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entertaining narrative song to the lyre while a chorus of young men dances round him, presumably illustrating the story in a sort of ballet. There must have been much else that Homer has no occasion to mention: cult songs, songs of work and play, lullabies, and so on. |
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There are one or two passing allusions in Homer to auloi and panpipes as instruments of popular music-making. But the lyre is far more prominent. It has been pointed out (p. 82) that the aulos goes unmentioned in various contexts where it might have been expected on the basis of later usage. Choral dancing, for example, is accompanied by the lyre.3 In the dances represented in the vase-painting of the eighth and early seventh century, the lyre is the usual accompanying instrument. The rhythm might be accentuated by hand-clapping, stamping, or wooden clappers.4 |
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From the beginning of the Archaic period, which for this purpose we will consider as starting somewhat before 700, the evidence of archaeology, literature, and legend becomes much more abundant. We get the impression that music at this time underwent important developments and diversification. It may be an impression exaggerated by the relative dearth of earlier evidence; yet it does not seem to be altogether false. |
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There are developments in lyre design. The seven-stringed instrument, last seen in the Mycenaean period, makes isolated appearances in the eighth century and is depicted more regularly from the seventh. Beside the round-based kithara a new type appears, with a flat base and a different construction of the arms.5 The evidence of art links up with the literary tradition of innovations by Terpander and his pupil Kepion. |
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Terpander was remembered as an outstanding citharode from Lesbos or Aeolian Cyme. Hellanicus put him in the time of Midas, who died c. 696, and also listed him as the first victor in the Spartan Karneia, which are said to have been founded in 676/3. Glaucus of Rhegium agreed in dating him before Archilochus, whereas other sources bring him down to the 640s. He won four successive victories at the Pythian festival, which at that time was octennial, so that |
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3Od. 8. 250-369, 23. 133-47; so too the processional paean in Hymn. Hom. Ap. 514ff. |
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4 Seep. 123. |
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5 See pp. 52 n. 12, 53. |
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