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La Musique grecque antique retrouvée

La musique grecque nous a laissé quelques témoignages qu'archéologues, historiens, et musiciens passionnés s'efforcent de recréer.

Pour une présentation synthétiques de la démarche expérimentale des chercheurs pour retrouver les sonorités de la grèce antique, je vous invite à prendre connaissance des travaux du groupe Kerylos sur la musique grecque antique.
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Æolian, aeolian, äolisch, Æolian harp, Aeolian harp, Äolsharfe, Äolier (W3)

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Homeric Singing
An Approach to the Original Performance

• Sample
• Bibliography
• Abstract

In the course of the last years, we have developed a technique of singing the Homeric epics, which is appropriate for the primarily oral tradition from which these poems emerge. The Homeric bard sang his songs to the four-stringed phorminx, improvising his four-note melody at the same time as he improvised his text, which was unique in every performance. His monotonous melody, far from interpreting the text, served only as a medium to transport the words and to catch the listeners' attention by their intrinsic rhythm.

Our theory is not to be understood as the exact reconstruction of a given melody, but as an approach to the technique the Homeric singers used to accommodate melodic principles to the demands of the individual verse, guided by the accentual structure and sentence-intonation of the Ancient Greek language as well as by metrical structures.

Sample: Demodokos' song about Ares and Aphrodite: Od. 8, 267-366:
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Ancient Greek Music

• The Melodies: Here you find a computer-generated edition of the extant melodies.
• The Instruments: These pages contain sound examples from reconstructed instruments: Aulos, Cithara

The Sound of Ancient Greek - Classical Pronunciation

The following samples use classical phonemes as well as a reconstruction of the classical pitch accent, applied to the domain of the word and appositive group as well as of the phrase.

• Homer, Iliad 18.39-96: Catalogue of Nereids, dialogue between Thetis and Achilles [Text]
• Aischylos, Agamemnon 503-537: Messenger arriving at Argos [Text]
• Plato, Symposion 172f: The initial narration. [Text]

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Glossary of Greek music related terms

Amané | Askomadoura | Baglamás (pl., baglamades) | Boulgarí | Bouzouki (pl., bouzoukia) | Café-aman | Dimotikí music | Dromos (pl., dromoi) | Egoismós | Kalamatianós (pl. kalamatianá) | Kanonaki (from Turkish kanun) | Kathistiká | Kondilyés | Koutsavakis (pl. koutsavakides) | Kroustá | Laikí music | Laouto (or lagouto) | Lyra | Maleviziotis | Mandinades (sing., mandinada, from the Italian mattinata) | Mangas (pl., manghes) | Outi (from Turkish oud) | Paneghiroi | Pendozalis | Pidichtós (pl., pidichtá) | Rebetika songs | Rebetis (pl., rebetes) | Rizitika songs | Sandouri (from Turkish santur) | Sousta (from Italian susta, lit., coiled spring) | Strata repertoire | Syrtós (pl., syrtós) | Tabachaniotika songs | Tavla repertoire | Taximi (pl., taximia; from Turkish taksim) | Tekés (pl. tekédes, probably from Trk., tekke, a dervish lodge) | Tou gamou tragoudi | Tsamikos | Tsifteteli | Turkokritikoí | Zeïbekikos