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The fragmentary phrases down to mnemoneusate seem to belong to an iambic or rather a trochaic speech, such as in Classical drama would have been spoken, not sung; but by the time of this papyrus dramatic recitalists commonly set them to music and sang them (cf. 31, 32, 48). The lyrics that follow are mainly in iambic rhythm of the type that uses triseme notes. The melody is largely in accord with word accents, but there are a couple of divergences. |
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In spoken delivery the final vowel of euteknesa would have been elided before egothe verse would not be metrically correct other-wisebut here it is allotted a separate short note. This, and the two instances of diseme syllables sung to three notes (in ekkrousmos), are features of the florid style described on p. 203. In other respects, however, the music seems to have a certain crudity, with its constant emphasis on the notes of the major triad, g (tonic)-b-d'. There is much use of the top note (d'), and of the interval of the third. Was this perhaps a characteristic of the burlesque satyric drama of the time? |
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The scale goes down to d, its whole compass being an octave (which is leapt up in one bound at boukoloi). At choreusate we see the old pentatonic clausula, g e d. Immediately below g we find sometimes  , sometimes  . The modality resembles that of 15 Seikilos' song, which, however, is pitched a minor third lower. |
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The notation is Lydian, alternating with Hypolydian when  is used. |
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30 Oslo papyrus 1413, lines 1-15
(Original a semitone lower) |
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