1.
Recorder (musical instrument)
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The recorder is a woodwind musical instrument in the group known as internal duct flutes—flutes with a whistle mouthpiece. It is distinguished from other duct flutes by having a thumb-hole for the hand and seven finger-holes. It is the most prominent duct flute in the classical tradition. Recorders are made in different sizes with compasses corresponding to different vocal ranges, the sizes most commonly in use today are the soprano, alto, tenor and bass. Recorders are traditionally constructed from wood and ivory, although the use of plastics is now common, other characteristics of their construction, such as bore profile and fingering systems, have varied over time and between instruments. The recorder is first documented in the Middle Ages, and continued to enjoy popularity in the renaissance and baroque periods. It was revived in the 20th century as part of the historically informed performance movement, today, there are many professional recorder players who demonstrate the instruments full solo range and a large community of amateurs. The sound of the recorder is described as clear and sweet. It is notable for its response and its corresponding ability to produce a wide variety of articulations. This ability, coupled with its open finger holes, allow it to produce a variety of tone colors. Acoustically, its tone is relatively pure and odd harmonics predominate in its sound, the instrument has been known by its modern English name at least since the 14th century. David Lasocki reports the earliest use of recorder in the accounts of the Earl of Derby in 1388. By the 15th century, the name had appeared in English literature, the instrument name recorder derives from the Latin recordārī, by way of Middle French recorder and MFr recordeur, itself derived from MFr recorder. Thus, the recorder cannot have been named after the sound of birds, the name of the instrument is also uniquely English, in Middle French there is no equivalent noun sense of recorder referring to a musical instrument. Partridge indicates that the use of the instrument by jongleurs led to its association with the verb, recorder the minstrels action, the reason we know this instrument as the recorder and not one of the other instruments played by the jongleurs is uncertain. Until about 1695, the recorder and flute overlapped, but from 1673 to the late 1720s in England. Until at least 1765, some still used flute to mean recorder. Until the mid 18th century, musical scores written in Italian refer to the instrument as flauto and this distinction, like the English switch from recorder to flute, has caused confusion among modern editors, writers and performers
2.
Musical instrument classification
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Throughout history, various methods of musical instrument classification have been used. The most commonly used system divides instruments into string instruments, woodwind instruments, brass instruments and percussion instruments, the oldest known scheme of classifying instruments is Chinese and dates from the 3rd millennium BC. It grouped instruments according to the materials they are made of. However, the Chou-Li, an anonymous treatise compiled from sources in about the 2nd century BC, had the following order, metal, stone, clay, leather, silk, wood, gourd. The same order was presented in the Tso Chuan, attributed to Tso Chiu-Ming, more usually, instruments are classified according to how the sound is initially produced. The modern system divides instruments into wind, strings and percussion, the scheme was later expanded by Martin Agricola, who distinguished plucked string instruments, such as guitars, from bowed string instruments, such as violins. Classical musicians today do not always maintain this division, but distinguish between wind instruments with a reed and those where the air is set in motion directly by the lips, many instruments do not fit very neatly into this scheme. The serpent, for example, ought to be classified as a brass instrument, however, it looks more like a woodwind instrument, and is closer to one in many ways, having finger-holes to control pitch, rather than valves. Keyboard instruments do not fit easily into this scheme, for example, the piano has strings, but they are struck by hammers, so it is not clear whether it should be classified as a string instrument or a percussion instrument. Ottoman encyclopedist Hadji Khalifa also recognized the three classes in his Kashf al-Zunun an Asami al-Kutub wa al-Funun, a treatise on the origin. The division pervades Tboli thought about cosmology, social characters of men and women, victor-Charles Mahillon later adopted a system very similar to this. This scheme was taken up by Erich von Hornbostel and Curt Sachs who published an extensive new scheme for classication in Zeitschrift für Ethnologie in 1914. Their scheme is used today, and is most often known as the Hornbostel-Sachs system. Electrophones, such as the guitar or electric bass, which produce sound through electricity and is required to be plugged in to an amplifier. Later Sachs added a category, electrophones, such as theremins. Modern synthesizers and electronic instruments fall in this category, within each category are many subgroups. The system has been criticised and revised over the years, in 1932, comparative musicologist André Schaeffner developed a new classification scheme that was exhaustive, potentially covering all real and conceivable instruments. The Kpelle of West Africa also use this system and they distinguish the struck, including both beaten and plucked, and the blown
3.
Double reed
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A double reed is a type of reed used to produce sound in various wind instruments. The term double reed comes from the fact there are two pieces of cane vibrating against each other. A single reed consists of one piece of cane which vibrates against a mouthpiece made of metal, hardened rubber, resin, the term double reeds can also refer collectively to the class of instruments which use double reeds. There are several differences, the most obvious being size, between various types of reeds, for example between that for a bassoon and that for an oboe or a cor anglais. Typically, Arundo donax cane is used for the making of double reeds, for bassoon reeds, tubes of this cane are first split lengthwise then gouged to a certain thickness. The chosen piece of cane is cut to shape and the centre portion is thinned. The cane is folded end to end to form the two blades of the reed, the unprofiled end of the cane is shaped into a tube with the aid of a mandrel and bound with three strategically placed wires. A turban made out of thread is added on the third wire and it provides a hand hold for the reed that isnt a sharp wire. The folded tip is cut off to allow the blades to vibrate and final adjustments to the interior of the using a reamer. The reed is then ready to fit to the bocal of the bassoon, note that there are many schools of thought and processes for making reeds. However, because the oboe does not have a bocal, the cane must be fastened to a metal tube, the staple is then inserted into the farrow at the upper end of the oboe. There are many different methods of making reeds and many variations of design have been developed, players can buy reeds either ready-made, or in various stages of formation, such as part-scraped, reed blanks, or buy the staples and cane separately. Cane is sold in forms, as tubes, gouged, gouged and shaped. Bassoon cane has the option of being profiled before purchase. Cane from several different regions is used in reed making, traditionally from southern France, there are also many options with regard to staples, shaping equipment, and so forth, which all have a subtle effect on the tone quality a reed will produce. While cane is by far the most common material for double reeds, reeds made out of synthetic materials may be used, these reeds often last longer and are less sensitive to temperature and humidity flucutations. Most reeds produced from synthetic materials have a quality that is dissimilar to that of a cane reed and are not favored by musicians. However, some recent manufacturers produce synthetic reeds that are used in a professional setting, oboe double reeds are about 7 mm in width
4.
Musical instrument
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A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
5.
Launeddas
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The launeddas is a typical Sardinian woodwind instrument made of three pipes. It is an instrument, with one of the pipes functioning as a drone. Predecessors of the launeddas can be traced back to approximately 2700 BCE in Egypt, during the Old Kingdom in Egypt, memets were depicted on the reliefs of seven tombs at Saqqarra, six tombs at Giza, and the pyramids of Queen Khentkaus. The launeddas itself dates back to at least the eighth century BCE and are played today during religious ceremonies and dances. Distinctively, they are played using extensive variations on a few phrases. Launeddas are used to play a style of music by circular breathing that has achieved some international attention, especially Efisio Melis, Antonio Lara, Dionigi Burranca. Melis and Lara were the biggest stars of the 1930s golden age of launedda, Launeddas consist of three reed pipes, two five-holed chanters of different lengths and one drone. They are played using circular breathing, since the late 20th century the launeddas has also been used in non-traditional contexts. In 1990, the American jazz saxophonist Dave Liebman released a CD called The Blessing of the Old, long Sound, on which he collaborates with the launeddas players Alberto Mariani, Carlo Mariani, and Dionigi Burranca. The CD was recorded in Milan in November 1989, triple pipes F. W. Bentzon, The Launeddas. A Sardinian folk music instrument, Akademisk Forlag, Copenhagen,1969, P. Mercurio, La Cultura delle Launeddas. I Suoni del Maestro Giovanni Casu, Solinas, Nuoro,2011, F. W. Bentzon, Launeddas, Cagliari,2002 ISBN 88-88998-00-4. (Dansk Musik-tidsskrift, Copenhagen, May,1961, No, theory and Bricolage, Attilio Cannargius Temperament, Yearbook for Traditional Music, Vol.14, pp. 45–54. Strumento dellIdentità Musicale Sarda, collana “Ethnomusica & Istruzione”, Milano,2015 ISBN9786050345346 Efisio Melis and Antonio Lara - Launeddas, the Rough Guide to Sardinia, p.335
6.
Sorna
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The sornā or Sarnā is an ancient Iranian woodwind instrument. The word sorna is a Pahlavi derivative of sūrnāy, which is a compand of sūr-, possibly it was called strong flute due to its double-reed-construction rather than usual nāy, which was made of a single tube of cane. Also it is suggested that the first part of word of sorna, is from sūr- again from Pahlavi and New-Persian, meaning the banquet, meal and feast and it is also suggested that Sorna is a cognate of Horn, as Sorna simply means horn. This is a result of the Centum-Satem isogloss, and later Grimms Law, even in Persian there is another wind instrument whose name appears to be a cognate of both Sorna and Horn, called Karna, this may stem from a re-borrowing from another language. The instruments history dates back to the Achaemenid Dynasty, and was used to play at the end of the day from the city gate or from the administration building. This custom persisted in England until the 19th century, the town waits playing shawms to mark the hours, the instrument was mainly played in outdoors in regional music of Iran in the festive ceremonies. According to the Shahnameh, it was King Jamshid who devised the Sornā, except the literary evidences, there are also number of artefacts from Sasanian dynasty, depicting Sorna, such a silver dish, currently in Hermitage Museum. A small amount of air is forced under pressure through a metal tube called the staple which serves to hold the reed. This requires the player to make sure, as in oboe playing, often sornas were played in pairs, with a melody and a drone player. This drone may move to different notes during a piece of music, several other names, such as dohol, davul, tavel, and so on have been applied to the sorna. Since dohol is a double-faced drum sometimes it is called do-rūyeh in Persian language, in contrast to ghaval and daf, the Sorna is mostly played in Loristan, Chaharmahal and Bakhtiari, Kurdistan, Sistan and Baluchestan Province and Iranian Azerbaijan. In Loristan, Sorna is used as an instrument during wedding ceremonies. Sorna almost always is accompanied with dohol in this region, in the region of Sistan and Baluchestan, sorna is mostly used in wedding ceremonies and other celebration. The instrument is accompanied by dohol and sometimes may include traditional dance by forming a circle
7.
Rhaita
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The rhaita or ghaita is a double reed instrument from North Africa. It is nearly identical in construction to the Arabic mizmar and the Turkish zurna, the distinctive name owes to a medieval Gothic-Iberian influence. In southern Iberia, various sorts of instruments, including the related shawm, are known as gaitas. The rhaita was featured in The Lord of the Rings soundtracks by Howard Shore, in 1981 while composing the soundtrack to Altered States Corigliano again called for oboists to mimic the rhaita sound during Three Hallucinations
8.
Suona
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The suona, also called laba or haidi, is a Chinese sorna. It has a loud and high-pitched sound, and is used frequently in Chinese traditional music ensembles. It is an important instrument in the music of northern China, particularly the provinces of Shandong and Henan. It is still used, in combination with sheng mouth organs, gongs, drums, such wind and percussion ensembles are called chuida or guchui. Stephen Jones has written extensively on its use in music of Shanxi province. It is also common in the music of Southeast China. In Taiwan, it forms an element of ritual music that accompanies Daoist performances of both auspicious and inauspicious rites, i. e. those for both the living and the dead. The double-reed gives the instrument a sound similar to that of the modern oboe, the instrument is made in several sizes. There is now a family of instruments, including the zhongyin suona, cizhongyin suona. It has been used in modern music arrangements as well, including in the works of Chinese rock musician Cui Jian, the highest varieties are not normally keyed. Other sources state the origins of the suona to be Arabia, the European Shawm is also derived from this ancient instrument. It was not mentioned in Chinese literature until the Ming Dynasty, in Korea, a similar instrument is called taepyeongso, and in Vietnam similar oboes are called kèn. In Japan, an instrument is called charumera. This instruments name is derived from charamela, the Portuguese word for shawm and its sound is well known throughout Japan, as it is often used by street vendors selling ramen. A similar instrument, the zurna, is played during occasions and folk music in the Balkans, India, Iran. The suona is also used as an instrument in Cuba. It is known there as trompeta china and is used in forms of son. The American jazz saxophonist Dewey Redman often played the suona in his performances, bassist and saxophonist, the late Mick Karn used the instrument crediting it as a dida
9.
Sopila
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The sopile is an ancient traditional woodwind instrument of Croatia, similar to the oboe or shawm. It is used in the regions of Kvarner, Kastav, Vinodol, Island Krk, Sopile are always played in pairs so there are great and small or thin and fat sopila. Sopile are musical instrument of sound very interesting possibilities and very piercing special sound and this is replicated in more modern examples of Kvarner music through use of modified double reed clarinet or soprano Dulzaina. Sopile are, by mih and šurle, today very popular in folk tradition of Istria, Kvarner, Roženice are ancient traditional musical instruments which continue to be used today in the region of Istria. Roženice are very similar to sopile from Island Krk, Roženice are always played in pairs so there are great and small or thin and fat rozenica. Roženice have a very piercing special sound, and have the possibility of producing a variety of sounds, Roženice are, by mih and šurle, today very popular in folk tradition of Istra. The sopila is a wooden horn originating from Istria and some of the islands along the Adriatic Coast of Croatia. Like oboes, sopilas have double reeds, but are played in pairs. Both have six finger holes, being equally spaced on the smaller one, often used to accompany dancing, the voice of the sopila is that of the Istrian scale. Rhaita Suona Shawm Zurna Roženice Sopile Sopile
10.
Shawm
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The shawm is a conical bore, double-reed woodwind instrument made in Europe from the 12th century to the present day. It achieved its peak of popularity during the medieval and Renaissance periods and it is likely to have come to Western Europe from the Eastern Mediterranean around the time of the Crusades. Double reed instruments similar to the shawm were long present in Southern Europe and the East, for instance the Ancient Greek, and later Byzantine, aulos, the Persian sorna, and the Armenian duduk. The body of the shawm is usually turned from a piece of wood. Beginning in the 16th century, shawms were made in sizes, from sopranino to great bass. All later shawms have at least one key allowing an extension of the compass. The pirouette, a small wooden attachment with a cavity in the center resembling a thimble, surrounds the lower part of the reed—this provides support for the lips and embouchure. Since only a portion of the reed protrudes past the pirouette, the player has only limited contact with the reed. In English the name only first appears in the 14th century, the early plural forms were often mistaken for a singular, and new plurals were formed from them. The later reduction in the 15th and 16th centuries to a syllable in forms such as schalme, shaume, shawme. In Portugal there is an instrument called charamela, and the name of the Italian shawm is ciaramella, Instruments resembling the medieval shawm can still be heard in many countries today, played by street musicians or military bands. The latter use would have been familiar to crusaders, who often had to face massed bands of Saracen shawms and nakers and it must have had a profound effect, as the shawm was quickly adopted by Europeans, for dancing as well as for military purposes. The standard outdoor dance band in the century consisted of a slide trumpet playing popular melodies. In many Asian countries, shawm technique includes circular breathing allowing continuous playing without pauses for air, by the early 16th century, the shawm had undergone considerable development. The harsh tonality of the shawm had been modulated somewhat by a narrowing of the bore. This also extended the range, enabling the performer to play the notes in the second octave. Larger sizes of shawm were built, down to the bass in Bb, two octaves and a major third below the soprano in D. However, the larger sizes were unwieldy. The shawm became standard equipment for bands, or waits
11.
Zampogna
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The tradition is now mostly associated with Christmas, and the most famous Italian carol, Tu scendi dalle stelle is derived from traditional zampogna music. However, there is a resurgence of the instrument in secular use seen with the increasing number of folk music festivals. All chanters and drones are fixed into a single stock that the bag is attached to. Each chanter is tuned differently, according to the tradition it represents, the single reed versions consist of the surdullina types of the Province of Cosenza and Catanzaro, and the ciaramella or ciaramedda of Messina and Catania in Sicily, as well as in Southern Calabria. The traditional reeds are made from stalks of the Giant Reed Arundo donax, the double reed versions may also be made from plastic. The single reeds are made from a section of the cane. The typical round stock into which both chanters and drones are fixed goes into the neck of the skin, the hair is left on, and is contained in the inside of the bag. Today, however, some pipers are substituting the traditional goat and this practice of using the synthetic bag is particularly popular among the pipers from Scapoli in the Molise region, and those of Atina in Latium. This double reed tradition would include the Ciociaria, that of southern Basilicata and nearby areas of Calabria, single reed versions are played solo in the Calabrian tradition of the surdullina, and a version with a plugged chanter called the surdullina Albanese, and the Sicilian ciaramedda or ciaramèddha. The chanters and drones vary, according to the tradition, from a few inches long to nearly two meters in length, such as used in the cathedral of Monreale and nearly every size in between. The pipes are related to the Sardinian launeddas, a single reed triple clarinet comprising two chanters and a drone and played in the mouth by circular breathing. The word zampogna is etymologically related to the Greek sumfōnia, meaning concord or unison of sound and it cognates to tsampouna, the word for the Greek island bagpipe, itself a reborrowing of zampogna. Its Romanian counterpart is cimpoi, which means symphony or many sounds played together, there is a bagpipe museum, the Museo della Zampogna in Scapoli, Molise. suonidellaterra. com http, //web. archive. org/web/20090116183633/http, //www. zampognari. org, 80/ Zampogna page
12.
Zurna
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The zurna, is a wind instrument played in central Eurasia, ranging from the Balkans to Central Asia. It is usually accompanied by a davul in Anatolian folk music, the zurna, like the duduk and kaval, is a woodwind instrument used to play Anatolian, Middle Eastern and Central Asian folk music. The zurna is an oboe, made from the apricot fruit tree. Thus, it has historically been played outdoors during festive events such as weddings and it has eight holes on the front, seven of which are used while playing, and one thumbhole which provides a range of one octave. It is similar to the mizmar, in the Slavic nations of the Balkans it is typically called zurla. The zurna is most likely the predecessor of the European shawm. The Japanese charumera, or charamera, traditionally associated with itinerant noodle vendors is a small zurna, few, if any, noodle vendors continue this tradition, and those who do would use a loudspeaker playing a recorded charumera. There are several different types of zurnas and they all share one and the same sound inductor—the so-called kalem—which is actually a very tight double reed, sometimes made out of wheat leaves. The longest is the Kaba zurna, used in northern Turkey, as a rule of thumb, a zurna is conical and made of wood. Turkish lore says that Adam, who was moulded from clay, had no soul and it is said only the melodious tuiduk-playing of Archangel Gabriel could breathe life into Adam. According to a Turkmen legend, the played the main role in tuiduk invention. The name is derived from Persian سرنای surnāy, composed of سور sūr “banquet, feast” and نای nāy “reed, memo G. Schachiner, MusicalConfrontations. com Zurna FAQ
13.
Ancient Greek
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Ancient Greek includes the forms of Greek used in ancient Greece and the ancient world from around the 9th century BC to the 6th century AD. It is often divided into the Archaic period, Classical period. It is antedated in the second millennium BC by Mycenaean Greek, the language of the Hellenistic phase is known as Koine. Koine is regarded as a historical stage of its own, although in its earliest form it closely resembled Attic Greek. Prior to the Koine period, Greek of the classic and earlier periods included several regional dialects, Ancient Greek was the language of Homer and of fifth-century Athenian historians, playwrights, and philosophers. It has contributed many words to English vocabulary and has been a subject of study in educational institutions of the Western world since the Renaissance. This article primarily contains information about the Epic and Classical phases of the language, Ancient Greek was a pluricentric language, divided into many dialects. The main dialect groups are Attic and Ionic, Aeolic, Arcadocypriot, some dialects are found in standardized literary forms used in literature, while others are attested only in inscriptions. There are also several historical forms, homeric Greek is a literary form of Archaic Greek used in the epic poems, the Iliad and Odyssey, and in later poems by other authors. Homeric Greek had significant differences in grammar and pronunciation from Classical Attic, the origins, early form and development of the Hellenic language family are not well understood because of a lack of contemporaneous evidence. Several theories exist about what Hellenic dialect groups may have existed between the divergence of early Greek-like speech from the common Proto-Indo-European language and the Classical period and they have the same general outline, but differ in some of the detail. The invasion would not be Dorian unless the invaders had some relationship to the historical Dorians. The invasion is known to have displaced population to the later Attic-Ionic regions, the Greeks of this period believed there were three major divisions of all Greek people—Dorians, Aeolians, and Ionians, each with their own defining and distinctive dialects. Often non-west is called East Greek, Arcadocypriot apparently descended more closely from the Mycenaean Greek of the Bronze Age. Boeotian had come under a strong Northwest Greek influence, and can in some respects be considered a transitional dialect, thessalian likewise had come under Northwest Greek influence, though to a lesser degree. Most of the dialect sub-groups listed above had further subdivisions, generally equivalent to a city-state and its surrounding territory, Doric notably had several intermediate divisions as well, into Island Doric, Southern Peloponnesus Doric, and Northern Peloponnesus Doric. The Lesbian dialect was Aeolic Greek and this dialect slowly replaced most of the older dialects, although Doric dialect has survived in the Tsakonian language, which is spoken in the region of modern Sparta. Doric has also passed down its aorist terminations into most verbs of Demotic Greek, by about the 6th century AD, the Koine had slowly metamorphosized into Medieval Greek
14.
Latin
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Latin is a classical language belonging to the Italic branch of the Indo-European languages. The Latin alphabet is derived from the Etruscan and Greek alphabets, Latin was originally spoken in Latium, in the Italian Peninsula. Through the power of the Roman Republic, it became the dominant language, Vulgar Latin developed into the Romance languages, such as Italian, Portuguese, Spanish, French, and Romanian. Latin, Italian and French have contributed many words to the English language, Latin and Ancient Greek roots are used in theology, biology, and medicine. By the late Roman Republic, Old Latin had been standardised into Classical Latin, Vulgar Latin was the colloquial form spoken during the same time and attested in inscriptions and the works of comic playwrights like Plautus and Terence. Late Latin is the language from the 3rd century. Later, Early Modern Latin and Modern Latin evolved, Latin was used as the language of international communication, scholarship, and science until well into the 18th century, when it began to be supplanted by vernaculars. Ecclesiastical Latin remains the language of the Holy See and the Roman Rite of the Catholic Church. Today, many students, scholars and members of the Catholic clergy speak Latin fluently and it is taught in primary, secondary and postsecondary educational institutions around the world. The language has been passed down through various forms, some inscriptions have been published in an internationally agreed, monumental, multivolume series, the Corpus Inscriptionum Latinarum. Authors and publishers vary, but the format is about the same, volumes detailing inscriptions with a critical apparatus stating the provenance, the reading and interpretation of these inscriptions is the subject matter of the field of epigraphy. The works of several hundred ancient authors who wrote in Latin have survived in whole or in part and they are in part the subject matter of the field of classics. The Cat in the Hat, and a book of fairy tales, additional resources include phrasebooks and resources for rendering everyday phrases and concepts into Latin, such as Meissners Latin Phrasebook. The Latin influence in English has been significant at all stages of its insular development. From the 16th to the 18th centuries, English writers cobbled together huge numbers of new words from Latin and Greek words, dubbed inkhorn terms, as if they had spilled from a pot of ink. Many of these words were used once by the author and then forgotten, many of the most common polysyllabic English words are of Latin origin through the medium of Old French. Romance words make respectively 59%, 20% and 14% of English, German and those figures can rise dramatically when only non-compound and non-derived words are included. Accordingly, Romance words make roughly 35% of the vocabulary of Dutch, Roman engineering had the same effect on scientific terminology as a whole
15.
Music of ancient Greece
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It thus played an integral role in the lives of ancient Greeks. Even archaeological remains reveal an abundance of depictions on ceramics, for example, the word music comes from the Muses, the daughters of Zeus and patron goddesses of creative and intellectual endeavours. Music played a role in ancient Greek society. Pericles teacher Damon said, according to Plato in the Republic, when fundamental modes of music change, Music and gymnastics comprised the main divisions in ones schooling. Or Apollos musical victories over Marsyas and Pan. It may be that the sounds of the music heard at rituals, games, dramas. Indeed, one reads of the revolution in Greek culture, and Platos lament that the new music. used high musical talent, showmanship, the lyre was used to accompany others or even oneself for recitation and song. It was associated with an aristocratic upbringing and the cult of Apollo, the kithara, also a strummed string instrument, more complicated than the lyre. It had a frame with strings stretched from the cross-bar at the top to the sounding box at the bottom, it was held upright. The strings were tunable by adjusting wooden wedges along the cross-bar and it is one possible origin of the contemporary guitar. The barbitos, a taller lyre considered to be the least complicated, the aulos, usually double, consisting of two double-reed pipes, not joined but generally played with a mouth-band to hold both pipes steadily between the players lips. Modern reconstructions indicate that they produced a low, clarinet-like sound, there is some confusion about the exact nature of the instrument, alternate descriptions indicate single-reeds instead of double reeds. It was associated with the cult of Dionysus, sound is produced by blowing across the top of the open pipe. The hydraulis, an instrument, the forerunner of the modern organ. As the name indicates, the instrument used water to supply a constant flow of pressure to the pipes, Two detailed descriptions have survived, that of Vitruvius and Heron of Alexandria. These descriptions deal primarily with the mechanism and with the device by which the instrument was supplied with air. A well-preserved model in pottery was found at Carthage in 1885, the salpinx was a brass trumpet used for military calls, and even contested in the Olympics. A number of sources mention this metal instrument with a bone mouthpiece, the lyre, kithara, aulos, hydraulis and salpinx all found their way into the music of ancient Rome
16.
Wind instrument
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The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air. In the case of wind instruments, sound is produced by blowing through a reed. Using different air columns for different tones, such as in the pan flute and this method is used on nearly all brass instruments. Changing the length of the air column by lengthening and/or shortening the tube using a sliding mechanism. This method is used on the trombone and the slide whistle, changing the frequency of vibration through opening or closing holes in the side of the tube. This can be done by covering the holes with fingers or pressing a key which then closes the hole and this method is used in nearly all woodwind instruments. Making the column of air vibrate at different harmonics without changing the length of the column of air, almost all wind instruments use the last method, often in combination with one of the others, to extend their register. A more accurate way to determine whether an instrument is brass or woodwind is to examine how the player produces sound, in brass instruments, the players lips vibrate, causing the air within the instrument to vibrate. For example, the saxophone is typically made of brass, but is classified as an instrument because it produces sound with a vibrating reed. In the Hornbostel-Sachs scheme of musical instrument classification, wind instruments are classed as aerophones, sound production in all wind instruments depends on the entry of air into a flow-control valve attached to a resonant chamber. The resonator is typically a long cylindrical or conical tube, open at the far end, a pulse of high pressure from the valve will travel down the tube at the speed of sound. It will be reflected from the end as a return pulse of low pressure. Under suitable conditions, the valve will reflect the pulse back, with increased energy, Reed instruments such as the clarinet or oboe have a flexible reed or reeds at the mouthpiece, forming a pressure-controlled valve. Standing waves inside the tube will be odd multiples of a quarter-wavelength, with a pressure anti-node at the mouthpiece, the reed vibrates at a rate determined by the resonator. For Lip Reed instruments, the controls the tension in their lips so that they vibrate under the influence of the air flow through them. They adjust the vibration so that the lips are most closed, and the air flow is lowest, standing waves inside the tube will be odd multiples of a quarter-wavelength, with a pressure anti-node at the mouthpiece, and a pressure node at the open end. For Air Reed instruments, the thin grazing air sheet flowing across an opening in the pipe interacts with an edge to generate sound. The jet is generated by the player, when blowing through a thin slit, for recorders and flue organ pipes this slit is manufactured by the instrument maker and has a fixed geometry
17.
Greek art
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Greek art began in the Cycladic and Minoan civilization, and gave birth to Western classical art in the subsequent Geometric, Archaic and Classical periods. Greek art is mainly five forms, architecture, sculpture, painting, artistic production in Greece began in the prehistoric pre-Greek Cycladic and the Minoan civilizations, both of which were influenced by local traditions and the art of ancient Egypt. There are three divisions of the stages of later ancient Greek art that correspond roughly with historical periods of the same names. These are the Archaic, the Classical and the Hellenistic, the Archaic period is usually dated from 1000 BC. Of course, different forms of art developed at different speeds in different parts of the Greek world, there was no sharp transition from one artistic period to another. The art of ancient Greece has exercised an influence on the culture of many countries from ancient times until the present. In the West, the art of the Roman Empire was largely derived from Greek models, following the Renaissance in Europe, the humanist aesthetic and the high technical standards of Greek art inspired generations of European artists. Pottery was either red with black designs or black with red designs, Byzantine art is the term created for the Eastern Roman Empire from about the 5th century until the fall of Constantinople in 1452. It can also be used for the art of people of the former Byzantine Empire under the rule of Ottoman Empire after 1453, in some respects the Byzantine artistic tradition has continued in Russia and other Eastern Orthodox countries to the present day. Byzantine art grew from the art of ancient Greece and, at least before 1453, never lost sight of its classical heritage, the most profound of these was that the humanist ethic of ancient Greek art was replaced by the Christian ethic. If the purpose of art was the glorification of man. One of the most important forms of Byzantine art was, and still is, like the Cretan school it combined Byzantine traditions with an increasing Western European artistic influence, and also saw the first signiand the National Gallery of Art in Washington, D. C. The Heptanese School of painting succeeded the Cretan School as the school of Greek post-Byzantine painting after Crete fell to the Ottomans in 1669. Like the Cretan school it combined Byzantine traditions with an increasing Western European artistic influence, the school was based in the Ionian Islands, which were not part of Ottoman Greece, from the middle of the 17th century until the middle of the 19th century. Modern Greek art, after the establishment of the Greek Kingdom, after centuries of Ottoman rule, few opportunities for an education in the arts existed in the newly independent Greece, so studying abroad was imperative for artists. Munich, as an important international center for the arts at that time, was the place where the majority of the Greek artists of the 19th century chose to study, later on, they would return to Greece and pass on their knowledge. Both academic and personal bonds developed between early Greek painters and Munich artistry giving birth to the Greek Munich School, nikolaos Gysis was an important teacher and artist at the Munich Academy and he soon became a leading figure among Greek artists. Many of these Munich School artists chose subjects such as everyday Greek life, local customs, several important painters emerged at this time
18.
Music of ancient Rome
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The music of ancient Rome was a part of Roman culture from earliest times. Music was customary at funerals, and the tibia, an instrument, was played at sacrifices to ward off ill influences. Song was a part of almost every social occasion. The Secular Ode of Horace, for instance, was commissioned by Augustus, under the influence of ancient Greek theory, music was thought to reflect the orderliness of the cosmos, and was associated particularly with mathematics and knowledge. Etruscan music had an influence on that of the Romans. During the Imperial period, Romans carried their music to the provinces, while traditions of Asia Minor, North Africa, the Romans may have borrowed the Greek method of enchiriadic notation to record their music, if they used any notation at all. Four letters indicated a series of four succeeding tones, rhythm signs, written above the letters, indicated the duration of each note. The Romans may have tuned their instruments to Greek modes, Roman art depicts various woodwinds, brass, percussion and stringed instruments. Roman-style instruments are found in parts of the Empire where they did not originate, the Roman tuba was a long, straight bronze trumpet with a detachable, conical mouthpiece like that of the modern French horn. In the military, it was used for bugle calls, the tuba is also depicted in art such as mosaics accompanying games and spectacle events. The cornu was a tubular metal wind instrument that curved around the musicians body. It had a bore and a conical mouthpiece. It may be hard to distinguish from the buccina, the cornu was used for military signals and on parade. The cornicen was a signal officer who translated orders into calls. Like the tuba, the cornu also appears as accompaniment for public events, the tibia, usually double, had two double-reed pipes, not joined but generally played with a mouth-band capistrum to hold both pipes steadily between the players lips. Modern changes indicate that they produced a low, clarinet-like sound, there is some confusion about the exact nature of the instrument, alternate descriptions indicate each pipe having a single reed instead of a double reed. Versions of the flute and panpipes. The lyre was held or cradled in one arm and hand, the strings were tuned by adjusting sticks seen in the engraving
19.
Oboe
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Oboes /ˈoʊboʊ/ OH-boh are a family of double reed woodwind musical instruments. The most common oboe plays in the treble or soprano range, oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with keys, a conical bore. Sound is produced by blowing into the reed and vibrating a column of air, the distinctive oboe tone is versatile, and has been described as bright. When the term oboe is used alone, it is taken to mean the standard treble instrument rather than other instruments of the family. In English, prior to 1770, the instrument was called a hautbois, hoboy. The spelling of oboe was adopted into English c.1770 from the Italian oboè, a musician who plays the oboe is called an oboist or simply an oboe player. In comparison to other woodwind instruments, the treble oboe is sometimes referred to as having a clear. The Sprightly Companion, a book published by Henry Playford in 1695, describes the oboe as Majestical and Stately. Humorously, the sound of the oboe is described in the play Angels in America as like that of a if the duck were a songbird. The rich timbre of the oboe is derived from its conical bore, as a result, oboes are readily audible over other instruments in large ensembles. The highest note of the oboe is a lower than the nominally highest note of the B♭ clarinet. Since the clarinet has a range of notes, the lowest note of the B♭ clarinet is significantly deeper than the lowest note of the oboe. Music for the oboe is written in concert pitch. Orchestras normally tune to a concert A played by the oboe, according to the League of American Orchestras, this is done because the pitch of the oboe is secure and its penetrating sound makes it ideal for tuning purposes. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound of the instrument, Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch of the instrument. German and French reeds, for instance, differ in many ways, weather conditions such as temperature and humidity also affect the pitch
20.
Armenia
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Armenia, officially the Republic of Armenia, is a sovereign state in the South Caucasus region of Eurasia. The Republic of Armenia constitutes only one-tenth of historical Armenia, Armenia is a unitary, multi-party, democratic nation-state with an ancient cultural heritage. Urartu was established in 860 BC and by the 6th century BC it was replaced by the Satrapy of Armenia, in the 1st century BC the Kingdom of Armenia reached its height under Tigranes the Great. Armenia became the first state in the world to adopt Christianity as its official religion, in between the late 3rd century to early years of the 4th century, the state became the first Christian nation. The official date of adoption of Christianity is 301 AD. The ancient Armenian kingdom was split between the Byzantine and Sasanian Empires around the early 5th century, under the Bagratuni dynasty, the Bagratid Kingdom of Armenia was restored in the 9th century. Declining due to the wars against the Byzantines, the fell in 1045. An Armenian principality and later a kingdom Cilician Armenia was located on the coast of the Mediterranean Sea between the 11th and 14th centuries. By the 19th century, Eastern Armenia had been conquered by the Russian Empire, during World War I, Armenians living in their ancestral lands in the Ottoman Empire were systematically exterminated in the Armenian Genocide. By 1920, the state was incorporated into the Transcaucasian Socialist Federative Soviet Republic, in 1936, the Transcaucasian state was dissolved, transforming its constituent states, including the Armenian Soviet Socialist Republic, into full Union republics. The modern Republic of Armenia became independent in 1991 during the dissolution of the Soviet Union, the Republic of Armenia recognises the Armenian Apostolic Church, the worlds oldest national church, as the countrys primary religious establishment. The unique Armenian alphabet was invented by Mesrop Mashtots in 405 AD, Armenia is a member of the Eurasian Economic Union, the Council of Europe and the Collective Security Treaty Organization. Armenia supports the de facto independent Nagorno-Karabakh Republic, which was proclaimed in 1991, the native Armenian name for the country is Հայք. The name in the Middle Ages was extended to Հայաստան, by addition of the Persian suffix -stan, the further origin of the name is uncertain. It is also postulated that the name Hay comes from one of the two confederated, Hittite vassal states—the Ḫayaša-Azzi. The exonym Armenia is attested in the Old Persian Behistun Inscription as Armina, the ancient Greek terms Ἀρμενία and Ἀρμένιοι are first mentioned by Hecataeus of Miletus. Xenophon, a Greek general serving in some of the Persian expeditions, describes many aspects of Armenian village life and he relates that the people spoke a language that to his ear sounded like the language of the Persians. According to the histories of both Moses of Chorene and Michael Chamchian, Armenia derives from the name of Aram, a descendant of Hayk
21.
Duduk
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The duduk is an ancient double-reed woodwind flute made of apricot wood. It is commonly played in pairs, while the first player plays the song, the plays a steady drone. The unflattened reed and cylindrical body produce a closer to the English horn than to more commonly known double-reeds. Unlike other double reed instruments like the oboe or shawm, the duduk has a large reed proportional to its size. UNESCO proclaimed the Armenian duduk and its music as a Masterpiece of the Intangible Heritage of Humanity in 2005, Duduk music has been used in a number of films, most notably in The Russia House and Gladiator. Variations of the duduk exist in Eastern Europe, the Middle East and Central Asia, the word duduk is derived from Turkish düdük which means whistle. The word dudka in Slavic languages is a diminutive of duda and is of native Proto-Slavic origin and this instrument is not to be confused with the northwestern Bulgarian folk instrument of the same name. The earliest instruments similar to the present form are made of bone or entirely of cane. Today, the duduk is exclusively made of wood with a double reed. The particular tuning depends heavily on the region in which it is played, in the twentieth century, the Armenian duduk began to be standardized diatonic in scale and single-octave in range. Accidentals, or chromatics are achieved using fingering techniques, the instruments body also has different lengths depending upon the range of the instrument and region. The reed, is made one or two pieces of cane in a duck-bill type assembly. Unlike other double-reed instruments, the reed is quite wide, helping to give the duduk both its unique, mournful sound, as well as its remarkable breath requirements, the duduk player is called dudukahar in Armenian. The performer uses air stored in his cheeks to keep playing the instrument while he inhales air into his lungs and this circular breathing technique is commonly used with all the double-reed instruments in the Middle East. Duduk is invariably played with the accompaniment of a second dum duduk, Armenian musicologists cite evidence of the duduks use as early as 1200 BC, though Western scholars suggest it is 1,500 years old. Variants of the duduk can be found in Armenia and the Caucasus, the history of the Armenian duduk music is dated to the reign of the Armenian king Tigran the Great, who reigned from 95–55 B. C. The most important quality of the duduk is its ability to express the language dialectic and mood of the Armenian language, which is often the most challenging quality to a duduk player. While duduk most commonly refers to the reed instrument described on this page
22.
Reed (mouthpiece)
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A reed is a thin strip of material which vibrates to produce a sound on a musical instrument. The reeds of most woodwind instruments are made from Arundo donax or synthetic material, musical instruments may be classified according to the type and number of reeds used. The earliest types of single-reed instruments used idioglottal reeds, where the reed is a tongue cut. Much later, single-reed instruments started using heteroglottal reeds, where a reed is cut and separated from the tube of cane, by contrast, in a an uncapped double reed instrument, there is no mouthpiece, the two parts of the reed vibrate against one another. Single reeds are used on the mouthpieces of clarinets and saxophones, the back of the reed is flat and is placed against the mouthpiece, the rounded top side tapers to a thin tip. These reeds are roughly rectangular in shape except for the thin vibrating tip, all single reeds are shaped similarly but vary in size to fit each instruments mouthpiece. Reeds designed for the instrument may look identical to each other. Hardness is generally measured on a scale of 1 through 5 from softest to hardest and this is not a standardized scale and reed strengths vary by manufacturer. The thickness of the tip and heel and the profile in between affect the sound and playability, cane of different grades, even if cut with the same profile, will also respond differently. This is due to the natural differences in the density of the cane fibers. The cane used to make reeds for saxophone, clarinet, once the cane is cut, it must lay out and dry in direct sunlight for about a month. The cane is rotated regularly to ensure proper and complete drying, once dry, they are taken to be stored in a warehouse. As the cane is needed, it is pulled from the warehouse, once at the factory, the cane is taken to the cutting department where it is cut into tubes. The tubes are graded by diameter and wall density, the tubes are then cut into splits which are transformed into reed blanks. The blanks are tapered and profiled using blades or CNC machines into reeds, after the reeds are completed, they are taken to a machine that grades them for strength. Double reeds are used on the oboe, oboe damore, English horn, bass oboe, Heckelphone, bassoon, contrabassoon, sarrusophone, shawm, bagpipes, nadaswaram and they are typically not used in conjunction with a mouthpiece, rather the two reeds vibrate against each other. Reed strengths are graded from hard to soft, the making of double reeds begins in the same way as how single reeds are made. The cane is collected from Arundo donax, dried, processed, similar to single reed production, the cane is separated into various diameters. The most common diameters for American-style oboe reeds are as follows,9. 5–10 mm, 10–10.5 mm, many American oboists prefer a specific diameter at one time of the year and a different diameter at other times, depending on the season and the weather
23.
Bagpipes
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Bagpipes are a wind instrument using enclosed reeds fed from a constant reservoir of air in the form of a bag. The term bagpipe is equally correct in the singular or plural, though pipers usually refer to the bagpipes as the pipes, a set of bagpipes minimally consists of an air supply, a bag, a chanter, and usually at least one drone. Many bagpipes have more than one drone in various combinations, held in place in stocks—sockets that fasten the various pipes to the bag, the most common method of supplying air to the bag is through blowing into a blowpipe, or blowstick. In some pipes the player must cover the tip of the blowpipe with their tongue while inhaling, an innovation, dating from the 16th or 17th century, is the use of a bellows to supply air. In these pipes, sometimes called cauld wind pipes, air is not heated or moistened by the players breathing, the bag is an airtight reservoir that holds air and regulates its flow via arm pressure, allowing the player to maintain continuous even sound. The player keeps the bag inflated by blowing air into it through a blowpipe or pumping air into it with a bellows, materials used for bags vary widely, but the most common are the skins of local animals such as goats, dogs, sheep, and cows. More recently, bags made of materials including Gore-Tex have become much more common. A drawback of the bag is the potential for fungal spores to colonise the bag because of a reduction in necessary cleaning. An advantage of a bag is that they have a zip which allows the user to fit a more effective moisture trap to the inside of the bag. Bags cut from larger materials are usually saddle-stitched with an extra strip folded over the seam, holes are then cut to accommodate the stocks. The chanter is the pipe, played with two hands. Almost all bagpipes have at least one chanter, some pipes have two chanters, particularly those in North Africa, the Balkans in Southern Europe, and Southwest Asia. A chanter can be bored internally so that the walls are parallel for its full length. The chanter is usually open-ended, so there is no way for the player to stop the pipe from sounding. Thus most bagpipes share a constant, legato sound where there are no rests in the music, primarily because of this inability to stop playing, technical movements are used to break up notes and to create the illusion of articulation and accents. Because of their importance, these embellishments are often highly technical systems specific to each bagpipe, a few bagpipes have closed ends or stop the end on the players leg, so that when the player closes the chanter becomes silent. A practice chanter is a chanter without bag or drones, allowing a player to practice the instrument quietly, the term chanter is derived from the Latin cantare, or to sing, much like the modern French word chanteur. The note from the chanter is produced by a reed installed at its top, the reed may be a single or double reed
24.
Bota bag
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A bota bag or wineskin is a traditional Spanish liquid receptacle. Typically, it is made of leather, and is used to carry wine. Often referred to as a canteen, traditionally, bota bags were lined with goat bladders, in other cases tree sap or other resins were used to prevent liquids from seeping through. Modern bota bags have a liner and nozzle. The zahato is the traditional bottle of the Basque shepherds. With its narrow nozzle, it is possible to drink zurrust, the name of zahato or zahako is a diminutive zahat-to/-ko of zahagi big goatskin bottle. The zahato is made of two pieces of tanned and close-cropped goatskin, softened, they are cut out on a last and are sewn on their sides. Then the bottle is turned up, seam and hair inside, after drying, it is inflated, then coated with pitch to make it impermeable. The nozzle, traditionally in horn, is fixed by a red collar, the zahato is carried across the shoulder with the red cord which surrounds it along the seam. Colambre Waterskin New Wine into Old Wineskins
25.
Chanter
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The chanter is the part of the bagpipe upon which the player creates the melody. It consists of a number of finger-holes, and in its simpler forms looks similar to a recorder. On more elaborate bagpipes, such as the Northumbrian bagpipes or the Uilleann pipes, it also may have a number of keys, like the rest of the bagpipe, they are often decorated with a variety of substances, including metal, bone, ivory, or plastic mountings. Chanters come in two types, parallel and non-parallel bored. This refers to the shape of the bore of the chanter. On the Great Highland Bagpipe, the bore is conical. The Northumbrian pipes, on the hand, have a parallel bore. Although the majority of chanters are unkeyed, some make use of keys to extend the range and/or the number of accidentals the chanter can play. The most common pipe featuring this arrangement is the Northumbrian smallpipe, another variant of the chanter is the two-piped chanter. The chanter pipes may be designed to be played separately, one with each hand, one chanter may provide a drone accompaniment to the other, or the two chanters may play in a harmony of thirds and sixths. On the Great Highland bagpipe, tuning of the notes of the chanter is done using tape to slightly cover the finger holes as needed. Historically, it was done with wax, as was done with other woodwind instruments, the practice chanter is used as a practice instrument for the Great Highland Bagpipe. It is somewhat similar in appearance, though smaller than the bagpipe chanter. It is also used as a first instrument so that learners can learn the finger technique before learning the mechanics of controlling the bag. It is almost exclusively made of hardwood or plastic
26.
Drone (music)
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In music, a drone is a harmonic or monophonic effect or accompaniment where a note or chord is continuously sounded throughout most or all of a piece. Burden also refers to a part of a song that is repeated at the end of each stanza, the term comes from the French bourdon, a staff, or a pipe made in the form of a staff. The drone does not take its name from the bee and it is a far older word, sharing an Indo-European root with the Sanskrit dhran, the Greek thren-os, and the English thrum, drum, and dream. Of all harmonic devices, it is not only the simplest, a drone effect can be achieved through a sustained sound or through repetition of a note. It most often establishes a tonality upon which the rest of the piece is built, a drone can be instrumental, vocal or both. Drone can be placed in different ranges of the texture, in the lowest part, in the highest part. The drone is most often placed upon the tonic or dominant, a drone on the same pitch as a melodic note tends to both hide that note and to bring attention to it by increasing its importance. A drone differs from a pedal tone or point in degree or quality. A pedal point may be a form of tone and thus required to resolve unlike a drone, or a pedal point may simply be considered a shorter drone. The systematic use of drones originated in instrumental music of ancient Southwest Asia, and spread north and west to Europe, east to India and it is a key component of much Australian aboriginal music through the didgeridoo. It is used in Indian music and is played with the tanpura and other Indian drone instruments like the ottu, the ektar, the dotara, the surpeti, the surmandal and the shank. Most of the types of bagpipes that exist worldwide have up to three drones, making one of the first instruments that comes to mind when speaking of drone music. In America, most forms of the African-influenced banjo contain a drone string, since the 1960s, the drone has become a prominent feature in drone music and other forms of avant-garde music. In vocal music drone is particularly widespread in traditional cultures, particularly in Europe. Drones are not uncommon in primitive music, but neither are they characteristic of it and it is also present in some isolated regions of Asia. Drone is also the term for the part of a musical instrument intended to produce the drone effects sustained pitch, different melodic Indian instruments contain a drone. For example, the sitar features three or four resonating drone strings, and Indian notes are practiced to a drone, bagpipes feature a number of drone pipes, giving the instruments their characteristic sounds. A hurdy-gurdy has one or more drone strings, the bass strings of the Slovenian drone zither also freely resonate as a drone
27.
Great Highland bagpipe
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The Great Highland bagpipe is a type of bagpipe native to Scotland. It has acquired widespread recognition through its usage in the British military, the bagpipe is first attested in Scotland around 1400, having previously appeared in European artwork in Spain in the 13th century. Though widely famous for its role in military and civilian pipe bands, though popular belief sets varying dates for the introduction of bagpipes to Scotland, concrete evidence is limited until approximately the 15th century. One Clan still owns a remnant of a set of bagpipes said to have carried at the Battle of Bannockburn in 1314. There are many ancient legends and stories about bagpipes which were passed down through minstrels and oral tradition, however, textual evidence for Scottish bagpipes is more definite in 1396, when records of the Battle of the North Inch of Perth reference warpipes being carried into battle. However, the loss of the chiefs power and patronage. It was soon realised that Highlanders made excellent troops and a number of regiments were raised from the Highlands over the half of the eighteenth century. The custom was revived by the 51st Highland Division for their assault on the lines at the start of the Second Battle of El Alamein on 23 October 1943. Each attacking company was led by a piper, playing tunes that would allow units to recognise which Highland regiment they belonged to. Although the attack was successful, losses among the pipers were high, the Great Highland bagpipe is classified as a woodwind instrument, like the bassoon, oboe, and clarinet. Although it is classified as a double-reed instrument, the reeds are all closed inside the wooden stocks. The Great Highland bagpipe actually has four reeds, the chanter reed, a modern set has a bag, a chanter, a blowpipe, two tenor drones, and one bass drone. The scale of the chanter is in Mixolydian mode, which has a flattened seventh scale degree and it has a range from one whole tone lower than the tonic to one octave above it. The drones are tuned to this note, called A. So the scale sounds actually as A♭, B♭, C, D, E♭, F, G, A♭, B♭, historically it was indeed flatter, as evidenced by recordings, and extant instruments. Highland bagpipe music is written in the key of D major, due to the lack of chromatic notes, to change key is also to change modes, tunes are in A Mixolydian, D major, B minor, or occasionally E Dorian. In concert pitch it will be B♭ Mixolydian, E♭ major, traditionally, certain notes were sometimes tuned slightly off from just intonation. For example, on some old chanters the D and high G would be somewhat sharp, today, however, the notes of the chanter are usually tuned in just intonation to the Mixolydian scale
28.
Military band
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A military band is a group of personnel that performs musical duties for military functions, usually for the armed forces. A typical military band consists mostly of wind and percussion instruments, the conductor of a band commonly bears the title of Bandmaster or Director of Music. Ottoman military bands are thought to be the oldest variety of marching band in the world. Military bands also play a part in funeral ceremonies. There are two types of traditions in military bands. The first is military field music and this type of music includes bugles, bagpipes, or fifes and almost always drums. This type of music was used to control troops on the battlefield as well as for entertainment, following the development of instruments such as the keyed trumpet or the saxhorn family of brass instruments, a second tradition of the brass and woodwind military band was formed. 11th century book Divânu Lügatit-Türk mentions prototype of Mehtaran, as a nevbet, 17th century traveler Evliya Çelebi noted that the Ottoman Empire had 40 guilds of musicians in 1670s Istanbul. Ottoman military bands influenced European equivalents, each regiment in the British Army maintained its own military band. Until 1749 bandsmen were civilians hired at the expense of the colonel commanding a regiment, instruments during the 18th century included fifes, drums, the oboe, French horn, clarinet and bassoon. Drummers summoned men from their farms and ranches to muster for duty, in the chaotic environment of the battlefield, musical instruments were the only means of commanding the men to advance, stand or retire. In the mid 19th century each smaller unit had their own fifer and drummer, when units massed for battle a band of musicians was formed for the whole. The American military band traditions date from the British era, from the American Revolutionary War onward military bands marched in the same manner as their French counterparts. During the American Civil War most Union regiments had both types of groups within the unit and these performed in a concert setting for entertainment, as well as continued to perform drill and martial events. Field music is popular with many organizations such as police, fire. Indeed, Russia has a tradition of military bands and so many military marches have been composed by various composers through the years. The military bands also provide musical support in civil and military events, in a wide range of groups. Some can even continue the old Russian military band traditions by donning the old imperial military uniforms of the Russian Empire, todays French Armed Forces bands are also of the headquarters element from the regimental or brigade level onward and can also provide musical elements for civil and military events
29.
Trireme
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A trireme was an ancient vessel and a type of galley that was used by the ancient maritime civilizations of the Mediterranean, especially the Phoenicians, ancient Greeks and Romans. The trireme derives its name from its three rows of oars, manned with one man per oar. The early trireme was a development of the penteconter, an ancient warship with a row of 25 oars on each side, and of the bireme. The word dieres does not appear until the Roman period and it must be assumed the term pentekontor covered the two-level type. Triremes played a role in the Persian Wars, the creation of the Athenian maritime empire. The term is also used to refer to medieval and early modern galleys with three files of oarsmen per side as triremes. Fragments from an 8th-century relief at the Assyrian capital of Nineveh depicting the fleets of Tyre and Sidon show ships with rams and they have been interpreted as two-decked warships, and also as triremes. Modern scholarship is divided on the provenance of the trireme, Greece or Phoenicia, clement of Alexandria in the 2nd century, drawing on earlier works, explicitly attributes the invention of the trireme to the Sidonians. According to Thucydides, the trireme was introduced to Greece by the Corinthians in the late 8th century BC, and the Corinthian Ameinocles built four such ships for the Samians. This was interpreted by later writers, Pliny and Diodorus, to mean that triremes were invented in Corinth, Thucydides meanwhile clearly states that in the time of the Persian Wars, the majority of the Greek navies consisted of penteconters and ploia makrá. Athens was at that time embroiled in a conflict with the island of Aegina. The first clash with the Persian navy was at the Battle of Artemisium, however, the decisive naval clash occurred at Salamis, where Xerxes invasion fleet was decisively defeated. After Salamis and another Greek victory over the Persian fleet at Mycale, the Ionian cities were freed, gradually, the predominance of Athens turned the League effectively into an Athenian Empire. The source and foundation of Athens power was her strong fleet, in addition, as it provided permanent employment for the citys poorer citizens, the fleet played an important role in maintaining and promoting the radical Athenian form of democracy. Athenian maritime power is the first example of thalassocracy in world history, aside from Athens, other major naval powers of the era included Syracuse, Corfu and Corinth. In the subsequent Peloponnesian War, naval battles fought by triremes were crucial in the balance between Athens and Sparta. Based on all archeological evidence, the design of trireme surely pushed the limits of the ancient world. After gathering the proper timbers and materials it was time to consider the fundamentals of the trireme design and these fundamentals included accommodations, propulsion, weight and waterline, center of gravity and stability, strength, and feasibility
30.
Plato
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Plato was a philosopher in Classical Greece and the founder of the Academy in Athens, the first institution of higher learning in the Western world. He is widely considered the most pivotal figure in the development of philosophy, unlike nearly all of his philosophical contemporaries, Platos entire work is believed to have survived intact for over 2,400 years. Along with his teacher, Socrates, and his most famous student, Aristotle, Plato laid the foundations of Western philosophy. Alfred North Whitehead once noted, the safest general characterization of the European philosophical tradition is that it consists of a series of footnotes to Plato. In addition to being a figure for Western science, philosophy. Friedrich Nietzsche, amongst other scholars, called Christianity, Platonism for the people, Plato was the innovator of the written dialogue and dialectic forms in philosophy, which originate with him. He was not the first thinker or writer to whom the word “philosopher” should be applied, few other authors in the history of Western philosophy approximate him in depth and range, perhaps only Aristotle, Aquinas and Kant would be generally agreed to be of the same rank. Due to a lack of surviving accounts, little is known about Platos early life, the philosopher came from one of the wealthiest and most politically active families in Athens. Ancient sources describe him as a bright though modest boy who excelled in his studies, the exact time and place of Platos birth are unknown, but it is certain that he belonged to an aristocratic and influential family. Based on ancient sources, most modern scholars believe that he was born in Athens or Aegina between 429 and 423 BCE. According to a tradition, reported by Diogenes Laertius, Ariston traced his descent from the king of Athens, Codrus. Platos mother was Perictione, whose family boasted of a relationship with the famous Athenian lawmaker, besides Plato himself, Ariston and Perictione had three other children, these were two sons, Adeimantus and Glaucon, and a daughter Potone, the mother of Speusippus. The brothers Adeimantus and Glaucon are mentioned in the Republic as sons of Ariston, and presumably brothers of Plato, but in a scenario in the Memorabilia, Xenophon confused the issue by presenting a Glaucon much younger than Plato. Then, at twenty-eight, Hermodorus says, went to Euclides in Megara, as Debra Nails argues, The text itself gives no reason to infer that Plato left immediately for Megara and implies the very opposite. Thus, Nails dates Platos birth to 424/423, another legend related that, when Plato was an infant, bees settled on his lips while he was sleeping, an augury of the sweetness of style in which he would discourse about philosophy. Ariston appears to have died in Platos childhood, although the dating of his death is difficult. Perictione then married Pyrilampes, her mothers brother, who had served many times as an ambassador to the Persian court and was a friend of Pericles, Pyrilampes had a son from a previous marriage, Demus, who was famous for his beauty. Perictione gave birth to Pyrilampes second son, Antiphon, the half-brother of Plato and these and other references suggest a considerable amount of family pride and enable us to reconstruct Platos family tree
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Dionysus
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Dionysus is the god of the grape harvest, winemaking and wine, of ritual madness, fertility, theatre and religious ecstasy in ancient Greek religion and myth. Wine played an important role in Greek culture, and the cult of Dionysus was the religious focus for its unrestrained consumption. He may have been worshipped as early as c, 1500–1100 BC by Mycenean Greeks, traces of Dionysian-type cult have also been found in ancient Minoan Crete. His origins are uncertain, and his cults took many forms, some are described by ancient sources as Thracian, in some cults, he arrives from the east, as an Asiatic foreigner, in others, from Ethiopia in the South. He is a god of epiphany, the god that comes and his festivals were the driving force behind the development of Greek theatre. The earliest cult images of Dionysus show a male, bearded and robed. He holds a staff, tipped with a pine-cone and known as a thyrsus. Later images show him as a beardless, sensuous, naked or half-naked androgynous youth, in its fully developed form, his central cult imagery shows his triumphant, disorderly arrival or return, as if from some place beyond the borders of the known and civilized. His procession is made up of female followers and bearded satyrs with erect penises, some are armed with the thyrsus. The god himself is drawn in a chariot, usually by exotic beasts such as lions or tigers and this procession is presumed to be the cult model for the followers of his Dionysian Mysteries. He is also known as Bacchus, the adopted by the Romans. His thyrsus, sometimes wound with ivy and dripping with honey, is both a beneficent wand and a used to destroy those who oppose his cult and the freedoms he represents. As Eleutherios, his wine, music and ecstatic dance free his followers from self-conscious fear and care and those who partake of his mysteries are possessed and empowered by the god himself. The cult of Dionysus is also a cult of the souls, his maenads feed the dead through blood-offerings and he is sometimes categorised as a dying-and-rising god. Some scholars believe that Dionysus is a syncretism of a local Greek nature deity, Dionysus had a strange birth that evokes the difficulty in fitting him into the Olympian pantheon. His mother was a woman, Semele, the daughter of king Cadmus of Thebes, and his father was Zeus. Zeus wife, Hera, discovered the affair while Semele was pregnant, appearing as an old crone, Hera befriended Semele, who confided in her that Zeus was the actual father of the baby in her womb. Hera pretended not to believe her, and planted seeds of doubt in Semeles mind, curious, Semele demanded of Zeus that he reveal himself in all his glory as proof of his godhood
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Korybantes
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According to the Greek mythology, the Korybantes were the armed and crested dancers who worshipped the Phrygian goddess Cybele with drumming and dancing. They are also called the Kurbantes in Phrygia, the conventional English equivalent is Corybants. The Korybantes were the offspring of Thalia and Apollo, the name Korybantes is of uncertain etymology. Edzard Johan Furnée and R. S. P. Beekes have suggested a Pre-Greek origin, others refer the name to *κορυβή, the Macedonian version of κορυφή crown, top, mountain peak, explaining their association with mountains, particularly Olympus. The Kuretes or Kouretes were nine dancers who venerate Rhea, the Cretan counterpart of Cybele and these armored male dancers kept time to a drum and the rhythmic stamping of their feet. Dance, according to Greek thought, was one of the civilizing activities, the dance in armor was a male coming-of-age initiation ritual linked to a warrior victory celebration. The English Pyrrhic Dance is a corruption of the original Pyrríkhē or the Pyrríkhios Khorós Pyrrhichian Dance, Kouretes also presided over the infancy of Dionysus, another god who was born as a babe, and of Zagreus, a Cretan child of Zeus, or child-doublet of Zeus. The wild ecstasy of their cult can be compared to the female Maenads who followed Dionysus, ovid, in Metamorphoses, says the Kouretes were born from rainwater. This suggests a connexion with the Pelasgian Hyades, the scholar Jane Ellen Harrison writes that besides being guardians, nurturers, and initiators of the infant Zeus, the Kouretes were primitive magicians and seers. She also writes that they were workers and that metallurgy was considered an almost magical art. There were several tribes of Korybantes, including the Cabeiri, the Korybantes Euboioi, hoplodamos and his Gigantes were counted among Korybantes, and Titan Anytos was considered a Kourete. Homer referred to young men as kouretes, when Agamemnon instructs Odysseus to pick out kouretes. The Greeks preserved a tradition down to Strabos day, that the Kuretes of Aetolia and Acarnania in mainland Greece had been imported from Crete, themis, A Study of the Social Origins of Greek Religion. Media related to Korybantes at Wikimedia Commons Theoi Project - Korybantes and Kouretes Long review of Paola Ceccarelli, La pirrica nell antichità greco romana, Studi sulla danza armata,1998
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Republic (Plato)
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The Republic is a Socratic dialogue, written by Plato around 380 BCE, concerning justice, the order and character of the just city-state and the just man. It is Platos best-known work, and has proven to be one of the worlds most influential works of philosophy and political theory, both intellectually and historically. In the books dialogue, Socrates discusses the meaning of justice and whether or not the just man is happier than the unjust man with various Athenians and they consider the natures of existing regimes and then propose a series of different, hypothetical cities in comparison. This culminates in the discussion of Kallipolis, a hypothetical city-state ruled by a philosopher king and they also discuss the theory of forms, the immortality of the soul, and the role of the philosopher and that of poetry in society. The dialogues may have taken place during the Peloponnesian War, while visiting the Piraeus with Glaucon, Polemarchus asks Socrates to join him for a celebration. Cephalus, Polemarchus, and Thrasymachus are then asked their definitions of justice by Socrates. Cephalus defines justice as giving what is owed, Polemarchus says justice is the art which gives good to friends and evil to enemies. Thrasymachus proclaims justice is nothing else than the interest of the stronger, Socrates overturns their definitions and says that it is your advantage to be just and disadvantage to be unjust. The first book ends in aporia concerning its essence, Socrates believes he has answered Thrasymachus and is done with the discussion of justice. Socratess young companions, Glaucon and Adeimantus, continue the argument of Thrasymachus for the sake of furthering the discussion. Glaucon would like Socrates to prove that justice is not only desirable, but that it belongs to the highest class of desirable things, Socrates suggests that they look for justice in a city rather than in an individual man. After attributing the origin of society to the not being self-sufficient and having many needs which he cannot supply himself. Socrates first describes the state but Glaucon asks him to describe a city of pigs. He then goes on to describe the city, which he calls a fevered state. This requires a class to defend and attack on its account. This begins a discussion concerning the type of education that ought to be given to these guardians in their early years and they conclude that stories that ascribe evil to the gods are untrue and should not be taught. Socrates and his companions Adeimantus and Glaucon conclude their discussion concerning education, Socrates breaks the educational system into two. They suggest that guardians should be educated in these four virtues, wisdom, courage and they also suggest that the second part of the guardians education should be in gymnastics
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Circular breathing
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Circular breathing is a technique used by players of some wind instruments to produce a continuous tone without interruption. This is accomplished by breathing in through the nose while simultaneously pushing air out through the mouth using air stored in the cheeks, the technique was developed independently by several cultures, and is used for many traditional wind instruments. In the 13th century, Asian metalsmiths who specialized in gold and silver used circular breathing techniques for crafting various decorative and ornamental items. In crafting such items, craftsmen were required to blow continuously to the flame through a pipe with a needle-like hole, from such necessity, craftsmen mastered a circular-like cycle of breathing, simultaneously inhaling through their nose while blowing without any pauses. The introduction of the breathing technique in the art of ancient windplayers was a productive invention in its performing technique. A few jazz and classical wind and brass players also use some form of circular breathing, although many professional wind players find circular breathing highly useful, few pieces of European orchestral music composed before the 20th century actually require its use. A notable example of this phenomenon is Moto Perpetuo, transcribed for trumpet by Rafael Méndez from the work for violin by Paganini. In 1997, a Guinness World Record was set for longest held musical note, Kenny G used circular breathing to sustain an E-flat on a saxophone for 45 minutes and 47 seconds. On February 2000, Vann Burchfield set a new Guinness world record for circular breathing, holding one continuous note for 47 minutes,6 seconds, mark Atkins on Didgeridoo Concerto plays for over 50 minutes continuously. The musician inhales fully and begins to exhale and blow, when the lungs are nearly empty, the last volume of air is blown into the mouth, and the cheeks are inflated with part of this air. Then, while still blowing this last bit of air out by squeezing the cheeks, if done correctly, by the time the air in the mouth is nearly exhausted the musician can begin to exhale from the lungs once more, ready to repeat the process again. Essentially, circular breathing bridges the gap between exhalations with air stored in the cheeks, an air reserve to play with while sneaking in a breath through the nose. The usual first difficulty is to inhale through the nose while blowing out air stored in the cheeks, to some this may be a big hurdle, to others no problem at all. One can practice this anywhere anytime by holding a finger in front of an air stream out of the lips. A very simple method to practice this is using a straw to blow on the surface of a cup of water. The aim is to blow continually and switch between cheek air and lung air without any change in the depth of this depression. The traditional method of learning in groups is to have one elder player lead as the chanter zurna. Professional zurna groups may play non-stop for as long as the party lasts, author of Clark Terrys System of Circular Breathing
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Sardinia
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Sardinia is the second largest island in the Mediterranean Sea and an autonomous region of Italy. It is located in the Western Mediterranean, just south of the French island of Corsica, the regions official name is Regione Autonoma della Sardegna / Regione Autònoma de Sardigna, and its capital and largest city is Cagliari. It is divided into four provinces and a metropolitan city and its indigenous language and the other minority languages spoken by the Sardinians enjoy equal dignity with Italian under regional law. The name Sardinia is from the pre-Roman noun *srd-, later romanised as sardus and it makes its first appearance on the Nora Stone, where the word Šrdn testifies to the names existence when the Phoenician merchants first arrived. According to Timaeus, one of Platos dialogues, Sardinia and its people as well might have named after Sardò. There has also been speculation that identifies the ancient Nuragic Sards with the Sherden, in Classical antiquity, Sardinia was called Ichnusa, Σανδάλιον Sandal, Sardinia and Sardó. Sardinia is the second-largest island in the Mediterranean Sea, with an area of 24,100 square kilometres and it is situated between 38°51 and 41°18 latitude north and 8°8 and 9°50 east longitude. To the west of Sardinia is the Sea of Sardinia, a unit of the Mediterranean Sea, to Sardinias east is the Tyrrhenian Sea, the nearest land masses are the island of Corsica, the Italian Peninsula, Sicily, Tunisia, the Balearic Islands, and Provence. The Tyrrhenian Sea portion of the Mediterranean Sea is directly to the east of Sardinia between the Sardinian east coast and the west coast of the Italian mainland peninsula, the Strait of Bonifacio is directly north of Sardinia and separates Sardinia from the French island of Corsica. The island has an ancient geoformation and, unlike Sicily and mainland Italy, is not earthquake-prone and its rocks date in fact from the Palaeozoic Era. Due to long erosion processes, the highlands, formed of granite, schist, trachyte, basalt, sandstone and dolomite limestone. The highest peak is Punta La Marmora, part of the Gennargentu Ranges in the centre of the island. The islands ranges and plateaux are separated by wide valleys and flatlands. Sardinia has few rivers, the largest being the Tirso,151 km long, which flows into the Sea of Sardinia, the Coghinas. There are 54 artificial lakes and dams that supply water and electricity, the main ones are Lake Omodeo and Lake Coghinas. The only natural lake is Lago di Baratz. A number of large, shallow, salt-water lagoons and pools are located along the 1,850 km of the coastline, the climate of the island is variable from area to area, due to several factors including the extension in latitude and the elevation. During the year there is a concentration of rainfall in the winter and autumn, some heavy showers in the spring
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Lyre
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The lyre is a string instrument known for its use in Greek classical antiquity and later periods. The lyre is similar in appearance to a small harp but with distinct differences, the word comes via Latin from the Greek, the earliest reference to the word is the Mycenaean Greek ru-ra-ta-e, meaning lyrists and written in the Linear B script. The lyres of Ur, excavated in ancient Mesopotamia, date to 2500 BC, the earliest picture of a lyre with seven strings appears in the famous sarcophagus of Hagia Triada. The sarcophagus was used during the Mycenaean occupation of Crete, the recitations of the Ancient Greeks were accompanied by lyre playing. The lyre of classical antiquity was ordinarily played by being strummed with a plectrum, the fingers of the free hand silenced the unwanted strings in the chord. However, later lyres were played with a bow in Europe, one example from Wales that has been resurrected recently is the crwth. In organology, lyres are defined as yoke lutes, being lutes in which the strings are attached to a yoke which lies in the plane as the sound-table. A classical lyre has a body or sound-chest, which. Extending from this sound-chest are two raised arms, which are hollow, and are curved both outward and forward. They are connected near the top by a crossbar or yoke, an additional crossbar, fixed to the sound-chest, makes the bridge which transmits the vibrations of the strings. They were stretched between the yoke and bridge, or to a tailpiece below the bridge, according to ancient Greek mythology, the young god Hermes stole a herd of sacred cows from Apollo. In order not to be followed, he made shoes for the cows which forced them to walk backwards, Apollo, following the trails, could not follow where the cows were going. Along the way, Hermes slaughtered one of the cows and offered all, from the entrails and a tortoise/turtle shell, he created the Lyre. Apollo, figuring out it was Hermes who had his cows, Apollo was furious, but after hearing the sound of the lyre, his anger faded. Apollo offered to trade the herd of cattle for the lyre, hence, the creation of the lyre is attributed to Hermes. Other sources credit it to Apollo himself, locales in southern Europe, western Asia, or north Africa have been proposed as the historic birthplace of the genus. The instrument is played in north-eastern parts of Africa. Some of the cultures using and developing the lyre were the Aeolian and Ionian Greek colonies on the coasts of Asia bordering the Lydian empire, some mythic masters like Musaeus, and Thamyris were believed to have been born in Thrace, another place of extensive Greek colonization
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Lucian
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Lucian of Samosata was a rhetorician and satirist who wrote in the Greek language during the Second Sophistic. He is noted for his witty and scoffing nature, Lucian wrote exclusively in ancient Greek. He wrote mainly in the Attic dialect, but On the Syrian Goddess, few details of Lucians life can be verified with any degree of accuracy, though clues can be found in writings attributed to him. In several works he claims to have born in Samosata, in the former kingdom of Commagene. His depictions of the processes involved in the diverse and dynamic cult have many significant parallels to Syrias material culture. On the Syrian Goddess parodies the Greek view of foreigners as barbarous, while the narrator concludes that the Syrians, throughout the account, the narrator often conflates the terms Assyrian and Syrian. In The Syrian Goddess, the claims to be an Assyrian himself. In the final paragraph of the work, the describes a ritual in which initiates would dedicate a lock of their hair to Hippolytus as part of a pre-marital coming-of-age ritual. The narrator comments, as rendered in Strong and Garstangs 1913 translation, I performed this act myself when a youth, Lucians claim in Double Indictment to be a native speaker of a barbarian tongue has been suggested to refer Syriac, a dialect of Aramaic. A more likely interpretation is that he is referring to speaking a variety of Greek. It has been suggested that in referring to himself as a barbarian, he was from the Semitic and his name added lustre to any entertaining and sarcastic essay, more than 150 surviving manuscripts attest to his continued popularity. The first printed edition of a selection of his works was issued at Florence in 1499 and his best known works are A True Story, and Dialogues of the Gods and Dialogues of the Dead. Lucian was trained as a rhetorician, a vocation whose practitioners pleaded in court, composed pleas for others, Lucians practice was to travel about, giving amusing discourses and witty lectures improvised on the spot, somewhat as a rhapsode had done in declaiming poetry at an earlier period. In this way Lucian travelled through Ionia and mainland Greece, to Italy and even to Gaul, there are 80 surviving works attributed to Lucian. He wrote in a variety of styles which included comic dialogues, rhetorical essays, Lucian was also one of the earliest novelists in Western civilization. In A True Story, a narrative work written in prose, he parodies some of the fantastic tales told by Homer in the Odyssey. He anticipated modern fictional themes like voyages to the moon and Venus, extraterrestrial life and his novel is widely regarded as an early, if not the earliest science fiction work. Lucians On Dance is important for the history of dance as it is one of very few literary discussions of dance - specifically pantomime - that treats Roman dance in detail
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Alexander the Great
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Alexander III of Macedon, commonly known as Alexander the Great, was a king of the Ancient Greek kingdom of Macedon and a member of the Argead dynasty. He was born in Pella in 356 BC and succeeded his father Philip II to the throne at the age of twenty and he was undefeated in battle and is widely considered one of historys most successful military commanders. During his youth, Alexander was tutored by Aristotle until the age of 16, after Philips assassination in 336 BC, he succeeded his father to the throne and inherited a strong kingdom and an experienced army. Alexander was awarded the generalship of Greece and used this authority to launch his fathers Panhellenic project to lead the Greeks in the conquest of Persia, in 334 BC, he invaded the Achaemenid Empire and began a series of campaigns that lasted ten years. Following the conquest of Anatolia, Alexander broke the power of Persia in a series of battles, most notably the battles of Issus. He subsequently overthrew Persian King Darius III and conquered the Achaemenid Empire in its entirety, at that point, his empire stretched from the Adriatic Sea to the Indus River. He sought to reach the ends of the world and the Great Outer Sea and invaded India in 326 BC and he eventually turned back at the demand of his homesick troops. Alexander died in Babylon in 323 BC, the city that he planned to establish as his capital, without executing a series of planned campaigns that would have begun with an invasion of Arabia. In the years following his death, a series of civil wars tore his empire apart, resulting in the establishment of several states ruled by the Diadochi, Alexanders surviving generals, Alexanders legacy includes the cultural diffusion which his conquests engendered, such as Greco-Buddhism. He founded some twenty cities that bore his name, most notably Alexandria in Egypt, Alexander became legendary as a classical hero in the mold of Achilles, and he features prominently in the history and mythic traditions of both Greek and non-Greek cultures. He became the measure against which military leaders compared themselves, and he is often ranked among the most influential people in human history. He was the son of the king of Macedon, Philip II, and his wife, Olympias. Although Philip had seven or eight wives, Olympias was his wife for some time. Several legends surround Alexanders birth and childhood, sometime after the wedding, Philip is said to have seen himself, in a dream, securing his wifes womb with a seal engraved with a lions image. Plutarch offered a variety of interpretations of dreams, that Olympias was pregnant before her marriage, indicated by the sealing of her womb. On the day Alexander was born, Philip was preparing a siege on the city of Potidea on the peninsula of Chalcidice. That same day, Philip received news that his general Parmenion had defeated the combined Illyrian and Paeonian armies, and it was also said that on this day, the Temple of Artemis in Ephesus, one of the Seven Wonders of the World, burnt down. This led Hegesias of Magnesia to say that it had burnt down because Artemis was away, such legends may have emerged when Alexander was king, and possibly at his own instigation, to show that he was superhuman and destined for greatness from conception
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Timotheus (aulist)
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Timotheus was a famous aulos player from Thebes, who flourished in Macedon during the reigns of Philip II and Alexander the Great. He later accompanied Alexander in his campaigns, after his death, a story about the effect of his music on Alexander became a familiar reference point in literature on the power of music to manipulate emotion. According to Didymus he was the son of Oeniades and he participated in musical competitions under Philip. When Philip lost an eye after Timotheus and others had performed a song about the cyclops. Athenaeus says that Timotheus was noted for his long beard, Timotheus was apparently using the steep-rising style. Timotheus joined Alexander in Memphis, Egypt where he took part in the competitions held there. He also performed at the mass-marriage organised by Alexander in Susa in 324 and he is the principal figure in Lucians dialogue Harmonides, in which Timotheus discusses musicianship with Harmonides, a pupil of his. Timotheus advises him to impress the experts within his profession rather than seek popular approval in big public venues, if leading musicians admire him, popular approval will follow. Dio Chrysostom, in a speech on ideal kingship addressed to Trajan, other rulers, such as Sardanapalus who was of languid temperament, would not have responded to such music, but being of a highly volatile nature, Alexander did. In later literature Timotheus the flautist is sometimes confused with the famous Macedonian singer, poet, in fact Timotheus of Miletus lived earlier, during the reign of Archelaus I of Macedon. The Renaissance music theorist Vincenzo Galilei refers to the story that Timotheus aroused Alexanders passions with his music, for this reason Alexander was forced to cry out for his arms and to say that this should be the song of kings. Timotheuss apparent ability to manipulate Alexanders emotions through music is also the subject of John Drydens poem Alexanders Feast, or the Power of Music, however, the portrayal of the musician singing and playing the lyre fits the earlier Timotheus. Dryden appears to merge the two, referring to his breathing flute / And sounding lyre and he is also mentioned in Alexander Popes poem An Essay on Criticism, in which Timotheus varied lays surprise, so that the worlds Victor stood subdued by sound
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Sarcophagus
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A sarcophagus is a box-like funeral receptacle for a corpse, most commonly carved in stone, and usually displayed above ground, though it may also be buried. The word sarcophagus comes from the Greek σάρξ sarx meaning flesh, since lithos is Greek for stone, lithos sarcophagos means, flesh-eating stone. The word also came to refer to a kind of limestone that was thought to decompose the flesh of corpses trapped within it. Sarcophagi were most often designed to remain above ground, in Ancient Egypt, a sarcophagus acted like an outer shell. They are made of clay in shades of brown to pink. Added to the basin-like main sarcophagus is a broad, rectangular frame, often covered with a white slip and then painted. The huge Lycian Tomb of Payava, now in the British Museum, is a tomb monument of about 360 BC designed for an open-air placing. However, there are many important Early Christian sarcophagi from the 3rd to 4th centuries, most Roman examples were designed to be placed against a wall and are decorated on three of the sides only. More plain sarcophagi were placed in crypts, of which the most famous include the Habsburg Imperial Crypt in Vienna. The term tends to be often used to describe Medieval, Renaissance. They continued to be popular into the 1950s, at time the popularity of flat memorials made them obsolete. Nonetheless, a 1952 catalog from the industry still included 8 pages of them, broken down into Georgian and Classical detail, a Gothic and Renaissance adaptation. Shown on the right are sarcophagi from the late 19th century located in Laurel Hill Cemetery in Philadelphia, Pennsylvania, the one in the back, the Warner Monument created by Alexander Milne Calder, features the spirit or soul of the deceased being released. In Sulawesi, Indonesia, waruga are a form of sarcophagus. Mont Allen, Sarcophagus, in The Oxford Encyclopedia of Ancient Greece and Rome, edited by Michael Gagarin, R. R. R. Smith, Sculptured for Eternity, Treasures of Hellenistic, Roman, and Byzantine Art from Istanbul Archaeological Museum. Ewald, Living with Myths, The Imagery of Roman Sarcophagi, egyptian sarcophagi sarcaphagi in the Istanbul Archaeological Museum Chisholm, Hugh, ed. Sarcophagus
41.
Pompeii
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Pompeii was an ancient Roman town-city near modern Naples, in the Campania region of Italy, in the territory of the comune of Pompei. Pompeii, along with Herculaneum and many villas in the area, was mostly destroyed and buried under 4 to 6 m of volcanic ash. Researchers believe that the town was founded in the seventh or sixth century BC by the Osci or Oscans. It came under the domination of Rome in the 4th century BC, by the time of its destruction,160 years later, its population was estimated at 11,000 people, and the city had a complex water system, an amphitheatre, gymnasium, and a port. The eruption destroyed the city, killing its inhabitants and burying it under tons of ash, the site was lost for about 1,500 years until its initial rediscovery in 1599 and broader rediscovery almost 150 years later by Spanish engineer Rocque Joaquin de Alcubierre in 1748. The objects that lay beneath the city have been preserved for centuries because of the lack of air and these artefacts provide an extraordinarily detailed insight into the life of a city during the Pax Romana. During the excavation, plaster was used to fill in the voids in the ash layers that once held human bodies and this allowed archaeologists to see the exact position the person was in when he or she died. Pompeii has been a tourist destination for over 250 years, today it has UNESCO World Heritage Site status and is one of the most popular tourist attractions in Italy, with approximately 2.5 million visitors every year. Pompeii in Latin is a second declension plural, the ruins of Pompeii are located near the modern suburban town of Pompei. It stands on a formed by a lava flow to the north of the mouth of the Sarno River. Today it is some distance inland, but in ancient times was nearer to the coast, Pompeii is about 8 km away from Mount Vesuvius. It covered a total of 64 to 67 hectares and was home to approximately 11,000 to 11,500 people on the basis of household counts and it was a major city in the region of Campania. Three sheets of sediment have been found on top of the lava that lies below the city and, mixed in with the sediment, archaeologists have found bits of bone, pottery shards. Carbon dating has placed the oldest of these layers from the 8th–6th centuries BC, the other two strata are separated either by well-developed soil layers or Roman pavement, and were laid in the 4th century BC and 2nd century BC. It is theorized that the layers of the sediment were created by large landslides. The town was founded around the 7th-6th century BC by the Osci or Oscans and it had already been used as a safe port by Greek and Phoenician sailors. According to Strabo, Pompeii was also captured by the Etruscans, and in recent excavations have shown the presence of Etruscan inscriptions. Pompeii was captured for the first time by the Greek colony of Cumae, allied with Syracuse, in the 5th century BC, the Samnites conquered it, the new rulers imposed their architecture and enlarged the town
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Mosaic
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A mosaic is a piece of art or image made from the assemblage of small pieces of colored glass, stone, or other materials. It is often used in art or as interior decoration. Most mosaics are made of small, flat, roughly square, pieces of stone or glass of different colors, some, especially floor mosaics, are made of small rounded pieces of stone, and called pebble mosaics. Others are made of other materials, mosaics have a long history, starting in Mesopotamia in the 3rd millennium BC. Pebble mosaics were made in Tiryns in Mycenean Greece, mosaics with patterns and pictures became widespread in classical times, Early Christian basilicas from the 4th century onwards were decorated with wall and ceiling mosaics. Mosaic fell out of fashion in the Renaissance, though artists like Raphael continued to practise the old technique, Roman and Byzantine influence led Jews to decorate 5th and 6th century synagogues in the Middle East with floor mosaics. Mosaic was widely used on buildings and palaces in early Islamic art, including Islams first great religious building, the Dome of the Rock in Jerusalem. Mosaic went out of fashion in the Islamic world after the 8th century, modern mosaics are made by professional artists, street artists, and as a popular craft. Many materials other than stone and ceramic tesserae may be employed, including shells, glass. The earliest known examples of made of different materials were found at a temple building in Abra, Mesopotamia. They consist of pieces of colored stones, shells and ivory, excavations at Susa and Chogha Zanbil show evidence of the first glazed tiles, dating from around 1500 BC. However, mosaic patterns were not used until the times of Sassanid Empire, mythological subjects, or scenes of hunting or other pursuits of the wealthy, were popular as the centrepieces of a larger geometric design, with strongly emphasized borders. Pliny the Elder mentions the artist Sosus of Pergamon by name, describing his mosaics of the left on a floor after a feast. Both of these themes were widely copied, most recorded names of Roman mosaic workers are Greek, suggesting they dominated high quality work across the empire, no doubt most ordinary craftsmen were slaves. Splendid mosaic floors are found in Roman villas across North Africa, in such as Carthage. The tiny tesserae allowed very fine detail, and an approach to the illusionism of painting, often small panels called emblemata were inserted into walls or as the highlights of larger floor-mosaics in coarser work. The normal technique was opus tessellatum, using larger tesserae, which was laid on site, there was a distinct native Italian style using black on a white background, which was no doubt cheaper than fully coloured work. In Rome, Nero and his architects used mosaics to cover surfaces of walls and ceilings in the Domus Aurea, built 64 AD
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Marsyas
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In antiquity, literary sources often emphasise the hubris of Marsyas and the justice of his punishment. In one conjunction Rhea/Cybele, and his episodes are situated by the mythographers in Celaenae in Phrygia, when a genealogy was applied to him, Marsyas was the son of Olympus, or of Oeagrus, or of Hyagnis. Olympus was, alternatively, said to be Marsyas son or pupil, Marsyas was an expert player on the double-piped double reed instrument known as the aulos. In the contest between Apollo and Marsyas, the stated that the winner could treat the defeated party any way he wanted. Since the contest was judged by the Muses, Marsyas naturally lost and was flayed alive in a cave near Celaenae for his hubris to challenge a god. Apollo then nailed Marsyas skin to a tree, near Lake Aulocrene. Classical Greeks were unaware of such shamanistic overtones, and the Flaying of Marsyas became a theme for painting, plato was of the opinion that it had been made into a wineskin. Therefore, hubris would not necessarily be a theme in this tale, rather the capricious weakness of the gods and their equally weak nature in comparison to humans. There are several versions of the contest, according to Hyginus, Marsyas was departing as victor after the first round and this was something that Marsyas could not do with his flute. According to another version Marsyas was defeated when Apollo added his voice to the sound of the lyre, Marsyas protested, arguing that the skill with the instrument was to be compared, not the voice. However, Apollo replied that when Marsyas blew into the pipes, the Muses supported Apollos claim, leading to his victory. In Platos Symposium, when Alcibiades likens Socrates to Marsyas, it is this aspect of the satyr that is intended. Jocelyn Small identifies in Marsyas an artist great enough to challenge a god, a prominent statue of Marsyas as a wise old silenus stood near the Roman Forum. This is the Marsyas of the journal Marsyas, Studies in the History of Art, published since 1941 by students of the Institute of Art, among the Romans, Marsyas was cast as the inventor of augury and a proponent of free speech and speaking truth to power. The earliest known representation of Marsyas at Rome stood for at least 300 years in the Roman Forum near or in the comitium and he was depicted as a silen, carrying a wineskin on his left shoulder and raising his right arm. The statue was regarded as an indicium libertatis, a symbol of liberty and it often served as a sort of kiosk upon which invective verse was posted. Marsyas served as a minister for Dionysus or Bacchus, who was identified by the Romans with their Father Liber and these gods were regarded as concerning themselves specially with the welfare of the plebs. The freedom that the ecstasies of Dionysian worship represented took on a meaning in Rome as the libertas that distinguished the free from the enslaved
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Satyr
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In Greek mythology, a satyr is one of a troop of ithyphallic male companions of Dionysus with goat-like features and often permanent erection. Early artistic representations sometimes include horse-like legs, but in 6th-century BC black-figure pottery human legs are the most common, in Roman Mythology there is a concept similar to satyrs, with goat-like features, the faun, being half-man, half-goat, who roamed the woods and mountains. In myths they are associated with pipe-playing. Greek-speaking Romans often used the Greek term saturos when referring to the Latin faunus, the satyrs chief was Silenus, a minor deity associated with fertility. These characters can be found in the complete remaining satyr play, Cyclops, by Euripides. The satyr play was a short, lighthearted tailpiece performed after each trilogy of tragedies in Athenian festivals honoring Dionysus, there is not enough evidence to determine whether the satyr play regularly drew on the same myths as those dramatized in the tragedies that preceded. The groundbreaking tragic playwright Aeschylus is said to have especially loved for his satyr plays. Mature satyrs are depicted in Roman art with goats horns. As Dionysiac creatures they are lovers of wine and women, because of their love of wine, they are often represented holding wine cups, and they appear often in the decorations on wine cups. Attic painted vases depict mature satyrs as being built with flat noses, large pointed ears, long curly hair. Satyrs often carry the thyrsus, the rod of Dionysus tipped with a pine cone, in earlier Greek art, Silenos appear as old and ugly, but in later art, especially in Hellenistic art, he is softened into a more youthful and graceful aspect. This transformation or humanization of the Satyr appears throughout late Greek art, another example of this shift occurs in the portrayal of Medusa and in that of the Amazon, characters who are traditionally depicted as barbaric and uncivilized. A humanized Satyr is depicted in a work of Praxiteles known as the Resting Satyr, Praxiteles gives a new direction to the satyr in art. Although not mentioned by Homer, in a fragment of Hesiods works satyrs are called brothers of the nymphs and Kuretes. In the Dionysus cult, male followers are known as satyrs, in Attica there was a species of drama dealing with the legends of gods and heroes, and the chorus was composed of satyrs and sileni. In the Athenian satyr plays of the 5th century BC, the chorus commented on the action and this satyric drama burlesqued the serious events of the mythic past with lewd pantomime and subversive mockery. One complete satyr play from the 5th century survives, the Cyclops of Euripides, the Satyr and the Traveller, one of Aesops Fables, features the satyr as the benevolent host for a traveler in the forest in winter. The satyr is bewildered by the claim to be able to blow hot and cold with the same breath, first to warm his hands, then to cool his porridge
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Athena
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Athena or Athene, often given the epithet Pallas, is the goddess of wisdom, craft, and war in ancient Greek religion and mythology. Minerva is the Roman goddess identified with Athena, Athena is known for her calm temperament, as she moves slowly to anger. She is noted to have fought for just reasons. Athena is portrayed as a companion of heroes and is the patron goddess of heroic endeavour. She is the patroness of Athens. The Athenians founded the Parthenon on the Acropolis of her city, Athens. Veneration of Athena was so persistent that archaic myths about her were recast to adapt to cultural changes, in her role as a protector of the city, many people throughout the Greek world worshipped Athena as Athena Polias. While the city of Athens and the goddess Athena essentially bear the same name, Athena is associated with Athens, a plural name, because it was the place where she presided over her sisterhood, the Athenai, in earliest times. Mycenae was the city where the Goddess was called Mykene, at Thebes she was called Thebe, and the city again a plural, Thebae. Similarly, at Athens she was called Athena, and the city Athenae, Athena had a special relationship with Athens, as is shown by the etymological connection of the names of the goddess and the city. According to mythical lore, she competed with Poseidon and she won by creating the olive tree, the Athenians would accept her gift and name the city after her. In history, the citizens of Athens built a statue of Athena as a temple to the goddess, which had piercing eyes, a helmet on her head, attired with an aegis or cuirass, and an extremely long spear. It also had a shield with the head of the Gorgon on it. A large snake accompanied her and she held Nike, the goddess of victory, therefore, Mylonas believes that Athena was a Mycenaean creation. On the other hand, Nilsson claims that she was the goddess of the palace who protected the king, a-ta-no-dju-wa-ja is also found in Linear A Minoan, the final part being regarded as the Linear A Minoan equivalent of the Linear B Mycenaean di-u-ja or di-wi-ja. Divine Athena also was a weaver and the deity of crafts, whether her name is attested in Eteocretan or not will have to wait for decipherment of Linear A. Perhaps, however, the name Theonoe may mean she who knows divine things better than others. Thus for Plato her name was to be derived from Greek Ἀθεονόα, Plato also noted that the citizens of Sais in Egypt worshipped a goddess whose Egyptian name was Neith, and which was identified with Athena. Neith was the war goddess and huntress deity of the Egyptians since the ancient Pre-Dynastic period, in addition, ancient Greek myths reported that Athena had visited many mythological places such as Libyas Triton River in North Africa and the Phlegraean plain
Chisholm, Hugh, ed. (1911). "Aulos". Encyclopædia Britannica (11th ed.). Cambridge University Press.
Chisholm, Hugh, ed. (1911). "
