The Sound of Sirens: Siren Stelae in Classical Attic Cemeteries

<p>The aim of this thesis is to look at how and why the siren is featured in Classical Attic cemeteries and how its mythical characteristics lead to its appropriateness in such a context. The exact origins of the siren are unknown, although it has been suggested that they stem from the folk tales of sailors at sea, or shared ideas from other cultures. Despite such unknown variables, the siren figure that is considered in this thesis is that found in Greek mythology, frequently remembered for her encounter with Odysseus on his journey home from Troy and ability to enchant sailors with her irresistible song. Typically combining the features of a bird’s body and a woman’s head, the creature known as the siren can also be seen in ancient depictions on vases, jewellery boxes and female toilette objects. During the Classical Period (479-323BC) the bird-women hybrid sirens are used as a decorative feature on top of funerary stelae in Attic cemeteries. The siren can be seen in two different forms in the funerary context, specifically in relation to their placement and representation on stelae: relief images of the creatures in the roof sima of the upper register of the tombstone, and sculpted in the round perched on top. The presence of the siren in this context can provide a constant mourner as well as inviting the viewer to grieve for the deceased. The first chapter details the siren’s character and role in early ancient literature and art, specifically relating to their mythological corpus. Discussion will focus on the evolution of their character and their appearance over time, as well as identifying distinguishing features which make the siren a unique figure. It is also necessary in this section to establish a distinction between the siren and the mythological harpy who combines the similar bird-woman features to make up a very different creature (particularly evident in a commonly misnamed Lycian sarcophagus, the ‘Harpy tomb’.) The second chapter outlines the timeframe of the use and presence of funerary stelae featuring sirens in Attic cemeteries, predominantly found in the Kerameikos, with references to the legislation which may have affected them. This section covers examples of the presence of sirens in this context including, but not exclusive to, images in relief depicted in the roof sima, along with other figures, as well as the limited freestanding sculptures of sirens seen perched above stelae. I will also analyse the ‘traditional’ view of the sirens as ‘soul birds’ as suggested by various scholars, particularly those from the early 1900s. The final chapter looks at the appropriateness of the siren in a funerary context and attempts to identify the reasons why they were used for such a purpose. In order to answer these questions, it is important to look at the reception of these pieces by mourners and passers-by alike and the possible relationship between those that view the sculpture in such a setting and the piece itself.</p>

The Sound of Sirens: Siren Stelae in Classical Attic Cemeteries

<p>The aim of this thesis is to look at how and why the siren is featured in Classical Attic cemeteries and how its mythical characteristics lead to its appropriateness in such a context. The exact origins of the siren are unknown, although it has been suggested that they stem from the folk tales of sailors at sea, or shared ideas from other cultures. Despite such unknown variables, the siren figure that is considered in this thesis is that found in Greek mythology, frequently remembered for her encounter with Odysseus on his journey home from Troy and ability to enchant sailors with her irresistible song. Typically combining the features of a bird’s body and a woman’s head, the creature known as the siren can also be seen in ancient depictions on vases, jewellery boxes and female toilette objects. During the Classical Period (479-323BC) the bird-women hybrid sirens are used as a decorative feature on top of funerary stelae in Attic cemeteries. The siren can be seen in two different forms in the funerary context, specifically in relation to their placement and representation on stelae: relief images of the creatures in the roof sima of the upper register of the tombstone, and sculpted in the round perched on top. The presence of the siren in this context can provide a constant mourner as well as inviting the viewer to grieve for the deceased. The first chapter details the siren’s character and role in early ancient literature and art, specifically relating to their mythological corpus. Discussion will focus on the evolution of their character and their appearance over time, as well as identifying distinguishing features which make the siren a unique figure. It is also necessary in this section to establish a distinction between the siren and the mythological harpy who combines the similar bird-woman features to make up a very different creature (particularly evident in a commonly misnamed Lycian sarcophagus, the ‘Harpy tomb’.) The second chapter outlines the timeframe of the use and presence of funerary stelae featuring sirens in Attic cemeteries, predominantly found in the Kerameikos, with references to the legislation which may have affected them. This section covers examples of the presence of sirens in this context including, but not exclusive to, images in relief depicted in the roof sima, along with other figures, as well as the limited freestanding sculptures of sirens seen perched above stelae. I will also analyse the ‘traditional’ view of the sirens as ‘soul birds’ as suggested by various scholars, particularly those from the early 1900s. The final chapter looks at the appropriateness of the siren in a funerary context and attempts to identify the reasons why they were used for such a purpose. In order to answer these questions, it is important to look at the reception of these pieces by mourners and passers-by alike and the possible relationship between those that view the sculpture in such a setting and the piece itself.</p>

Brian May and Roger Taylor

This chapter analyses the vocal techniques of Brian May and Roger Taylor in their limited roles as lead singers of Queen. May’s distinct techniques revolve around imprecise pitching inflections, variable vibrato, and a thinner tone in the upper register, all of which connote a sense of untrained naturalness. Taylor’s singing is marked by a wide vibrato, frequent use of vocal distortion, and rhythmic delivery that does not conform to the metrical grid. His singing style is one that connotes improvisation and performance freedom. It is argued that the two singers’ approaches align well with strands of rock authenticity as established by Allan Moore—May with folk-rock singers, such as Dylan or Springsteen; Taylor with hard rock and blues-derived singers, such as Plant or Hendrix.

The Magnitude of the Frequency Jitter of Acoustic Waves Generated by Wind Instruments Is of Relevance for the Live Performance of Music

It is shown that a gold-plated device mounted on a tenor saxophone, forming a small bridge between the mouthpiece and the S-bow, can change two characteristics of the radiated sound: (1) the radiated acoustic energy of the harmonics with emission maxima around 1500–3000 Hz, which is slightly reduced for tones played in the lower register of the saxophone; (2) the frequency jitter of all tones in the regular and upper register of the saxophone show a two-fold increase. Through simulated phase-shifted superimpositions of the recorded waves, it is shown that the cancellation of acoustic energy due to antiphase superimposition is significantly reduced in recordings with the bridge. Simulations with artificially generated acoustic waves confirm that acoustic waves with a certain systematic jitter show less cancelling of the acoustic energy under a phase-shifted superimposition, compared to acoustic waves with no frequency jitter; thus, being beneficial for live performances in small halls with minimal acoustic optimization. The data further indicate that the occasionally hearable “rumble” of a wind instrument orchestra with instruments showing slight differences in the frequency of the harmonics might be reduced (or avoided), if the radiated acoustic waves have a systematic jitter of a certain magnitude.

The Expressive Potential of the Upper Fingerboard in Classical String Performance

Classical string players must decide how to finger musical passages–decide which fingers should play each note and where on the fingerboard. String pedagogues agree that fingerings should be guided by two priorities–musicality and facility–with musicality taking precedence. However, how musicality considerations impact fingering decisions is not always clear. Some advice suggests that playing higher up the fingerboard (approaching the bridge) on a lower string can yield a more emotional sound than playing lower on the fingerboard (closer to the scroll) on a higher string. Research in emotional speech offers a possible explanation. When highly emotional, people often speak higher in their vocal range. Moving up higher on the fingerboard on a lower string (and therefore playing in the upper register of that string) might mimic this vocal emotional communication practice thereby conveying a higher emotionality. Three studies test the conjectured effect. The first investigates whether listeners can reliably distinguish between high and low fingerboard playing. The second tests the hypothesis that melodies played higher up the fingerboard are perceived as more emotionally intense. The third examines how fingerboard location affects acoustic features. The results dispute the common pedagogical assumption that expressive vocal practices translate to instrumental performance.

Cardiac Response During Trumpet Playing

Heart rate, heart rate variability, stroke volume, and cardiac output were measured while six college students and six professionals played trumpet. One-minute rest periods were followed by 1 minute of playing exercises designed to assess the effects of pitch and articulation. Heart rate and heart rate variability increased during playing, but stroke volume decreased. Changes in heart rate between resting and playing were greater for students, although beat-to-beat variability was larger for professionals in the upper register. These results suggest that expertise is characterized by greater physiological efficiency.

After the fall of Babylon: A new look at the presentation scene on Assurbanipal relief BM ME 124945–6

BM ME 124945–6, a relief of Assurbanipal, was discovered in the ruins of Room M (the so-called ‘Throne Room’) of the North Palace in the Assyrian capital of Nineveh, and is now on display in the British Museum (Fig. 1). The slabs are divided into two registers: an upper register and a lower register, which are separated by a broad wavy band, each side of which forms the bank of a river. Two rivers flow horizontally in parallel in the centre of the slabs. The presentation scene appears in the lower register, which shows the Assyrian king Assurbanipal (668–631 BC) reviewing war spoils taken from Babylon after the city was captured by the Assyrian army in late 648 BC. The aim of this paper is to examine the spoils represented on the relief and, by carefully analysing Assurbanipal's inscriptions, to clarify how textual accounts of the event or events are reflected in the narrative scheme of the composition.The presentation scene is further divided into three rows by simple horizontal lines, each forming a ground line that normally indicates the recession of space based on the principle of “vertical perspective” in which distant figures are placed higher than nearer ones. The king is represented on the right of the scene, occupying the upper and middle rows (Fig. 2). He is mounted on a chariot and is accompanied by courtiers and soldiers who all face to the left of the scene. An epigraph is engraved above the horses of the king's chariot. On the far side of the scene, Assyrian soldiers, in the upper row, proceed towards the king. The first person is a eunuch raising his right hand; he is followed by a bearded man (Fig. 3). Then there are three soldiers, each holding a particular item of booty (Fig. 4). These men are followed by two wheeled vehicles: one is carried on the shoulders of several men (Fig. 5) and the other pulled by a group of soldiers (Fig. 6). To the far left of the scene, prisoners are led away by soldiers. In the middle row, four foreigners face right (Fig. 7), and behind them stand two scribes making a record in front of one pile of bows and quivers and another of severed heads (Fig. 8). More soldiers follow from the left with a team of horses. The lower row shows a procession of prisoners; all of them move from left to right (Fig. 9). To the far left, there are two sets of chariots, the horses of which are being led by soldiers (Figs. 10 and 11). The overall composition, except for the lower row, is arranged symmetrically facing to the centre, with special emphasis on the king.