From the INTRODUCTION.
it's always stated that the musical paintings of the current day is so solely assorted from that of the Greeks that, interesting because the learn is to many minds, the musician has not anything no matter what to profit from the traditional Hellenic art.
this can be actual of the "melos," i.e. that a part of tune which has to do with melody, scales, durations, orchestration, vocalisation. Greek melos, with its refinements of modes, genera, transpositions, and modulations, rose, through the classical age, to a truly excessive measure of improvement, and, in a lesser measure, appealed to the classy Attic viewers a lot because the track of a Beethoven or Wagner appeals to an viewers of to-day. yet no quicker had this amazing manifestation of artwork arrived at its zenith, than there started a fast means of decay, within which its such a lot crucial good points disappeared one via one.
track, even though, doesn't encompass melos merely. extra very important from the Greek viewpoint was once rhythmos, which gave power and shape to the melos: and it's with this facet of track on my own that we suggest to deal, and to work out even if historical rhythmical concept, like historical sculpture and structure, has any message for contemporary musicians and fans of music.
The slow upward thrust of Christianity gave the ultimate blow to the already moribund method of track as understood and practised in Hellas. The Fathers of the Church disdained track as an paintings, and basically utilised it because the "handmaid of religion." they discovered that the Psalms and likely different Scriptural writings can be introduced domestic to the congregation extra forcibly in the event that they have been sung than in the event that they have been purely recited ; for this reason the phrases have been placed to basic melodies, now not with any inspiration of aesthetic excitement, yet purely as a car for his or her higher comprehension and remembrance.
As for rhythm, the previous Attic refinements have been forgotten on the interval of the arrival of Christianity, as a result of the lack of the sensation for time-measurement in poetry, and the increase of accessory or tension in its place.
The advent into the Church of rhythmical hymns as well as the prose melody of the Psalms was once strongly antagonistic, because the excitement which the folk derived from the musical rhythm didn't swimsuit the strict ascetic perspectives of lifestyles held via the leaders of the younger and nonetheless suffering faith, even though in spite of everything they have been obliged to offer means. tools have been solely banished, because they have been linked to rhythm, and its noticeable illustration within the dance.
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