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

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