This study aims to two problematic aspects of the Phrygian mode: a. the development of a harmonic pattern at the cadence that differs from that of the other modes and of the major and minor modes as well; b. the observation that the Phrygian scale inverts all of the intervallic properties of the Major scale. The result of these two observations is that when the reductive techniques of Heinrich Schenker are applied in the Phrygian repertory, melodic and harmonic properties are brought into conflict with each other. However, application of alternative models of the Ursatz developed by Lori Burns has certain benefits for demonstrating musical properties in the Phrygian repertory.

No description available.

Diss. : archéol. : Tübingen : 1978. / Version commerciale de.

The aim of this study is to identify the main differences in compositional style in selected chamber music works by Hendrik Hofmeyr (Sonata per Flauto e Pianoforte, Sonata per Clarinetto e Pianoforte and Sonata per Violoncello e Pianoforte) and Alexander Johnson (Imicabango for flute and piano, Three Incantations for flute, clarinet and piano, and Khalagari for flute and piano). After a thorough analysis of the melodic-, harmonic-, rhythmic-, and structural elements, it was clear that the two composers’ composition style is different from one another. Differences can be identified under the following main points: form structure, melodic and harmonic content, recurring motives and texture. Hofmeyr makes use of traditional form structures, such as sonata form, ternary form, and theme and variations. Johnson does not use traditional form structures and makes use of free form structures, such as: A1-A2-A3-A4-A5- A6-A7 (second movement from Khalagari), ABABC (third movement from Three Incantations), and A1-A2-B-A3-closing section (first movement from Three Incantations). The first movement from Khalagari is the only movement where references to sonata form can be found. Hofmeyr uses existing modes and scales in his works. Both his Sonata per Flauto e Pianoforte and Sonata per Violoncello e Pianoforte contain numerous examples where he makes use of the octatonic scale and the phrygian mode. Examples of the hexatonic scale can be found in the first and second movements of the Sonata per Clarinetto e Pianoforte. Hofmeyr’s chord structures are also based on these scales and modes. Alexander Johnson does not use any of the above-mentioned scales, but rather makes use of his own scale (labeled as the “Johnson-scale” in this study). His chord structures are also based on this scale. Hofmeyr does not use themes and motives from other compositions in the three works in this study. He does however combine themes from earlier movements within a composition. Examples of this can be found in the third movements from Sonata per Flauto e Pianoforte and Sonata per Clarinetto e Pianoforte. Johnson combines motives and themes from other compositions in his works. Motives from Three Incantations can be found in Khalagari. A detailed summary can be found in the conclusion of this study. / Thesis (DMus)--University of Pretoria, 2014. / tm2015 / Music / DMus / Unrestricted

Le phrygien est la langue la plus proche du grec parmi toutes les autres langues indo-européennes. Les isoglosses confirment que ces deux langues ont partagé une phase commune sur les Balkans, avant que les populations phrygiennes ne commencent à migrer vers l’Anatolie autour du XIIe siècle av. J.-C. En dépit de leur parenté génétique, ces deux peuples ont connu des développements historiques différents, ce qui a conduit les Grecs à identifier les Phrygiens comme l’incarnation du stéréotype de l’esclave barbare au Ve siècle av. J.-C. La complexe relation entre Grecs et Phrygiens n’a jamais été étudiée d’un point de vue sociolinguistique. Le but de cette étude est de combler cette lacune. Mon exploration sémantique de l’ethnonyme « Phrygiens », ainsi que mes analyses sociolinguistiques et pragmatiques des passages littéraires grecs et épigraphiques phrygiens permettent une compréhension plus nuancée de la perception réciproque des identités grecque et phrygienne. Au delà de tous les stéréotypes des Phrygiens barbares et esclaves, produits de la vision traditionnelle hellénocentrique qui se dégage des textes grecs, le « renaissance » de la langue phrygienne dans les inscriptions néo-phrygiennes me semble une preuve de la survie de l’identité linguistique et culturelle phrygienne à travers les siècles en Anatolie. La langue est un aspect clé dans la construction de l’identité ethnique et un moyen de résistance dans le cadre d’une culture ou d’un groupe social dominant. J’interprète cette résistance linguistique du phrygien comme une forte revendication identitaire de la part d’un groupe ethnique marginalisé dans le monde hellénisé issu des conquêtes d’Alexandre le Grand. / Scholarship has uncovered several isoglosses which show that Ancient Greek and Phrygian are genetically connected,having shared a common prehistory on the Balkans, before the Phrygian populations started migrating to Anatolia around the 12th century BCE. Despite this linguistic kinship, Greeks and Phrygians underwent different historical developments, which eventually led the Greeks to progressively identify the Phrygians as the incarnation of the stereotype of barbarian slaves in the 5th century BCE, even if, paradoxically, their idiom was the closest one to Greek among all the other Indo-European languages. The complex relationship between Greeks and Phrygians has never been studied from a sociolinguistic point of view, although it seems to me a productive field of investigation. The aim of this study is to fill this gap. My semantic exploration of the ethnonym ‘Phrygians’ as well as my sociolinguistic and pragmatic analyses of significant literary and epigraphic passages has produced a more nuanced understanding of the reciprocal perception of Greek and Phrygian identities, indirectly from the Phrygian inscriptions, directly from the Greek literary texts. Beyond all the stereotypes of the Phrygians as barbarians and slaves, products of the Hellenocentric traditional view that emerges from the literary Greek texts, the “revival” of Phrygian language in the Neo-Phrygian inscriptions in the Roman Era seems to me to be evidence of the survival of linguistic and cultural Phrygian identity through the centuries in Anatolia. This can be interpreted as a striking manifestation of preservation of diversity in the Hellenized world that emerged from Alexander’s conquest.

The dissertation analyses the reliefs and paintings on thirty-one different tombs in Western Anatolia erected between 600 and 450 BC, in order to illuminate the ways in which non-Greek elites were identified on their memorials. The tombs from three areas are treated: Phrygia, Hellespontine Phrygia and Lydia, where the primary language groups were Phrygian, Mysian and Lydian. There is little literary evidence for these regions, and what there is tends to focus on political developments. Descriptions of people and society are few, and tend to represent them from an outside perspective, grouping them according to cultural characteristics which differentiate them from Greeks. It is clear, however, that the regions were important, prosperous places, controlled by illustrious grandees and land marked with a relatively high proportion of monumental tombs. Of these monumental tombs, there is a relatively high number decorated with striking and articulate images. There is much to be gained from examining the images on these tombs, as ‘indigenous’ sources for how elite Western Anatolians described themselves. Previous approaches to the tombs and their images have tended to look at them individually or in smaller groups, and to concentrate on the transmission and reception of Persian and Greek culture in the Achaemenid provinces. This dissertation contributes a broader comparative study of the decorated tombs, focussing on the kinds of statuses the images represent and the cultural forms these took. By comparing the various methods of self-representation, it clarifies patterns of identities in Western Anatolia and their relationship to historical circumstances. The dissertation is divided into five chapters. An introduction outlines the scope and sample, the historical background, previous studies of the monuments, the definition of ‘identity’ and the methods of analysis adopted here. Three case study chapters present the regions and the decorated monuments within them. A concluding chapter synthesises three aspects: social identities (roles and spheres of life represented); geographic and chronological patterns; and cultural affiliations and orientations. The dissertation concludes that a tension between Persian identities and local traditions is evident in some of the tomb images, which relates to the political upheavals in Western Anatolia and the Aegean at the time of the Persian Wars.

Ce travail propose d’étudier l’un des nombreux textes médiévaux portant sur le mythe de la guerre de Troie. Transmis à l’Occident médiéval non pas par le biais d’Homère mais par celui des classiques latins et de certains auteurs de l’Antiquité tardive, ce mythe connut un immense succès en Europe durant tout le Moyen Âge, malgré l’ignorance du grec et de l’Iliade. Nous avons choisi d’éditer partiellement et de commenter l’un des plus importants monuments de la matière troyenne médiévale, texte presque inédit aujourd’hui, car totalement délaissé depuis la Renaissance et le retour aux textes anciens. Dans une introduction, nous avons exposé les principes de notre travail d’édition, c'est-à-dire listé les différents manuscrits utilisés par l’éditeur précédent (Nathaniel Griffin), puis surtout présenté notre manuscrit de base, le Cod. Bodmer 78, absent de la liste des manuscrits collationnés par Griffin. Puis nous avons consacré un chapitre à la langue du texte, un latin médiéval très lisible quoiqu’empreint de « modernismes », notamment au niveau du lexique. Puis, après avoir présenté le texte, sa langue et notre méthode d’édition, nous avons exposé le peu d’éléments que nous avions sur notre auteur, sa vie, son œuvre et le contexte intellectuel au milieu duquel il évolua dans la Sicile du XIIIe siècle, ainsi que l’engouement européen pour la matière troyenne qui explique son choix de reprendre ce grand mythe dans son Historia. Enfin il nous a fallu évoquer les nombreuses sources utilisées par Guido delle Colonne, ses sources directes, indirectes ou inavouées. En dernier lieu, nous avons offert un résumé de chaque livre édité et traduit. Suit une bibliographie détaillée sur les manuscrits et éditions anciens de ce texte, des manuels, le contexte culturel et historique en Europe et en Sicile au Moyen Âge, les textes grecs, latins et vernaculaires se rapportant à la guerre de Troie et ayant influencé notre auteur de près ou de loin, les ouvrages critiques sur le traitement de cette matière troyenne dans l’Antiquité et au Moyen Âge, et enfin les quelques éléments bibliographiques portant sur Guido et sur son œuvre. Vient ensuite notre édition-traduction. La traduction est accompagnée d’un double apparat : un apparat des sources et réminiscences ainsi qu’un apparat critique qui prend en compte et compare les leçons contenues dans notre manuscrit de base avec les variantes citées par l’éditeur précédent dans les quelques manuscrits qu’il a utilisés. Au bas de la traduction, figurent des notes d’érudition destinées aux noms ou des faits cités dans le texte et qui méritent une explication. Après cette partie introduction philologique et édition, la deuxième grande partie de cette thèse consiste en un commentaire et des annexes. Dans notre commentaire, nous avons souhaité interroger notre texte dans ses aspects narratologiques, thématiques, génériques, linguistiques et idéologiques. C’est pourquoi nous avons consacré un premier chapitre à l’étude narratologique du texte, son contenu, son agencement, ses techniques narratives, son utilisation des sources et ses principales thématiques. Dans une seconde partie, nous avons abordé le genre et le ton de cette Historia, qui se veut un texte historique quoique traitant une matière fictionnelle puisque mythologique à une époque où les genres littéraires ne sont pas encore définis et encore moins cloisonnés ; nous avons en outre longuement commenté et illustré le choix de l’écriture en prose et en latin à une époque où la mode est au vers et au vernaculaire. Enfin, notre troisième chapitre porte sur le contenu scientifique, politique et idéologique de ce texte truffé de parenthèses érudites et morales. En dernier lieu, nous avons proposé une édition diplomatique de la partie non éditée ni traduite du manuscrit, ainsi que des annexes sur les manuscrits et le vocabulaire, et bien sûr des index des noms propres et un glossaire des mots rares ou surprenants. / This work proposes to explore one of the many medieval texts on the myth of the Trojan War. Transmitted to medieval Europe not through Homer but by the Latin classics and some authors of late Antiquity, this myth was a huge success in Europe during the middle Ages, despite the ignorance of the Greek and the Iliad. We chose to partially edit and comment on one of the most important monuments of the medieval Trojan material, almost unpublished text today because totally abandoned since the Renaissance and the return to the ancient texts. In an introduction, we exposed the principles of our editing work, that is to say, listed the various manuscripts used by the original publisher (Nathaniel Griffin) and especially presented our basic manuscript, Cod. Bodmer 78, absent from the list of manuscripts collated by Griffin. Then we have a chapter on the language of the text, a medieval Latin highly readable although full of "modernism", particularly in terms of vocabulary. Then, after introducing the text, the language and our editing method, we exposed the little things we had on our author, his life, his work and the intellectual context in which he evolved in thirteenth century Sicily, and the European craze for the Trojan material explains his choice to take this great myth in his Historia. Then, we had to mention the many sources used by Guido delle Colonne, its indirect or direct or unacknowledged sources. Lastly, we provided a summary of each book published and translated. Then follows a detailed bibliography on manuscripts and old editions of this text, textbooks, historical and cultural context in Europe and Sicily in the Middle Ages, the Greek texts, Latin and vernacular related to the Trojan War and that influenced our author near or far, the critical works on the treatment of this Trojan material in antiquity and the Middle Ages, and finally some bibliographic elements on Guido and his work. Then comes our edition-translation. The translation is accompanied by a double pageantry: one for the sources and reminiscences, and a critical apparatus that considers and compares the lessons contained in our manuscript with basic variants cited by the previous editor in some manuscripts that he used. At the bottom of the translation include scholarly notes for names or facts mentioned in the text and deserve an explanation. After this introduction and part philological edition, the second major part of this thesis consists of a comment and annexes. In our review, we wanted to examine our text in its narratological, thematically, linguistic, generic and ideological aspects. That is why we have devoted the first chapter to the narratological study of the text, its content, its layout, its narrative techniques, use of sources and its main themes. In a second part, we discussed the type and tone of the Historia, which intends to be a historical text while attending a fictional material since mythological, at a time when genres are not yet defined and less compartmentalized; we have also commented extensively and illustrated the choice of writing in prose and Latin at a time when fashion is to poetry and vernacular. In the end, our third chapter focuses on the scientific, political and ideological content of this text peppered with parentheses and moral scholars. Finally, we proposed a diplomatic edition of the unedited or translated part of the manuscript, as well as appendices on manuscripts and vocabulary, and of course the name index and a glossary of rare or surprising words.