barry), which substantially underpinned Light’s significant success, a copy of a harp-lute will be made to shed light on the hidden secrets in harp lute making.

This essay addresses and analyses the grave field from Broa in Halla, RAÄ 48:1 and SHM 11106 with objects in SHM 10796, dated to 800-900 a.d. The essay is done as part of examination in archaeology C with osteological orientation spring 2018 at Uppsala university, campus Gotland. Gustav Malmborg was supervisor for this essay. The objective of the essay is to give an osteological analysis since it hasn’t been done since the excavation 1899, but also to bring forth what information that can be pursued osteologically. This due to that grave A is the only one to be researched upon and not in full context, only partly focusing on the equestrian equipment, the amber lyre bridge and the sword. The questions of issue are; what can be told about the individuals from the grave field? Is there any grave that can be compared against grave A? What can be said about the contemporary society and the premises? Future research can use this essay as a stepping stone for other comparisons and use the osteological data to relate more information about lyre individuals.   This quantitative essay presents the analysis each grave individually using morphological and metric methods, such as age, sex, paleopathological changes, MIND and estimated stature. After analysis is result presented as a table for easy overview (Table 1). Discussion and interpretation follows, one grave at a time over to the grave field and thereafter the premises. End discussion handles the questions of issue to summarize the discussion and interpretation. Conclusion summarizes the results from all of the above mentioned, such as one grave contains more than one individual which has been unknown before. Possible kinship is found in a grave and the possibility of the contemporary premises to be part of a larger house/farm.

Greece experienced a musical revolution in the fifth century BC which modern scholars call the “New Music” movement. The movement was encouraged by Greek culture which embraced change and innovation. Under the “New Musicians,” those individuals involved in the movement, many traditional elements of music were changed or discarded. The most prominent place in which to understand the change in musical styles is the nomic and dithyrambic genres: both genres allowed musicians a great range in creativity to the extent that innovations in the nomoi made their way into the dithyramb. The change to traditional music was not always warmly accepted. Instead, while the demos enjoyed the new style of music the aristocracy derided its existence. The split between the demotic and aristocratic views of music may be seen especially in the attitude towards and purpose of the aulos and kithara in fifth-century Athens. Moreover, since the attitude of the aristocrats differed from that of the working-class musicians, we are able to see that the traditionally-minded aristocracy saw music as a gift from the gods while the working musicians saw the instruments and their musical sound as “tools.” The New Music movement was encouraged by Greek society which rewarded novelty and innovation. As Athens grew to become a cultural hot spot in the fifth century, more people saw the incentive to becoming professional musicians; original music would be rewarded either by fame and glory of the festivals or by financial remuneration. As a result, a primitive “entertainment industry” arose at Athens and propelled the new-style musicians to pursue their original compositions in their professional careers. The New Music movement also encouraged the study of music, particularly the study of musical ethics. In addition to having a status as a cultural hot spot, Athens also attracted numerous philosophers and other intellectuals. Those intellectuals contributed to the debate about the function and value of music. As the New Musicians’ popularity increased and the new style of music exerted an influence on the education system, emphasis was placed on the importance of the text and the development of the capacity to judge music. As a result, many philosophers and music theorists debated the moral aspect of music, now called the concept of musical ethos. The concept of musical ethos demonstrates that both philosophers and musicians studied music with a view to determining the most effective music for eliciting a response from the audience. Through a study of the ancient literature, most of which deals with music only incidentally, we will be able to understand how the New Music movement was encouraged by Greek culture, given an incentive by fifth-century society, and studied by some of the most brilliant philosophers and musicians Greek history has known. / February 2009

Greece experienced a musical revolution in the fifth century BC which modern scholars call the “New Music” movement. The movement was encouraged by Greek culture which embraced change and innovation. Under the “New Musicians,” those individuals involved in the movement, many traditional elements of music were changed or discarded. The most prominent place in which to understand the change in musical styles is the nomic and dithyrambic genres: both genres allowed musicians a great range in creativity to the extent that innovations in the nomoi made their way into the dithyramb. The change to traditional music was not always warmly accepted. Instead, while the demos enjoyed the new style of music the aristocracy derided its existence. The split between the demotic and aristocratic views of music may be seen especially in the attitude towards and purpose of the aulos and kithara in fifth-century Athens. Moreover, since the attitude of the aristocrats differed from that of the working-class musicians, we are able to see that the traditionally-minded aristocracy saw music as a gift from the gods while the working musicians saw the instruments and their musical sound as “tools.” The New Music movement was encouraged by Greek society which rewarded novelty and innovation. As Athens grew to become a cultural hot spot in the fifth century, more people saw the incentive to becoming professional musicians; original music would be rewarded either by fame and glory of the festivals or by financial remuneration. As a result, a primitive “entertainment industry” arose at Athens and propelled the new-style musicians to pursue their original compositions in their professional careers. The New Music movement also encouraged the study of music, particularly the study of musical ethics. In addition to having a status as a cultural hot spot, Athens also attracted numerous philosophers and other intellectuals. Those intellectuals contributed to the debate about the function and value of music. As the New Musicians’ popularity increased and the new style of music exerted an influence on the education system, emphasis was placed on the importance of the text and the development of the capacity to judge music. As a result, many philosophers and music theorists debated the moral aspect of music, now called the concept of musical ethos. The concept of musical ethos demonstrates that both philosophers and musicians studied music with a view to determining the most effective music for eliciting a response from the audience. Through a study of the ancient literature, most of which deals with music only incidentally, we will be able to understand how the New Music movement was encouraged by Greek culture, given an incentive by fifth-century society, and studied by some of the most brilliant philosophers and musicians Greek history has known.

Greece experienced a musical revolution in the fifth century BC which modern scholars call the “New Music” movement. The movement was encouraged by Greek culture which embraced change and innovation. Under the “New Musicians,” those individuals involved in the movement, many traditional elements of music were changed or discarded. The most prominent place in which to understand the change in musical styles is the nomic and dithyrambic genres: both genres allowed musicians a great range in creativity to the extent that innovations in the nomoi made their way into the dithyramb. The change to traditional music was not always warmly accepted. Instead, while the demos enjoyed the new style of music the aristocracy derided its existence. The split between the demotic and aristocratic views of music may be seen especially in the attitude towards and purpose of the aulos and kithara in fifth-century Athens. Moreover, since the attitude of the aristocrats differed from that of the working-class musicians, we are able to see that the traditionally-minded aristocracy saw music as a gift from the gods while the working musicians saw the instruments and their musical sound as “tools.” The New Music movement was encouraged by Greek society which rewarded novelty and innovation. As Athens grew to become a cultural hot spot in the fifth century, more people saw the incentive to becoming professional musicians; original music would be rewarded either by fame and glory of the festivals or by financial remuneration. As a result, a primitive “entertainment industry” arose at Athens and propelled the new-style musicians to pursue their original compositions in their professional careers. The New Music movement also encouraged the study of music, particularly the study of musical ethics. In addition to having a status as a cultural hot spot, Athens also attracted numerous philosophers and other intellectuals. Those intellectuals contributed to the debate about the function and value of music. As the New Musicians’ popularity increased and the new style of music exerted an influence on the education system, emphasis was placed on the importance of the text and the development of the capacity to judge music. As a result, many philosophers and music theorists debated the moral aspect of music, now called the concept of musical ethos. The concept of musical ethos demonstrates that both philosophers and musicians studied music with a view to determining the most effective music for eliciting a response from the audience. Through a study of the ancient literature, most of which deals with music only incidentally, we will be able to understand how the New Music movement was encouraged by Greek culture, given an incentive by fifth-century society, and studied by some of the most brilliant philosophers and musicians Greek history has known.

Cette thèse décrit et analyse les caractéristiques ethnologiques, musicales et acoustiques de la lyre bagana des Amhara d’Ethiopie. L’étude des données ethnologiques montre que le bagana incarne de nombreuses valeurs de la société traditionnelle amhara. Instrument considéré comme un don de Dieu et qui fut joué par des rois, le bagana est sacré. C’est un instrument intime, dont le jeu (toujours en solo ou accompagné seulement de la voix) est considéré comme un acte de prière ou une méditation à caractère religieux. Le musicien ne se donne pas à voir, ni par une dimension spectaculaire de sa performance, ni par une dimension phatique.<p>L’analyse des accords utilisés dans le répertoire du bagana montre que cet instrument est essentiellement accordé selon deux échelles modales pentatoniques, tezeta et anchihoye. L’organisation temporelle des chants de bagana est fondée sur des pulsations discrètes très rapides. La pulsation apparente se compose d’un multiple de cette pulsation discrète qui change en fonction du motif joué, ce qui crée une sensation de rythme libre ou de rubato. Les chants de bagana sont fondés au niveau mélodique sur des unités qui se composent de paires de notes. <p>L’analyse musicale du répertoire du bagana montre que celui-ci est fondé sur la répétition variée d’un ostinato musical assez court couplé à des paroles qui changent sans se répéter (à l’exception du refrain) selon les lois de la poésie amharique orale traditionnelle. Les procédés de variations mis en œuvre sont en général assez subtils car ils doivent préserver la sensation de répétition tout en apportant des éléments nouveaux. <p>L’étude des propriétés acoustiques du bagana permet de déterminer que celle-ci produit des sons très graves (jusqu’au sol 1). Le dispositif chevalet large-obstacles modifie tous les paramètres du son. L’analyse de la facture traditionnelle montre que l’instrument est conçu pour produire un son grésillant, long et intense sans avoir recours à une caisse de résonance volumineuse. <p>Le bagana est un instrument puissant, qui permet l’établissement d’une relation directe avec des entités surnaturelles via une transe légère. La voix et l’instrument sont dans un rapport de fusion et de renforcement mutuel. Les modes phonatoires utilisés sont « breathy » et « harsh ». La présence de la voix agit comme un guide perceptif, qui intervertit le rapport fond-forme dans la perception de l’instrument. <p> / Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

Includes bibliographical references / Pages not numbered / Music has formed a part of human life as far back as demonstrable. Music existed long before musical instruments made their appearance. The examination of textual evidence read in conjunction with the available archaeologic evidence from the time and area clearly demonstrates which musical instruments were available and the instances they were used at. It clearly points to the lyre as the primary proponent of the musical culture of the time with regards to melodic music. This is confirmed from what we learn from the ancient tuning tablets. There thus is a direct demonstrable connection between the instrument and the theory of the time. Work done on the musical elements of the cantillation marks of the Hebrew Bible comfortably fits into this framework and appears to be a direct influence on the manner in which the Psalms were sung and composed. A combination of literary, archaeological and musical sources can thus be used within a literary and historical approach to demonstrate the availability of musical instruments in AIP, the manner in which tonality was recorded and its influence on the development of the Psalms. / Old Testament and Ancient Near Eastern Studies / M.A. (Biblical Archaeology)

This thesis deals with ancient string and percussion instruments with additional focus on a hydraulic organ, an instrument that is difficult to categorize. The first part of the thesis is a follow-up to the bachelor thesis Wind Instruments of Ancient Greece and Rome, which is devoted to wind instruments, and deals with the classification, description and evolution of the instruments of the other two instrumental groups. This is illustrated on the background of literary, archaeological and iconographic sources, especially on the vase painting. Vase painting well demonstrates the shape, evolution and regional occurrence of these instruments. In the second part of this thesis the Attic and southern Italy vase paintings will be used to compare musical culture in both of these areas. In Attic music scenes the chronological evolution of depicted instruments is examined, while in southern Italian scenes we will concentrate on the differences of depicted instruments in the regions of Campania, Lucania, Sicily, Paestum and Apulia. Finally, the Attic musical instruments are compared with the instruments of southern Italy. The results of the analyses will be entered into graphs. Keywords: ancient music, strings instruments, percussion instruments, Greece, Southern Italy, Campania, Lucania, Apulia, Sicily,...