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on which they began, and only five (including the last) on a lower one. |
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The scale runs from c to c', but the two outer notes appear only occasionally as passing notes. Few intervals wider than a third occur. Ekkrousmos (the figure ) is common, and one notices certain repeated melodic formulae: compare (i) the ends of lines 2 and 8, (ii) the ends of lines 3, 12, and 16; (iii) the ends of lines 17 and 19; (iv) the beginnings of lines 6, 8, 15, and 17. |
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There are uncertainties about the rhythmic interpretation of some of the line-ends. Where takes the place of , it presumably represents either or . (or ). Sometimes the first alternative is indicated by a leimma after the first note. A leimma is nowhere written after the second. It does not seem safe to assume that where no leimma is written, the rhythmization is other than , especially as there are signs that some leimmata have been lost in the course of transmission.9 Then sometimes one or both long syllables are divided between notes. In two cases the first syllable has two notes and then a leimma, i.e. (with syncopated effect in relation to the underlying rhythm ). There is never a leimma between the two notes, and where there is no leimma I tentatively assume again.10 |
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19 Mesomedes, Hymn to Nemesis
(Original a tone higher) |
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9 See Pöhlmann's critical apparatus in DAM. Note that the identical melodic figure occurs both with the leimma (at 3) and without it (at 12 and 16). |
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10 On these problems see Winnington-Ingram, Symb. Osl. 31 (1955), 82f.; Pohlmann, DAM 26f. |
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