دانلود کتاب The Rise of Music in the Ancient World: East and West

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Section One THE ORIGINS OF MUSIC

1 MUSIC IN EARLY SOCIETY 19

Theories of the origin ot music The origin disclosed by the study of
early music Music begins with singing The ecstatic character of
early music Shamans\' songs The social character of early music
Its peculiar singing techniques

2 COMPARATIVE MUSICOLOGY AND ITS METHODS 25

Earlier failure The phonograph Transcription The Cents

3. MELODIC STYLES 30

Poetry chanted One-tone melodies Two-tone melodies The Vedda
style Repetition form Symmetry Melodies in thirds and fourths
Earliest evolution The contribution of woman Further evolution
The descending style Distances and intervals Tetrachords and penta
chords The evolution of early melody mirrored by the babble melodies
of European children

4 RHYTHM AND INSTRUMENTAL MUSIC 45

Early rhythm Clapping and striking Drum rhythms Instrumental
music

5 POLYPHONY 48

Parallels Drones and heterophony Antiphony and canon

6 CONCLUSION 52

Section Two THE WESTERN ORIENT

1 HIGH CIVILIZATION AND MUSIC 57

Legend, law, and logic Castes of musicians Musical organization in Egypt, Sumer, and Babylonia Music in the Bible The Temple in Jerusalem Foreigners and musical provinces
2 MUSICAL SYSTEMS IN GENERAL 64

Tetrachords and pentachords Genus Mode and how to recognize
it Scales \'High\' and \'low

3 MUSIC IN THE ANCIENT WESTERN ORIENT 71

Egyptian scenes The up-and-down principle Systems read from
fingerholes Equipartition The lutanist in Nakht’s tomb The divisive principle and the seasons “Overtones” The singers\' wrinkles
and hands Jewish music Crying to God and silent prayer Melodic
patterns, tropes, and cantillauon Accents and neumes Jewish pros-
ody and rhythm Women\'s songs Parallelumus mumbrorum An-
tiphony and responsorial singing Syrian, Armenian, Coptic, and
Ethiopian church music Polypnony Drones Harpers’ chords

4 CONCLUSION 101
“The cries of the Victims who burned in the glowing arms of Moloch”?

Section Three EAST ASIA

1 GENERAL FEATURES 105
China and Japan Vulgar music Well-bred music Music of the
heart Music ot the single note Music of the universe Cosmological
connotations Harmony of the spheres Music and measure Cor-
rections in music
2 THE LU’S 114
Ling lun\'s errand The standard tone The lu’s Kabbala Difficul-
ties The male and the female Ascent and descent Japanese parallel
3 THE SCALES 121 The Chinese scales Modes The Japanese scale Major-third penta-
tonics Malayan scales Pelog Munggang Saltndro Siamese,
Cambodian, Burmese scales Piens, heptatomcs, and major
4 MELODY AND RHYTHM 136
The No Singing style The Daemonic Chinese opera Speech
melody Rhythm and form
5 NOTATION 140
The Ball script Tonal notation Neumes \"Guido’s hand” Tabla-
tures
6 POLYPHONY 145
Heterophony Chords Right and left music Orchestral polyphony
7 ORCHESTRAS 149
Bridges between macrocosm and microcosm Gigantic court orchestras
Foreign orchestras Gamelan Cambodia and Siam The Pwe
Section Four INDIA
1. THE VEDIC CHANT 158
2 PICTORIAL AND LITERARY EVIDENCES 163
The reliefs Bharata
3 SCALES 165
Notes Notation Srutis Gramas Murchanas


4 RAGAS 172

Melodic patterns Law and freedom Legends Water and fire mag-
ics Jatis Classification Hours of the Day Gamakas Quivering
- The art of singing Drones

5 RHYTHM AND FORM 184

Poetical meter Talas The art of drumming Alapa and raga

6 CONCLUSION 193

Credit and debit

Section Five GREECE AND ROME

New orientation

1 THE SOURCES 198

Pieces preserved Treatises preserved Misrepresentation
2 NOTATION 203

Pitch Instrumental notation Vocal notation

3 THE GENERA 206

Diatonic, chromatic, enharmonic The high age of the enharmonion
Its original form Japanese parallel Three-stringed lyres

4. THE SHADES 211

The Anstoxemans The Ptolemaeans Greek music sounded ‘Orien-
tal\'

5 EARLY MODES 216

Harmoma, the Dorian family Phrygian and Lydian Again, Japa-
nese parallels The pedigree

6 THE PERFECT SYSTEM 222

The system Arrays ol keys Decline of authentic structure Aeolian
Early Mixolydian Cryptic scales Tunings of the lyre The F
senes The dovetailed systems Solmization Earlier mistakes

7 THE RELICS 239

Method of analyzing Analyses of the pieces preserved

8 ETHOS 248

The problem Mode? Pitch? Raga-Maqam? Dynamo-thetic ten- sion Harmoma Raga?

9 HEALTH AND EDUCATION 253

Homeopathy Allopathy Pedagogics

10 COUNTERPOINT? 256

Accompaniment Consonance Dissonance

11 ACCENTS AND RHYTHM 259

Melic accents Metric accents Poetic and motor rhythm Rhythms
preserved Rhythmic patterns Tempo

12 FORM 266

Evolution and stagnation Choral forms Dithyramb Drama Solo
istic music Nomos Contests

13. ROME 272

Section Six THE GREEK HERITAGE IN THE MUSIC OF
ISLAM

The \"Arabian” style

1 SCALES AND MODES 279

The seven steps The seventeen steps Inversions and combinations
Three-quarter tones

2 MAQAM 285

Patterns Ethos, therapeutics, cosmological connotations

3 RHYTHM 287

Meters Emancipation from poetry Rhythmic patterns Drumming
Polyrhythm

4 POLYPHONY 289

Heteropliony Drones Ostmato Consonance

5 FORM 290

TaqsTm Pe$rev Nuba

Section Seven EUROPE AND THE ROAD TO MAJOR AND
MINOR

The harmony of brave hearts and bestial singing The gulf between
northern and southern music The puzzle of medieval tonality
Chains of thirds The Landim sixth The Gregorian chant un-
Oricntal also The meaning of our staff notation Countcrchains
Major allegedly \"Germanic” Evolution to major The leading note (semitone) and musica ficta Ugro-Finnish parallels Tendency toward
major in Chinese, Indian, Greek, and Islamic music The conflict between vocal and instrumental styles Fnsia non carnal and the
neighing mare Harmony in instrumental styles Rhythm • Meter
and modi

EPILOGUE 312

INDEX

315