Seikilos Epitaph
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Seikilos Epitaph
Marble stele, the so-called Seikilos column, with poetry and musical notation

The Seikilos epitaph is the oldest surviving complete musical composition, including musical notation, from anywhere in the world. The epitaph has been dated variously from around 200 BC to around AD 100, but the first century AD is the most probable guess. The song, the melody of which is recorded, alongside its lyrics, in the ancient Greek musical notation, was found engraved on a tombstone (a stele) from the Hellenistic town Tralles near present-day Ayd?n, Turkey, not far from Ephesus. It is a Hellenistic Ionic song in either the Phrygian octave species or Iastian tonos. While older music with notation exists (for example the Hurrian songs), all of it is in fragments; the Seikilos epitaph is unique in that it is a complete, though short, composition.[1]

Inscription text and lyrics

The inscription in detail

The following is the Greek text found on the tombstone (in the later polytonic script; the original is in majuscule),[Notes 1] along with a transliteration of the words which are sung to the melody, and a somewhat free English translation thereof; this excludes the musical notation:

? hóson zêis, phaínou While you live, shine
? m?dèn hól?s sù lupoû have no grief at all
? ? pròs olígon estì tò zên life exists only for a short while
? ?. tò télos ho khrónos apaiteî. and Time demands his due.[2]

Dedication

The last two surviving words on the tombstone itself are (with the bracketed characters denoting a partial possible reconstruction of the lacuna or of a possible name abbreviation)[3]

[]
Seikílos Eutér[p?i]

meaning "Seikilos to Euterpe"; hence, according to this reconstruction, the tombstone and the epigrams thereon were possibly dedicated by Seikilos to Euterpe, who was possibly his wife.[4] (Euterpe is also the name of the Muse of music). Another possible partial reconstruction could be

[]
Seikílos Eutér[pou]

meaning "Seikilos of Euterpos", i.e. "Seikilos, son of Euterpos".[5]

Indication

The tombstone has an inscription on it, which reads in Greek:

? ?. ? ? .
eik?n h? líthos eimí. títh?sí me Seikílos éntha mn?m?s athanátou sêma polukhrónion.

A free translation of this reads: "I am a tombstone, an image. Seikilos placed me here as a long-lasting sign of deathless remembrance."[6]

Melody

The inscription above each line of the lyrics (transcribed here in polytonic script), consists of letters and signs indicating the melody of the song:[7]

The Seikilos "score"

The following is an approximate translation of the tune into modern musical notation:

The Seikilos epitaph melody

Scholarly views

Although the transcription of the melody is unproblematic, there is some disagreement about the nature of the melodic material itself. There are no modulations, and the notation is clearly in the diatonic genus, but while it is described on the one hand as being clearly in the diatonic Iastian tonos,[8] in other places it is said to "fit perfectly" within Ptolemy's Phrygian tonos,[9] since the arrangement of the tones (1 ½ 1 1 1 ½ 1 [ascending]) "is that of the Phrygian species" according to Cleonides.[10][11] The overall note series is alternatively described as corresponding "to a segment from the Ionian scale".[12] Another authority says "The scale employed is the diatonic octave from e to e (in two sharps). The tonic seems to be a; the cadence is a f e. This piece is ... [in] Phrygic (the D mode) with its tonic in the same relative position as that of the Doric."[1] Yet another author explains that the difficulty lies in the fact that "the harmoniai had no finals, dominants, or internal relationships that would establish a hierarchy of tensions and points of rest, although the mese ("middle note") may have had a gravitational function". Although the epitaph's melody is "clearly structured around a single octave, ... the melody emphasizes the mese by position ... rather than the mese by function".[13]

Date

The find has been dated variously from around 200 BC to around AD 100, but the first century AD is the most probable guess.[14] One authority states that on grounds of paleography the inscription can be "securely dated to the first century C.E.",[6] while on the same basis (the use of swallow-tail serifs, the almost triangular ? with prolongation below, ligatures between N, H, and M, and above all the peculiar form of the letter omega) another is equally certain it dates from the second century AD, and makes comparisons to dated inscriptions of 127/8 and 149/50 AD.[15]

History of the stele's discovery and exhibition

The stele along with other exhibits at the National Museum of Denmark

The Epitaph was discovered in 1883 by Sir W. M. Ramsay in Tralleis, a small town near Ayd?n. According to one source the stele was then lost and rediscovered in Smyrna in 1922, at about the end of the Greco-Turkish War of 1919-1922.[14] According to another source the stele, having first been discovered during the building of the railway next to Aydin, had first remained at the possession of the building firm's director Edward Purser, where Ramsay found and published about it; in about 1893, as it "was broken at the bottom, its base was sawn off straight so that it could stand and serve as a pedestal for Mrs Purser's flowerpots"; this caused the loss of one line of text, i.e., while the stele would now stand upright, the grinding had obliterated the last line of the inscription. The stele next passed to Edward Purser's son-in-law, Mr Young, who kept it in Buca, Smyrna. It remained there until the defeat of the Greeks, having been taken by the Dutch Consul for safe keeping during the war; the Consul's son-in-law later brought it by way of Constantinople and Stockholm to The Hague; it remained therein until 1966, when it was acquired by the Department of Antiquites of the National Museum of Denmark (Nationalmuseet), a museum situated at Copenhagen. This is where the stele has since been located (inventory number: 14897).[12]

Word accent

A German scholar Otto Crusius in 1893, shortly after the publication of this inscription, was the first to observe that the music of this song as well as that of the hymns of Mesomedes tends to follow the pitch of the word accents.[16] The publication of the two Delphic hymns in the same year confirmed this tendency. Thus in this epitaph, in all of the words except the first, the accented syllable is higher in pitch than the syllable which follows; and the circumflex accents in lupoû, zên and ? apaiteî have a falling contour within the syllable, just as described by the 1st century BC rhetorician Dionysius of Halicarnassus.[17]

One word which does not conform is the first word ? hóson, where the music has a low note despite the acute accent. Another example of a low note at the beginning of a line which has been observed is baîn? epì in the 2nd Delphic Hymn. There are other places also where the initial syllable of a clause starts on a low note in the music.[18]

Another apparently anomalous word is ? estì 'is', where the music has a higher pitch on the first syllable. However, there exists a second pronunciation ? ésti, which is used "when the word expresses existence or possibility (i.e. when it is translatable with expressions such as 'exists', 'there is', or 'it is possible')",[19] which is evidently the meaning here.[20]

See also

Notes

  1. ^ The raw transcription of its text is as follows? ? / ? ? / ? / / ? // ? / ? / ? / ? / ? / ? //

References

  1. ^ a b Winnington-Ingram 1929, 343.
  2. ^ For the translation of , cf. Landels 1999, 252.
  3. ^ Pöhlmann and West 2001, p. 91.
  4. ^ Randel 2003.
  5. ^ Pöhlmann and West 2001, p. 91; Pilch 2011, 79
  6. ^ a b Mathiesen 1999, 148.
  7. ^ Pöhlmann and West 2001, 88; Mathiesen 1999, 149
  8. ^ Mathiesen 1999, 150; Solomon 1986, 459.
  9. ^ Mathiesen 1999, 150.
  10. ^ Solomon 1986, 461n14.
  11. ^ Cosgrove 2011, 88.
  12. ^ a b Pöhlmann and West 2001, 90.
  13. ^ Palisca 2006, 77-78.
  14. ^ a b Landels 1999, 252.
  15. ^ Pöhlmann and West 2001, p. 88.
  16. ^ Cosgrove and Meyer 2006, 66, 75.
  17. ^ Probert 2003, 5.
  18. ^ Cosgrove and Meyer 2006, 75.
  19. ^ Probert 2003, 144.
  20. ^ Cf. Devine & Stephens (1994), p. 221, supporting ?.

Bibliography

  • Burkholder, J. Peter, and Claude V. Palisca. 2006. Norton Anthology of Western Music: Ancient to Baroque, fifth edition. Volume 1: Music in Antiquity. New York: W. W. Norton & Company, Inc. ISBN 0-393-97990-3.
  • Cosgrove, Charles H., and Mary C. Meyer. 2012. "Melody and Word Accent Relationships in Ancient Greek Musical Documents: The Pitch Height Rule". Journal of Hellenic Studies 126:68-81.
  • Cosgrove, Charles. 2011. An Ancient Christian Hymn with Musical Notation: Papyrus Oxyrhynchus 1786: Text and Commentary. Heidelberg: Mohr Siebeck Verlag. ISBN 3161509234
  • Davison, Archibald T., and Willi Apel (eds.). 1949-50. Historical Anthology of Music, revised edition. Two volumes. Cambridge, Massachusetts: Harvard University Press. ISBN 0-674-39300-7.
  • Devine, A.M.; Stephens, Laurence D. (1994). The Prosody of Greek Speech. Oxford University Press.
  • Landels, John G. 1999. Music in Ancient Greece and Rome. London and New York: Routledge. ISBN 9780415167765 (cloth); ISBN 9780415248433 (pbk); ISBN 9780203042847 (ebook).
  • Mathiesen, Thomas J. 1985. "Rhythm and Meter in Ancient Greek Music". Music Theory Spectrum 7:159-80. doi:10.1525/mts.1985.7.1.02a00090
  • Mathiesen, Thomas J. 1999. Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages. Lincoln: University of Nebraska Press.
  • Palisca, Claude V. 2006. Music and Ideas in the Sixteenth and Seventeenth Centuries. Studies in the History of Music Theory and Literature 1. University of Illinois Press. ISBN 9780252031564.
  • Pilch, John J. 2011. Flights of the Soul: Visions, Heavenly Journeys, and Peak Experiences in the Biblical World. [S.l.]: Wm B. Eerdmans Publishing Co.
  • Pöhlmann, Egert, and Martin Litchfield West. 2001. Documents of Ancient Greek Music: The Extant Melodies and Fragments. Oxford and New York: Oxford University Press. ISBN 978-0-19-815223-1.
  • Probert, Philomen. 2003. A New Short Guide the Accentuation of Ancient Greek. Bristol Classical Press.
  • Randel, Don Michael (ed.). 2003. "Seikilos Epitaph". The Harvard Dictionary of Music, fourth edition. Cambridge, MA: Belknap Press for Harvard University Press.
  • Roden, Timothy James, Craig M. Wright, and Bryan R. Simms. 2010. Anthology for: Music in Western Civilization, volume I. Boston: Schirmer Cengage Learning; Belmont, CA: Thomson/Schirmer. ISBN 9780495572749.
  • Rulan Chao Pian. 1980. "China". The New Grove Dictionary of Music and Musicians, first edition, edited by Stanley Sadie. London: Macmillan Publishers Ltd., 1980.
  • Solomon, Jon D. 1986. "The Seikilos Inscription: A Theoretical Analysis". American Journal of Philology 107 (Winter): 455-79.
  • Van Aalst, J. A. 1884. Chinese Music. China: Imperial Maritime Customs 2, Special Series no. 6. Shanghai: Published at the Statistical Dept. of the Inspectorate General of Customs; London: P.S. King.
  • Winnington-Ingram, Reginald P. 1929. "Ancient Greek Music: A Survey". Music & Letters 10, No. 4 (October): 326-45. JSTOR 726126

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