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We come now to the musical documents themselves. First I will present a catalogue of the specimens of Greek music so far known, however fragmentary. It is arranged as far as possible chronologically. References are provided to Pöhlmann's Denkmäler altgriechischer Musik and to other selected secondary literature, especially to publications containing photographs of the originals. The catalogue is followed by transcriptions of most of the pieces, with Greek texts transliterated and translated and with observations on the music. The items asterisked in the catalogue are those treated more fully in the transcription section. |
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1 Clay epinetron (knee-guard for sewing) with black-figure painting by the Sappho Painter showing a trumpeting Amazon and the syllables TOTE TOTOTE apparently representing the notes sounded. Eleusis Museum 907, early 5th c. |
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A. Bélis, BCH 108 (1984), 99-109. Cf. above, p. 120. |
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2 Euripides, Orestes 140-207. We have scraps of information on the music of this lyric dialogue from two sources: (i) Dionysius of Halicarnassus, Comp. 63f., makes a number of statements on the relative pitches of syllables in lines 140-2, which must apply also to the corresponding words in the antistrophe at 153-5. (ii) The scholiast on line 176 says 'this song is sung on the top notes and is very high'. The singers were men playing female roles. |
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M. L. West, Euripides, Orestes (Warmington, 1987), 191. |
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3* Euripides, Orestes 338-44: fragmentary score in Vienna papyrus G 2315 (Rainer inv. 8029), copied c. 200 BC. The same music must be assumed for the corresponding words of the strophe, 322-8. |
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