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music. The same melodic scheme evidently served for every line. See p. 209. |
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The scale, so far as revealed, is a six-note one analysable into two conjunct chromatic tetrachords, g ( ) a c'  d' f'. The interval of a falling major third occurs three times, and that of a rising fourth twice, while the little instrumental figure that follows the vocal line presents (if we have it complete) a cadence on a falling fifth that lands on the base-note of the lower tetrachord. There is, as we should expect, no agreement of melody and word accent. |
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The notation-key is Hypolydian. Vocal notation is used for the instrumental as well as for the sung notes. |
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The two Delphic paeans composed in 127 BC by Athenaeus and Limenius are the prize exhibits in our collection. Besides being the longest pieces of ancient music that survive, they are fine examples of a sophisticated style of composition practised by and for professional artists of the high Hellenistic age. We are fortunate to be able to compare two pieces composed at the same time and in the same milieu by different composers, and to see how much they have in common. |
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Both are in free astrophic form, but fall into clearly marked sections (cf. p. 215). It will be convenient to take them section by section. |
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