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Researchers recreate ancient Greek music

Mail Online
In 1932, the musicologist Wilfrid Perrett reported to an audience at the Royal Musical Association in London the words of an unnamed professor of Greek with musical leanings: “Nobody has ever made head or tail of ancient Greek music, and nobody ever will. That way madness lies. ”
Indeed, ancient Greek music has long posed a maddening enigma.
Yet music was ubiquitous in classical Greece, with most of the poetry from around 750BC to
350BC - the songs of Homer, Sappho, and others - composed and performed as sung music, sometimes accompanied by dance.
Literary texts provide abundant and highly specific details about the notes, scales, effects, and instruments used.
The lyre was a common feature, along with the popular aulos, two double-reed pipes played simultaneously by a single performer so as to sound like two powerful oboes played in concert.
Despite this wealth of information, the sense and sound of ancient Greek music has proved incredibly elusive.
This is because the terms and notions found in ancient sources -mode, enharmonic, diesis, and so on - are complicated and unfamiliar. And while notated music exists and can be reliably interpreted, it is scarce and fragmentary.
What could be reconstructed in practice has often sounded quite strange and unappealing - so ancient Greek music had by many been deemed a lost art.
But recent developments have excitingly overturned this gloomy assessment. A project to investigate ancient Greek music has generated stunning insights into how ancient Greeks made music.
The research has even led to its performance - and hopefully, in the future, we'll see many more such reconstructions.
The situation has changed largely because over the past few years some very well preserved auloi have been reconstructed by expert technicians such as Robin Howell and researchers associated with the European Music Archaeology Project.
Thousands of words about the theory of melody and harmony survive in the writings of ancient authors such as Plato, Aristotle, Aristoxenus, Ptolemy, and Aristides Quintilianus; and a few fragmentary scores with ancient musical notation first came to light in Florence in the late 16 th century.