I ALWAYS NEEDED TIME ON MY OWN
I NEVER THOUGHT ID NEED YOU THERE WHEN I CRY
AND THE DAYS FEEL LIKE YEARS WHEN IM ALONE
AND THE BED WHERE YOU LIE IS MADE UP ON YOUR SIDE
WHEN YOU WALK AWAY I COUNT THE STEPS THAT YOU TAKE
DO YOU SEE HOW MUCH I NEED YOU RIGHT NOW
(CHORUS)
WHEN YOURE GONE
THE PIECES OF MY HEART ARE MISSING YOU
WHEN YOURE GONE
THE FACE I CAME TO KNOW IS MISSING TOO
WHEN YOURE GONE
THE WORDS I NEED TO HEAR TO ALWAYS GET ME THROUGH THE DAY AND MAKE IT OK
I MISS YOU
Letras4U.com » letras traducidas al español
IVE NEVER FELT THIS WAY BEFORE
EVERYTHING THAT I DO REMINDS ME OF YOU
AND THE CLOTHES YOU LEFT, THEY LIE ON THE FLOOR
AND THEY SMELL JUST LIKE YOU, I LOVE THE THINGS THAT YOU DO
WHEN YOU WALK AWAY I COUNT THE STEPS THAT YOU TAKE
DO YOU SEE HOW MUCH I NEED YOU RIGHT NOW
(CHORUS)
WE WERE MADE FOR EACH OTHER
OUT HERE FOREVER
I KNOW WE WERE, YEAH
ALL I EVER WANTED WAS FOR YOU TO KNOW
EVERYTHING ID DO, ID GIVE MY HEART AND SOUL
I CAN HARDLY BREATHE I NEED TO FEEL YOU HERE WITH ME, YEAH
(CHORUS)
http://www.youtube.com/watch?v=0G3_kG5FFfQ&feature=relmfu
martes, 6 de diciembre de 2011
ORIGIN OF MUSIC
ORIGIN OF MUSIC
- The beginnings of human musical phenomenon, are completely enveloped in darkness. The world is so disembodied sounds and musical instruments of primitive features as known, none of this has survived. But we have a special interest in know how, when and why humans first expressed in music, how they managed to gradually realize a primitive music, which perhaps was serving other functions of life to make art of it and thus make a the most estimable of human achievements.
The issue of these principles has taken a long time to science, especially the science of Contrasted Music, called Musical Etiology today.
Only you could make assumptions: Try to conclude the state of the musical life of the primitive human groups that still exist. And at the same time arises the question: what is music? Because we can say that of all the items you have music today, there must be tracks. When we talk about music we say that a series of modulated sounds that persist over time. But then exclude all buildings consisting only of elements. And that also exists. You dance at a rate that is only made with hands, in other cases are simpler songs, lacking any link to other times. We find that both occurrences are music and even that only in its most primitive. But that's what we want, with our question of the principles of music.
There is a hypothesis are:
The Charles R. Darwin the great naturalist, believes that the cries of human beings has to be cries of love, perhaps a primitive chant was the male instrument declaring love. If this were real, in the songs of the natives dominate the songs of love, but it is not.
Nor do we find in primitive peoples work songs, to which Karl Buecher considered as a point of departure, as humans did before rhythmic cries for help but work together.
But our present knowledge teaches us that between the early work was almost never in common and much less developed with a musical rhythm.
But reality seems to be the idea of Carl Stumpis, psychologist, founder of German music, says that music may have come with shouts of communication, said the language was not sufficient as a means of communication when shepherds, hunters, and others wanted to understand large distances, then raised his voice to the very top of its volume and thus go further, perhaps treble and uniforms, and as a result of this in connection with the tongue, might have gradually created the musical motifs.Finally there is another hypothesis, the significance of music as a sharp guttural language, according to Rousseau Herder, and Spencer Hevert, were convinced that the accents of the modulation of what we call "melos" of the language have been created the first pieces of music.
Curt Sachs (1889-1959) is very close to it when creating the first intonations, highly affectionate, have left both the language used entirely as a means of communication such as spontaneous singing without any origin.
Although we rely on simple assumptions, when we talk about the principles of music, we can make a portrait quite correct based on the music of the human groups that still exist today and thus get closer to the question: what is music ?.
Similar cultures found in Tierra del Fuego (South America), in the Wedd (melody close), uses only two, three or four sounds in short motifs often repeated in simple descending scale and rhythmic proportions, almost as two time values compared to that in its binary rhythm, reminds us of the human natural movement while walking.
Shortly later musical constructions are also consist of very few sounds, but including larger intervals, which seem to cry, such as fifths and fourths.
In the understandable elements consisting of sound and rhythm come together in primitive music also other properties of speech, voice, dynamic and Agogo, in short, that are difficult to define.
Chants COJURACION
The individual of a definite people can not differentiate or his environment or his thoughts or his actions, is simply in the world. The incomprehensible natural phenomena can be explained only as the work of invisible beings. Beings of which depends on a high level of those who hade put for or defend against them at birth, in sickness or death in the house or war, planting and harvesting, rain and storm. Everywhere there is always something to conjure with, trying to imitate the voices of imaginary beings. In general, tending to think that the extra-human will reach their destination sooner.
That is the cause of the sounds inhuman, the monotony of the song Hypnotic, spirits, corporal punishment and more.
Over time enriches the music media and the process has been able to last for many centuries, but the music gradually deviates from its connections to cultural integrity.In those first elements, which are disposed of extraordinarily differentiated, and that even today are in all musical cultures, including Western, the first buildings are essential, both melodic and rhythmic.
There have already predominant sound to which are added others, but he retains his position as a reference point, which is conditional on melodic development, and also the beginning of the line as distance and mutual relations among themselves and with respect to a central , sounds are grouped according to the degrees of the line, which is considered optimal in intervals of 4 and 5.
The former means a melodic movement step by step, and the second with interruptions. In principle, heptatonic tripentatonicas and scales were preferred, even rightly suspected that might appear later, and in musical instruments. Still be considered basic in major musical cultures, the pentatonic in East Asia and the Middle East heptatonic Europe.
The true principle, the null point of music, these ancient people ignore as much as the old age of the West, Asia, etc.
For appearances and in a certain state of maturity we have to reconstruct a possible starting point.
OLD EASTERN CULTURES
The old calls s Eastern cultures are presumably the first cultural history of the process later.
Historical studies appear in the West in recent centuries, in earlier times, humans never systematically written down something historical, and we must stick to casual references to texts of laws or the administration as well as data collected on cards that are been preserved.
But in these documents is the element of "fugitive" music, but on behalf of outside musicians, instrument descriptions, data on ceremonial, but never in its essential characteristics.
The first tests were made by the Greeks, a millennium later, followed by Chinese, East Indians and peoples of the Middle East. In the West, began to notice the music for about a thousand years, so that until the Middle Ages, the musical phenomenon can only know "from outside" by the news of its development in every age.
We can say that the oldest graphic testimony comes from the "Land of Rivers". As early as 3000 BC C. Harps appear. In a sealed file of year 2700 are found in "hands" of a "donkey Orchestra" in which he also used rattles and sticks deck, which in turn reflect the mythical ideas of the Sumerians.
But there is no doubt that in ancient Eastern cultures toward religious interests were still in proscenium. The Sumerians were using priestly musicians, groups which also belonged to women who sang dirges, while others just sang hymns to the gods, and this song always accompanied instruments. On the other hand, it is clear that there was no independent instrumental music. The size of the harp prevented their use outside the temples. The harpists may reach a degree of virtuosity, and not used plectrum.
The recitation must be rather free, rhapsodic.
West Semitic immigrants who founded the empires of Assyria and Babylonia, and collected in many ways the legacy of the Sumerians, reduced the size of the harps and used the plectrum. So we can assume that since the music was more rhythmic, more "action".
Coinciding with these appearances, we find again more drums, and at least according to the reliefs, the other instruments were enriched. We drums in the form of glass and especially for the first time appears a lute, long mast to which some researchers place at an earlier period to the eighteenth century A. C. But we assume that the following are lutes and lyres and harps being much more laborious construction.
The first harps be formed by evolution of primitive bows, which in turn are identical to those hunting bows.
The decline of certain forms and variety but still can clarify certain aspects of the musical and its important role within the totality of the spiritual life.
MUSIC IN ISRAEL
But our knowledge is weak in this respect in the musical exercise of the Israeli people, cuja big time was in the last century before Christ.
We do not have pictures or prints. In those days, perhaps used religiously motivated.
But the Old Testament of the Bible know a number of names of instruments, certainly a small part can be identified, and descriptions of musical practices.
Behind "nebal" and "kinnor" assumes a ten-stringed harp and a lyre of eight.
Aside from these dishes were perhaps and certainly the "Schofer" which is originally a trumpet-twisted horns made of Morocco, and in that form in the synagogues served as an instrument of worship.
Indirectly we know of tools for news and relief from non-Jewish peoples. Also its etymology in the Middle East occasionally helps.
Thus we find flutes frame drums, castanets and perhaps also the sistrum. But generally we can say that the ancient Hebrews grew much music, especially dedicated for worship.
In exile after the year was 586 BC. probably change their musical style a martial acquiring.
But the Egyptians the cultures of Asia and South East can present an almost unbroken musical tradition that had lasted for many centuries.
Apart from a native certainly instrumental, such as cash zithers convex, for example we have lutes, zithers oboes flat boxes that come from the Middle East.
They also met in the East the harp, which probably does not originate from there.
Scientists thought they saw parallels to ancient Greece: in the theater, in the correspondence between numbers, and the sounds of a vibrating string, depending on its length, in the kind of instruments used in some magic, especially in thedoctrine that "Etos" music was high as the porch of philosophy.
MUSIC IN GREECE
Already in the Middle Eastern cultures have found records of the essential features of the Greco-Roman music. But only in Hellas was artistically developed.
The Greeks were the first to create the foundation for the field, which today we call science musicology or music. They were the first laws must be numeric on the relationship between sounds and harmonic system dominates for two millennia in European art music.
They stood on a precise notation that the seed could decipher the notes preserved many pieces of music. Greek music theory, through Rome, Byzantium and Arabia, was Western tradition, so were some technical expressions - even some with different meanings - present: pitch, rhythm, melos, harmony, chromaticism, enharmony, choir, orchestra and Above all, the same word music.
We know of Greek music, rather than strictly musical legacy by references to poets and writers. The literary sources, supplemented by the documentation, especially plastic glasses decoration, offer a reflection of the twinned musical art with poetry, as a summary of spiritual culture, and teaching of an art that formed the character and enjoyed more respect than the profession of sculptor.
The importance attached by the Greeks in music in various spheres of life arose in later times the interest for their artistic achievements and scientific research.
That's how the idea of Greek tragedy was in the Renaissance to the creation of opera. Since then they have ceased scientific discussions on the problems of early music. Common thanks to the efforts of historians, philologists and archaeologists of the nineteenth and twentieth centuries, knowledge about the subject have increased steadily, although not definitely clarified some issues.
The significance of Musik (adjective tech: Art of the Muses) is clearer than ours-Music-which is derived from it. Musik originally meant the sound of poetry, verses that were recited dancing and singing. In the melos expressed the unity of the media, the logos (the word meaning as a support), "The song consists of three elements: the word, harmony and rhythm. But harmony and rhythm must follow the word. "
Musik is fundamental to poetry in a rhythmic and melodic. The rhythm is not based on the stress - as in our Western touch-but in a succession of long and short syllables (rhythmic amount). With the emphasis of the text closely links the formation of the melody.
This interdependence of music and poetry falls apart after the classical period, running both for different channels.
Far from being an end in itself, the music in Hellas infiltrated everyday life, committed to social institutions and traditional uses. Missions were attributed to the magical music of worship. Instruments and songs accompanied the burnt offerings, processions, funeral ceremonies and mysteries of different gods. Music facilitated the development of work and also the training of the athlete, ordered the march of the soldiers and enlivened the social parties.
There were recitations of professional singers in the courts of princes, and agonists, also professional musicians, educated at the great festivals, like the games at Delphi, the Gimnopedias of Sparta, the Panathenaic, Dionysia and dramatic trials in theater Dionysus in Athens.
Increasing differentiation between the arts, all linked by music, new genres emerged and new forms of musical theater, as the pantomime.
In the education of the "born free" music on the one hand, and the gym, on the other, sought the kalokagathia suitable balance between physical and spiritual perfection.
The training of youth in ancient Athens had three grades: the first children learned the song and play stringed instruments, reading, writing and basic knowledge for the understanding of poetry, then followed the pair wing training participation on the sets of dance, which was the second and third grades.
Also in Thebes, Sparta and other states all citizens took part in these assemblies until education, separate from government policy, made the music became an autonomous art virtuous a specialized profession.
The culture in general-Paideia Enkyklios understood the language sciences (the medieval Triviun) and mathematics-arithmetic, geometry and astronomy, in which he joined musical theory (Cuadriviun).
The musical phenomenon was closely related to the world of the gods, reflected in the myth. The music had received its name from the muses, singers and dancers divine solace which the Olympian gods with his music and poetry capacity granted to those preferred by them.
They had many gods as the creators of the instruments and were represented by touching them. It was said that Hermes was the shell of the tortoise and lamb intestines of the first stringed instrument, the lyre, which he gave to Apollo, and then built for himself the syrinx (syrinx).
The goddess Athena was regarded as the inventor of the trumpet and the aulos, the most important wind instruments in Greece, but to mock her Aphrodite and Hera, because the blow was disfigured his face, threw it away.
Apollo, the accurate arrows, a preacher of the Oracle and holder of the lira, was the director of the choir of the Muses. His favorite music was that of stringed instruments, while the wind and the aulos in particular, contained in the orgiastic cult of Dionysus. Nietzsche in his Birth of Tragedy, in contrast to the Apollonian dianisíaco, and undoubtedly there are sharp contrasts between the two, especially if we consider with regard to Pan, the caprípedo.
"In Hellas is reflected in many ways the contrast between an advanced culture and natural heritage of prehistoric wild," says W. Wior.
Summary of the wonderful virtues attributed to music is the myth of Orpheus. This favorite musician of the gods, practiced with her singing and her magical music on people, animals and even on inanimate nature, and said that forced the evil forces of the "hidden world" to free his wife Eurydice.
In his view myths of the Hellenic people's susceptibility to the sound and rhythm.Based on observations on the effects of music in orgiastic cults, the followers of Pythagoras (sixth century BC) and medicinal musician admitted connections from which arose the doctrine of the possible expression of various psychological situations. The music is attributed purification properties (catarsisi) affections.
For psychotherapeutic theory of music sought philosophical foundation in natural sciences, seeing a parallel between the numerical harmony in the cosmos (harmony of the spheres) and the Greek tonal systems.
We used six modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian and Aeolian, which differed in the different placement of tones and semitones in their respective scales. If we use as a benchmark our current larger scale, these six modes are formed based on each of the first six grades: Do, Re, Mi, Fa, Sol, La, on, on the scale of C major, for example.
Plato analyzed every tonal rhythm and form according to their educational value in the political education of youth for the "ideal state". The news is severely proscribed as harmful to the survival of the state.
Aristotle also recognized the cathartic effect of enthusiastic singing, evaluating, next to the ethical, the aesthetic: "Music as recreation in the leisure of a free citizen."
The doctrine Etos musical philosophy became popular and was a component of the education system. To demonstrate the effects of music, Boethius relates an anecdote very popular: "We all know that Pythagoras restored the self-control a young drunk, listening to something in Phrygian mode, was enraged. Pythagoras cured him singing a spondee ...".
Whether the word was the mainstay of the music as the song dominated the musical culture of Greece, and therefore, the instruments are subordinated to mere accompaniment of the human voice, acting myy rarely without them. Those who experienced greater development were the strings, of which there were several types.
Del phorminx of round four strings sounding board, which was the oldest among the instruments Greeks formed the seven-stringed zither. He played standing up, either with fingers or plectrum, and reduced models were built for teaching. Then came the lute (Pandura Trichordon).
The aulos, imported from the Middle East, was in Phrygia, the most important among the wind instruments.
While kitharode could accompany his epic or lyrical string music, the performer of aulos had a place in the choral singing, acting also as soloist. Less application offered the syrinx (Pan flute) instrument pastoral different measures, and the salpinx (trumpet), metal body with flaring mouth, used by heralds or messengers.
As percussion instruments used the krotala (ratchet), kymbala (cymbals), tympanon (eardrum), essential as rhythm instruments, but not music itself.
Of great importance for the future was the creation of the body in the Postclassic, for Ktesibios of Alexandria (third century BC), who built it, based on syiuxs mechanization through water pressure (Hydraulis, organ hydraulic). This instrument, described by Heron and Vitrno, mñultiples found applications in the Roman and Byzantine empires.
GREEK MUSIC THEORY
Greek music is melodic and horizontal conceptualized as essentially homophonic, polyphonic besides elementary forms (accompanying drone, etc..) As well as accompaniments to the vocal (heterophony). The rhythm and melody are perfectly nuanced as the minimum pitch differences, and completely unknown today.
First, of music theory are, by the calculation of the Pythagorean intervals, the erection of a series of tones through the school of Aristógenes.
The Greeks ordered the sounds up and down, making choices based on the volume of the human voice. The fourth interval was instrumental in the formation of scales, the tetrachord consists of two whole tones and a semitone. Two tetrachords, succeeding within the scope of an octave, represented a system separately (diezeugmenon system) or assembly (syuemmenon system). The complete system (teleion) was developed in the context of a double octave, and its scale is set to the different modalities (harmoniai), differing by the position of the semitones. We have already referred to the Greek modes within the octave, and now add that in the two octaves, succeeding the tetrachords in different combinations, it was the complete system.
The tetrachord can be obtained in different ways: there are three basic (gene generates) diatonic, chromatic and enharmonic. At first the whole-tone suit. The chromatic semitones correspond to the order, and the thirds and the enharmonic quarter tone.
The Pythagoreans ordered basic intervals-octave, fifth and fourth-through simple numerical relationships (2 / 1, 3 / 2, 4 / 3) and fixed intervals of diatonic tetrachords's relationship with the whole tone semitone. Archytas set the third largest in 5 / 4, and later theorists calculated more divisions of the fourth, calling chroai (colors), enriching the Greek musical practice with fine nuances melodic intonation d possibilities.
Calculations on tetrachords that Ptolemaios says, were the most historically important after obtaining the third largest for-Archytas: the introduction of the minor third, 6 / 5, by Eratosthenes, and harmonic classification within the diatoonismo byDidymos.
For the annotation of the tunes made use of alphabetic signs, poetic texts that were written down on the syllables. Two systems are known for their application: vocal notation with Ionic alphabet signs, for the song without accompaniment, and instrumental notation, a combination of Doric and Ionic ancient letters to pieces and songs accompanied implemented.
Among the main sources for the study of Greek notations are outstanding testimonies of Alypius (fourth century AD).
In 1847, independently of one another, researchers succeeded Bellermann and Fortlage first decipher the Greek notation. Since then science has addressed this issue jealously, but is still far from knowing all meaning. The Greek notation, with its combination alphabetical so subtle, is the first, historically, music set by signs.Gradually have been discovered, and therefore analyzing these musical testimonies carved in stone or written on papyrus. Currently thirty-three known pieces, almost without exception, from the remotest antiquity largely fragmented and we have come as simple notes simple series of sounds, without reference to accompanying sound character and performance. But it ignores the practical details of its application, which "became a musician of that era in music notation" (Thr. Georgiades).Therefore, it is risky to interpret contemporary ancient Greek musical fragments inseparable from poetry have come down to us as mere patterns of notes.
As a typical example serves the Seikilos dirge of so plastic structure. It is certain that this song Seikilos of so plastic structure. It is certain that this song was a model Seikilos formerly widespread.
Among the witnesses are the most important known:
Fragment of 1 Stasimon of Orestes by Euripides (Papyrus 250 AD to 150) BC, the oldest Greek writing music we know.)
End of a poem, of unknown origin (of the year 25 BC).
and 4. Two hymns dedicated to Apollo, the Athenian treasure house at Delphi (second century BC).
5. Skolion on Seikilos funeral column, found at Tralles (Asia Minor, possibly the century).
6. Fragment of an unknown tragedy (Papyrus Osio, to be created in the year 100).
7 to 9. Paian Berlin papyrus fragment, singing about suicide with some parts of Ajas insturmetnales (second century).
10 to 12. Three lyrical hymns Mesomedes (second century) to the Muses, to Helios and Nemesis, transmitted by manuscripts of the Middle Ages (published by V. Galilei in 1581).
13. The papyrus Oxyrhynchos an early Christian hymn (third century, the earliest record of Christian music).
14. Pieces for implementation in a treatise on post-antiquity.
TIMES OF MUSICAL HISTORY
The Greeks considered the gods as the creators of the music, and so are the principles of musical history closely related to known legends about mythical figures like Orpheus, Linos or Amphion. We know very few reproductions of the Homeric period instruments, and despite the undoubted connection with the Middle East can not be demonstrated until much later the existence of the typical oriental antique instruments, such as triangular harp, lute and frame drum. The lyre, so popular in Greece, was much less important in the East.
String instruments dominate the Homeric world on the wind (aulos and syrinx preferred).
Preset musical forms are mentioned for worship and profane uses: hymn to the gods, men's choir, singing funeral songs for marriage (hymenaios) or songs for the job.
Some aoide sang in the court of princes and nobles of gods and heroes songs, accompanying himself with the "phormins." They liked him as much as the prophet, doctor or architect, and above the craftsman. In analogy to the epic poetry of other peoples, the pre-Homeric singer was composed based on a wealth of legends, through a traditional art form, very varied and somewhat improvised.
Probably so recited the verses, and more primitive hexameter sung with a melody unchanged.
As an example of epic poetry, in hexameters, verses serve as an introduction to the Theogony of Hesiod:
Oh muses of Helicon, of you start to sing,
That dwell at the top of Helicon, the great and sacred;
And with soft and delicate feet around you dance
From blue font and the altar of Cronio, combat veteran ....
Faced with epic poetry was the on the song, with verses of different (Kolen). The following religious song for female voices can be considered as the oldest Greek text preserved coral entirety:
RECITATION OF SINGER AOIDE
(Excerpt from Homer's Odyssey VIII, 261-266)
But there came a herald, bringing the harp sound
To Demodokos. Was placed in the center
And around him were the fragrant ephebes
Experts artistic dances,
With measured steps were away.
But Odysseus looked, full of admiration
Silent, the speed of their winged feet.
Delicious murmur rang the harp, and then
Melodious song rose of beauty.
Between myth and history is the Phrygian Olympus (about 750), symbol of the vincualción between the music of Asia Minor and Greece. His figure is related to the introduction of the aulos East and the oldest enharmonía without semitones, for the rites of the offerings.
- The beginnings of human musical phenomenon, are completely enveloped in darkness. The world is so disembodied sounds and musical instruments of primitive features as known, none of this has survived. But we have a special interest in know how, when and why humans first expressed in music, how they managed to gradually realize a primitive music, which perhaps was serving other functions of life to make art of it and thus make a the most estimable of human achievements.
The issue of these principles has taken a long time to science, especially the science of Contrasted Music, called Musical Etiology today.
Only you could make assumptions: Try to conclude the state of the musical life of the primitive human groups that still exist. And at the same time arises the question: what is music? Because we can say that of all the items you have music today, there must be tracks. When we talk about music we say that a series of modulated sounds that persist over time. But then exclude all buildings consisting only of elements. And that also exists. You dance at a rate that is only made with hands, in other cases are simpler songs, lacking any link to other times. We find that both occurrences are music and even that only in its most primitive. But that's what we want, with our question of the principles of music.
There is a hypothesis are:
The Charles R. Darwin the great naturalist, believes that the cries of human beings has to be cries of love, perhaps a primitive chant was the male instrument declaring love. If this were real, in the songs of the natives dominate the songs of love, but it is not.
Nor do we find in primitive peoples work songs, to which Karl Buecher considered as a point of departure, as humans did before rhythmic cries for help but work together.
But our present knowledge teaches us that between the early work was almost never in common and much less developed with a musical rhythm.
But reality seems to be the idea of Carl Stumpis, psychologist, founder of German music, says that music may have come with shouts of communication, said the language was not sufficient as a means of communication when shepherds, hunters, and others wanted to understand large distances, then raised his voice to the very top of its volume and thus go further, perhaps treble and uniforms, and as a result of this in connection with the tongue, might have gradually created the musical motifs.Finally there is another hypothesis, the significance of music as a sharp guttural language, according to Rousseau Herder, and Spencer Hevert, were convinced that the accents of the modulation of what we call "melos" of the language have been created the first pieces of music.
Curt Sachs (1889-1959) is very close to it when creating the first intonations, highly affectionate, have left both the language used entirely as a means of communication such as spontaneous singing without any origin.
Although we rely on simple assumptions, when we talk about the principles of music, we can make a portrait quite correct based on the music of the human groups that still exist today and thus get closer to the question: what is music ?.
Similar cultures found in Tierra del Fuego (South America), in the Wedd (melody close), uses only two, three or four sounds in short motifs often repeated in simple descending scale and rhythmic proportions, almost as two time values compared to that in its binary rhythm, reminds us of the human natural movement while walking.
Shortly later musical constructions are also consist of very few sounds, but including larger intervals, which seem to cry, such as fifths and fourths.
In the understandable elements consisting of sound and rhythm come together in primitive music also other properties of speech, voice, dynamic and Agogo, in short, that are difficult to define.
Chants COJURACION
The individual of a definite people can not differentiate or his environment or his thoughts or his actions, is simply in the world. The incomprehensible natural phenomena can be explained only as the work of invisible beings. Beings of which depends on a high level of those who hade put for or defend against them at birth, in sickness or death in the house or war, planting and harvesting, rain and storm. Everywhere there is always something to conjure with, trying to imitate the voices of imaginary beings. In general, tending to think that the extra-human will reach their destination sooner.
That is the cause of the sounds inhuman, the monotony of the song Hypnotic, spirits, corporal punishment and more.
Over time enriches the music media and the process has been able to last for many centuries, but the music gradually deviates from its connections to cultural integrity.In those first elements, which are disposed of extraordinarily differentiated, and that even today are in all musical cultures, including Western, the first buildings are essential, both melodic and rhythmic.
There have already predominant sound to which are added others, but he retains his position as a reference point, which is conditional on melodic development, and also the beginning of the line as distance and mutual relations among themselves and with respect to a central , sounds are grouped according to the degrees of the line, which is considered optimal in intervals of 4 and 5.
The former means a melodic movement step by step, and the second with interruptions. In principle, heptatonic tripentatonicas and scales were preferred, even rightly suspected that might appear later, and in musical instruments. Still be considered basic in major musical cultures, the pentatonic in East Asia and the Middle East heptatonic Europe.
The true principle, the null point of music, these ancient people ignore as much as the old age of the West, Asia, etc.
For appearances and in a certain state of maturity we have to reconstruct a possible starting point.
OLD EASTERN CULTURES
The old calls s Eastern cultures are presumably the first cultural history of the process later.
Historical studies appear in the West in recent centuries, in earlier times, humans never systematically written down something historical, and we must stick to casual references to texts of laws or the administration as well as data collected on cards that are been preserved.
But in these documents is the element of "fugitive" music, but on behalf of outside musicians, instrument descriptions, data on ceremonial, but never in its essential characteristics.
The first tests were made by the Greeks, a millennium later, followed by Chinese, East Indians and peoples of the Middle East. In the West, began to notice the music for about a thousand years, so that until the Middle Ages, the musical phenomenon can only know "from outside" by the news of its development in every age.
We can say that the oldest graphic testimony comes from the "Land of Rivers". As early as 3000 BC C. Harps appear. In a sealed file of year 2700 are found in "hands" of a "donkey Orchestra" in which he also used rattles and sticks deck, which in turn reflect the mythical ideas of the Sumerians.
But there is no doubt that in ancient Eastern cultures toward religious interests were still in proscenium. The Sumerians were using priestly musicians, groups which also belonged to women who sang dirges, while others just sang hymns to the gods, and this song always accompanied instruments. On the other hand, it is clear that there was no independent instrumental music. The size of the harp prevented their use outside the temples. The harpists may reach a degree of virtuosity, and not used plectrum.
The recitation must be rather free, rhapsodic.
West Semitic immigrants who founded the empires of Assyria and Babylonia, and collected in many ways the legacy of the Sumerians, reduced the size of the harps and used the plectrum. So we can assume that since the music was more rhythmic, more "action".
Coinciding with these appearances, we find again more drums, and at least according to the reliefs, the other instruments were enriched. We drums in the form of glass and especially for the first time appears a lute, long mast to which some researchers place at an earlier period to the eighteenth century A. C. But we assume that the following are lutes and lyres and harps being much more laborious construction.
The first harps be formed by evolution of primitive bows, which in turn are identical to those hunting bows.
The decline of certain forms and variety but still can clarify certain aspects of the musical and its important role within the totality of the spiritual life.
MUSIC IN ISRAEL
But our knowledge is weak in this respect in the musical exercise of the Israeli people, cuja big time was in the last century before Christ.
We do not have pictures or prints. In those days, perhaps used religiously motivated.
But the Old Testament of the Bible know a number of names of instruments, certainly a small part can be identified, and descriptions of musical practices.
Behind "nebal" and "kinnor" assumes a ten-stringed harp and a lyre of eight.
Aside from these dishes were perhaps and certainly the "Schofer" which is originally a trumpet-twisted horns made of Morocco, and in that form in the synagogues served as an instrument of worship.
Indirectly we know of tools for news and relief from non-Jewish peoples. Also its etymology in the Middle East occasionally helps.
Thus we find flutes frame drums, castanets and perhaps also the sistrum. But generally we can say that the ancient Hebrews grew much music, especially dedicated for worship.
In exile after the year was 586 BC. probably change their musical style a martial acquiring.
But the Egyptians the cultures of Asia and South East can present an almost unbroken musical tradition that had lasted for many centuries.
Apart from a native certainly instrumental, such as cash zithers convex, for example we have lutes, zithers oboes flat boxes that come from the Middle East.
They also met in the East the harp, which probably does not originate from there.
Scientists thought they saw parallels to ancient Greece: in the theater, in the correspondence between numbers, and the sounds of a vibrating string, depending on its length, in the kind of instruments used in some magic, especially in thedoctrine that "Etos" music was high as the porch of philosophy.
MUSIC IN GREECE
Already in the Middle Eastern cultures have found records of the essential features of the Greco-Roman music. But only in Hellas was artistically developed.
The Greeks were the first to create the foundation for the field, which today we call science musicology or music. They were the first laws must be numeric on the relationship between sounds and harmonic system dominates for two millennia in European art music.
They stood on a precise notation that the seed could decipher the notes preserved many pieces of music. Greek music theory, through Rome, Byzantium and Arabia, was Western tradition, so were some technical expressions - even some with different meanings - present: pitch, rhythm, melos, harmony, chromaticism, enharmony, choir, orchestra and Above all, the same word music.
We know of Greek music, rather than strictly musical legacy by references to poets and writers. The literary sources, supplemented by the documentation, especially plastic glasses decoration, offer a reflection of the twinned musical art with poetry, as a summary of spiritual culture, and teaching of an art that formed the character and enjoyed more respect than the profession of sculptor.
The importance attached by the Greeks in music in various spheres of life arose in later times the interest for their artistic achievements and scientific research.
That's how the idea of Greek tragedy was in the Renaissance to the creation of opera. Since then they have ceased scientific discussions on the problems of early music. Common thanks to the efforts of historians, philologists and archaeologists of the nineteenth and twentieth centuries, knowledge about the subject have increased steadily, although not definitely clarified some issues.
The significance of Musik (adjective tech: Art of the Muses) is clearer than ours-Music-which is derived from it. Musik originally meant the sound of poetry, verses that were recited dancing and singing. In the melos expressed the unity of the media, the logos (the word meaning as a support), "The song consists of three elements: the word, harmony and rhythm. But harmony and rhythm must follow the word. "
Musik is fundamental to poetry in a rhythmic and melodic. The rhythm is not based on the stress - as in our Western touch-but in a succession of long and short syllables (rhythmic amount). With the emphasis of the text closely links the formation of the melody.
This interdependence of music and poetry falls apart after the classical period, running both for different channels.
Far from being an end in itself, the music in Hellas infiltrated everyday life, committed to social institutions and traditional uses. Missions were attributed to the magical music of worship. Instruments and songs accompanied the burnt offerings, processions, funeral ceremonies and mysteries of different gods. Music facilitated the development of work and also the training of the athlete, ordered the march of the soldiers and enlivened the social parties.
There were recitations of professional singers in the courts of princes, and agonists, also professional musicians, educated at the great festivals, like the games at Delphi, the Gimnopedias of Sparta, the Panathenaic, Dionysia and dramatic trials in theater Dionysus in Athens.
Increasing differentiation between the arts, all linked by music, new genres emerged and new forms of musical theater, as the pantomime.
In the education of the "born free" music on the one hand, and the gym, on the other, sought the kalokagathia suitable balance between physical and spiritual perfection.
The training of youth in ancient Athens had three grades: the first children learned the song and play stringed instruments, reading, writing and basic knowledge for the understanding of poetry, then followed the pair wing training participation on the sets of dance, which was the second and third grades.
Also in Thebes, Sparta and other states all citizens took part in these assemblies until education, separate from government policy, made the music became an autonomous art virtuous a specialized profession.
The culture in general-Paideia Enkyklios understood the language sciences (the medieval Triviun) and mathematics-arithmetic, geometry and astronomy, in which he joined musical theory (Cuadriviun).
The musical phenomenon was closely related to the world of the gods, reflected in the myth. The music had received its name from the muses, singers and dancers divine solace which the Olympian gods with his music and poetry capacity granted to those preferred by them.
They had many gods as the creators of the instruments and were represented by touching them. It was said that Hermes was the shell of the tortoise and lamb intestines of the first stringed instrument, the lyre, which he gave to Apollo, and then built for himself the syrinx (syrinx).
The goddess Athena was regarded as the inventor of the trumpet and the aulos, the most important wind instruments in Greece, but to mock her Aphrodite and Hera, because the blow was disfigured his face, threw it away.
Apollo, the accurate arrows, a preacher of the Oracle and holder of the lira, was the director of the choir of the Muses. His favorite music was that of stringed instruments, while the wind and the aulos in particular, contained in the orgiastic cult of Dionysus. Nietzsche in his Birth of Tragedy, in contrast to the Apollonian dianisíaco, and undoubtedly there are sharp contrasts between the two, especially if we consider with regard to Pan, the caprípedo.
"In Hellas is reflected in many ways the contrast between an advanced culture and natural heritage of prehistoric wild," says W. Wior.
Summary of the wonderful virtues attributed to music is the myth of Orpheus. This favorite musician of the gods, practiced with her singing and her magical music on people, animals and even on inanimate nature, and said that forced the evil forces of the "hidden world" to free his wife Eurydice.
In his view myths of the Hellenic people's susceptibility to the sound and rhythm.Based on observations on the effects of music in orgiastic cults, the followers of Pythagoras (sixth century BC) and medicinal musician admitted connections from which arose the doctrine of the possible expression of various psychological situations. The music is attributed purification properties (catarsisi) affections.
For psychotherapeutic theory of music sought philosophical foundation in natural sciences, seeing a parallel between the numerical harmony in the cosmos (harmony of the spheres) and the Greek tonal systems.
We used six modes: Ionian, Dorian, Phrygian, Lydian, Mixolydian and Aeolian, which differed in the different placement of tones and semitones in their respective scales. If we use as a benchmark our current larger scale, these six modes are formed based on each of the first six grades: Do, Re, Mi, Fa, Sol, La, on, on the scale of C major, for example.
Plato analyzed every tonal rhythm and form according to their educational value in the political education of youth for the "ideal state". The news is severely proscribed as harmful to the survival of the state.
Aristotle also recognized the cathartic effect of enthusiastic singing, evaluating, next to the ethical, the aesthetic: "Music as recreation in the leisure of a free citizen."
The doctrine Etos musical philosophy became popular and was a component of the education system. To demonstrate the effects of music, Boethius relates an anecdote very popular: "We all know that Pythagoras restored the self-control a young drunk, listening to something in Phrygian mode, was enraged. Pythagoras cured him singing a spondee ...".
Whether the word was the mainstay of the music as the song dominated the musical culture of Greece, and therefore, the instruments are subordinated to mere accompaniment of the human voice, acting myy rarely without them. Those who experienced greater development were the strings, of which there were several types.
Del phorminx of round four strings sounding board, which was the oldest among the instruments Greeks formed the seven-stringed zither. He played standing up, either with fingers or plectrum, and reduced models were built for teaching. Then came the lute (Pandura Trichordon).
The aulos, imported from the Middle East, was in Phrygia, the most important among the wind instruments.
While kitharode could accompany his epic or lyrical string music, the performer of aulos had a place in the choral singing, acting also as soloist. Less application offered the syrinx (Pan flute) instrument pastoral different measures, and the salpinx (trumpet), metal body with flaring mouth, used by heralds or messengers.
As percussion instruments used the krotala (ratchet), kymbala (cymbals), tympanon (eardrum), essential as rhythm instruments, but not music itself.
Of great importance for the future was the creation of the body in the Postclassic, for Ktesibios of Alexandria (third century BC), who built it, based on syiuxs mechanization through water pressure (Hydraulis, organ hydraulic). This instrument, described by Heron and Vitrno, mñultiples found applications in the Roman and Byzantine empires.
GREEK MUSIC THEORY
Greek music is melodic and horizontal conceptualized as essentially homophonic, polyphonic besides elementary forms (accompanying drone, etc..) As well as accompaniments to the vocal (heterophony). The rhythm and melody are perfectly nuanced as the minimum pitch differences, and completely unknown today.
First, of music theory are, by the calculation of the Pythagorean intervals, the erection of a series of tones through the school of Aristógenes.
The Greeks ordered the sounds up and down, making choices based on the volume of the human voice. The fourth interval was instrumental in the formation of scales, the tetrachord consists of two whole tones and a semitone. Two tetrachords, succeeding within the scope of an octave, represented a system separately (diezeugmenon system) or assembly (syuemmenon system). The complete system (teleion) was developed in the context of a double octave, and its scale is set to the different modalities (harmoniai), differing by the position of the semitones. We have already referred to the Greek modes within the octave, and now add that in the two octaves, succeeding the tetrachords in different combinations, it was the complete system.
The tetrachord can be obtained in different ways: there are three basic (gene generates) diatonic, chromatic and enharmonic. At first the whole-tone suit. The chromatic semitones correspond to the order, and the thirds and the enharmonic quarter tone.
The Pythagoreans ordered basic intervals-octave, fifth and fourth-through simple numerical relationships (2 / 1, 3 / 2, 4 / 3) and fixed intervals of diatonic tetrachords's relationship with the whole tone semitone. Archytas set the third largest in 5 / 4, and later theorists calculated more divisions of the fourth, calling chroai (colors), enriching the Greek musical practice with fine nuances melodic intonation d possibilities.
Calculations on tetrachords that Ptolemaios says, were the most historically important after obtaining the third largest for-Archytas: the introduction of the minor third, 6 / 5, by Eratosthenes, and harmonic classification within the diatoonismo byDidymos.
For the annotation of the tunes made use of alphabetic signs, poetic texts that were written down on the syllables. Two systems are known for their application: vocal notation with Ionic alphabet signs, for the song without accompaniment, and instrumental notation, a combination of Doric and Ionic ancient letters to pieces and songs accompanied implemented.
Among the main sources for the study of Greek notations are outstanding testimonies of Alypius (fourth century AD).
In 1847, independently of one another, researchers succeeded Bellermann and Fortlage first decipher the Greek notation. Since then science has addressed this issue jealously, but is still far from knowing all meaning. The Greek notation, with its combination alphabetical so subtle, is the first, historically, music set by signs.Gradually have been discovered, and therefore analyzing these musical testimonies carved in stone or written on papyrus. Currently thirty-three known pieces, almost without exception, from the remotest antiquity largely fragmented and we have come as simple notes simple series of sounds, without reference to accompanying sound character and performance. But it ignores the practical details of its application, which "became a musician of that era in music notation" (Thr. Georgiades).Therefore, it is risky to interpret contemporary ancient Greek musical fragments inseparable from poetry have come down to us as mere patterns of notes.
As a typical example serves the Seikilos dirge of so plastic structure. It is certain that this song Seikilos of so plastic structure. It is certain that this song was a model Seikilos formerly widespread.
Among the witnesses are the most important known:
Fragment of 1 Stasimon of Orestes by Euripides (Papyrus 250 AD to 150) BC, the oldest Greek writing music we know.)
End of a poem, of unknown origin (of the year 25 BC).
and 4. Two hymns dedicated to Apollo, the Athenian treasure house at Delphi (second century BC).
5. Skolion on Seikilos funeral column, found at Tralles (Asia Minor, possibly the century).
6. Fragment of an unknown tragedy (Papyrus Osio, to be created in the year 100).
7 to 9. Paian Berlin papyrus fragment, singing about suicide with some parts of Ajas insturmetnales (second century).
10 to 12. Three lyrical hymns Mesomedes (second century) to the Muses, to Helios and Nemesis, transmitted by manuscripts of the Middle Ages (published by V. Galilei in 1581).
13. The papyrus Oxyrhynchos an early Christian hymn (third century, the earliest record of Christian music).
14. Pieces for implementation in a treatise on post-antiquity.
TIMES OF MUSICAL HISTORY
The Greeks considered the gods as the creators of the music, and so are the principles of musical history closely related to known legends about mythical figures like Orpheus, Linos or Amphion. We know very few reproductions of the Homeric period instruments, and despite the undoubted connection with the Middle East can not be demonstrated until much later the existence of the typical oriental antique instruments, such as triangular harp, lute and frame drum. The lyre, so popular in Greece, was much less important in the East.
String instruments dominate the Homeric world on the wind (aulos and syrinx preferred).
Preset musical forms are mentioned for worship and profane uses: hymn to the gods, men's choir, singing funeral songs for marriage (hymenaios) or songs for the job.
Some aoide sang in the court of princes and nobles of gods and heroes songs, accompanying himself with the "phormins." They liked him as much as the prophet, doctor or architect, and above the craftsman. In analogy to the epic poetry of other peoples, the pre-Homeric singer was composed based on a wealth of legends, through a traditional art form, very varied and somewhat improvised.
Probably so recited the verses, and more primitive hexameter sung with a melody unchanged.
As an example of epic poetry, in hexameters, verses serve as an introduction to the Theogony of Hesiod:
Oh muses of Helicon, of you start to sing,
That dwell at the top of Helicon, the great and sacred;
And with soft and delicate feet around you dance
From blue font and the altar of Cronio, combat veteran ....
Faced with epic poetry was the on the song, with verses of different (Kolen). The following religious song for female voices can be considered as the oldest Greek text preserved coral entirety:
RECITATION OF SINGER AOIDE
(Excerpt from Homer's Odyssey VIII, 261-266)
But there came a herald, bringing the harp sound
To Demodokos. Was placed in the center
And around him were the fragrant ephebes
Experts artistic dances,
With measured steps were away.
But Odysseus looked, full of admiration
Silent, the speed of their winged feet.
Delicious murmur rang the harp, and then
Melodious song rose of beauty.
Between myth and history is the Phrygian Olympus (about 750), symbol of the vincualción between the music of Asia Minor and Greece. His figure is related to the introduction of the aulos East and the oldest enharmonía without semitones, for the rites of the offerings.
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