The Greek Aulos. A Study of Its Mechanism and of Its Relation to the Modal System of Ancient Greek Music, Followed by a Survey of the Greek Harmoniai in Survival or Rebirth in Folk-Music

1940 ◽  
Vol 33 (13) ◽  
pp. 150
Author(s):  
Ernestine F. Leon ◽  
Kathleen Schlesinger
Muzikologija ◽  
2016 ◽  
pp. 15-30
Author(s):  
Anna Giust

This paper focuses on Catherine II?s The Early Reign of Oleg (1790) as a demonstrative performance of the sovereign?s policy. In the context of Catherine?s early nationalistic pride and her ?Greek project?, the performance is understood as a synthesis embodying in music the vision of Russia as an Empire ready to receive the heritage of Byzantium, thanks to Sarti?s use of modes combined with the Russian folk elements introduced by Canobbio and Pashkevich. In this context, Nikolay L?vov represents the joining link, having theorized that Russian folk music originated from ancient Greek music.


1996 ◽  
Vol 49 (2) ◽  
pp. 191-224 ◽  
Author(s):  
Sarah Fuller

Although Heinrich Glarean's assertion of a twelvefold modal system is well known, the diverse ideological forces that guided his inquiry into the nature of mode and its presentation to the public have been only partially explored. Assessment of Dodecachordon from an ideological perspective reveals a remarkable symbiosis among rationalist, religious, and humanist currents, a marked concern for religious orthodoxy, and a strong advocacy of traditional plainchant. A universalist view of the concepts defined in music theory guides Glarean's interpretations of ancient Greek theory and Latin plainsong alike. Cultural factors had a decisive impact upon the exposition of theory in Dodecachordon.


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