SEJARAH PERKEMBANGAN MUSIK DUNIASep 27, '07 1:05 AM

for everyone

Sejak abad ke-2 dan abad ke-3 sebelum Masehi, di Tiongkok da Mesir ada musik yang mempunyai bentuk tertentu. Dengan mendapat pengaruh dari Mesir dan Babilon, berkembanglah musik Hibrani yang dikemudian hari berkembang menjadi musik Gereja. Musik itu kemudian disenangi oleh masyarakat, karena adanya pemain-pemain musik yang mengembara serta menyanyikan lagu yang dipakai pada upacara Gereja. Musik itu tersebar di seluruh Eropa kemudian tumbuh berkembang, dan musik instrumental maju dengan pesat setelah ada perbaikan pada alat-alat musik, misalnya biola dan cello. Kemudian timbulah alat musik Orgel. Komponis besar muncul di Jerman, Prancis, Italia, dan Rusia. Dalam abad ke 19, rasa kebangsaan mulai bangun dan berkembang. Oleh karena itu perkembangan musik pecah menurut kebangsaannya masing-masing, meskipun pada permulaannya sama-sama bergaya Romantik. Mulai abad 20, Prancis menjadi pelopor dengan musik Impresionistis yang segera diganti dengan musik Ekspresionistis.

A.Perkembangan Musik Dunia

Musik sudah ada sejak Zaman purbakala dan dipergunakan sebagai alat untuk mengiringi upacara-upacara kepercayaan. Perubahan sejarah musik terbesar terjadi pada abad pertengahan,disebabkan terjadinya perubahan keadaan dunia yang makin meningkat. Musik tidak hanya dipergunakan untuk keperluan keagamaan, tetapi dipergunakan juga un tuk urusan duniawi 

PERKEMBANGAN MUSIK DUNIA TERBAGI DALAM ENAM ZAMAN :

1.Zaman Abad Pertengahan

Zaman Abad Pertengahan sejarah kebudayaan adalah Zaman antara berakhirnya kerajaan Romawi (476 M) sampai dengan Zaman Reformasi agama Kristen oleh Marthen Luther (1572M). perkembangan Musik pada Zaman ini disebabkan oleh terjadinya perubahan keadaan dunia yang semakin meningkat, yang menyebabkan penemuan-penemuan baru dalam segala bidang, termasuk dalam kebudayaan. Perubahan dalam sejarah musik adalah bahwa musik tedak lagi dititikberatkan pada kepentingan keagamaan tetapi dipergunakan juga untuk urusan duniawi, sebagai sarana hiburan.

Perkembangan selanjutnya adalah adanya perbaikan tulisan musik dan dasar-dasar teori musik yang dikembangkan oleh Guido d’ Arezzo (1050 M)

Musik dengan menggunakan beberapa suara berkembang di Eropa Barat. Musik Greogrian disempurnakan oleh Paus Gregorius.

Pelopor Musik pada Zaman Pertengahan adalah :

1. Gullanme Dufay dari Prancis.

2. Adam de la halle dari Jerman.

2. Zaman Renaisance (1500 – 1600)

Zaman Renaisance adalah zaman setelah abad Pertengahan, Renaisance artinya Kelahiran Kembali tingkat Kebudayaan tinggi yang telah hilang pada Zaman Romawi. Musik dipelajari dengan cirri-ciri khusus, contoh nyanyian percintaan, nyanyian keperwiraan. Sebaliknya musik Gereja mengalami kemunduran. Pada zaman ini alat musik Piano dan Organ sudah dikenal, sehingga munculah musik Instrumental. Di kota Florence berkembang seni Opera. Opera adalah sandiwara dengan iringan musik disertai oloeh para penyanyinya. 

Komponis-komponis pada Zaman Renaisance diantaranya :

1. Giovanni Gabrieli (1557 – 1612) dari Italia.

2. Galilei (1533 – 1591) dari Italia.

3. Claudio Monteverdi (1567 – 1643) dari Venesia.

4. Jean Baptiste Lully (1632 – 1687) dari Prancis.

3. Zaman Barok dan Rokoko

Kemajuan musik pada zaman pertengahan ditandai dengan munculnya aliran-aliran musik baru, diantaranya adalah aliran Barok dan Rokoko. Kedua aliran ini hamper sama sifatnya, yaitu adanya pemakaian Ornamentik (Hiasan Musik). Perbedaannya adalah bahwa musik Barok memakai Ornamentik yang deserahkan pada Improvisasi spontan oleh pemain, sedangkan pada musik Rokoko semua hiasan Ornamentik dicatat.

Komponis-komponis pada Zaman Barok dan Rokoko :

A. Johan Sebastian Bach

Lahir tanggal 21 Maret 1685 di Eisenach Jerman, meninggal tanggal 28 Juli 1750 di Lipzig Jerman. Hasil karyanya yang amat indah dan terkenal:

1. St. Mathew Passion.

2. Misa dalam b minor.

3. 13 buah konser piano dengan orkes

4. 6 buah Konserto Brandenburg

Gubahan-gubahannya mendasari musik modern. Sebastian Bach menciptakan musik Koral (musik untuk Khotbah Gereja) dan menciptakan lagu-lagu instrumental. 

Pada akhir hidupnya Sebastian Bach menjadi buta dan meninggal di Leipzig

B. George Fredrick Haendel

Lahir di Halle Saxony 23 Februari 1685 di London, meninggal di London tanggal 14 April 1759. Semasa kecilnya dia sudah memperlihatkan bekat keahlian dalam bermain musik. Pada tahun 1703,ia pindah ke Hamburg untuk menjadi anggaota Orkes Opera. Tahun 1712 ia kembali mengunjungi Inggris. Hasil ciptaannya yang terkenal adalah ;

1. Messiah, yang merupakan Oratorio (nama sejenis musik) yang terkenal.

2. Water Musik (Musik Air).

3. Fire Work Music (Musik Petasan).

Water Musik dan Fire Work Music merupakan Orkestranya yang paling terkenal. Dia meninggal di London dan dimakamkan di Westminster Abbey.

4. Zaman Klasik 91750 – 1820)

Sejarah musik klasik dimukai pada tahun 1750, setelah berakhirnya musik Barok dan Rokoko. 

Ciri-ciri Zaman musik Klasik:

a. Penggunaan dinamika dari Keras menjadi Lembut, Crassendo dan Decrasscendo.

b. Perubahan tempo dengan accelerando (semakin Cepat) dan Ritarteando (semakin lembut).

c. Pemakaian Ornamentik dibatasi

d. Penggunaan Accodr 3 nada.

Komponis-komponis pada Zaman Klasik antara lain :

1. Frans Joseph Haydn (1732 – 1809), 

Lahir di Rohrau Austria, ia meninggal tanggal 31 Mei 1809 di Wina Austria. Karya ciptaannya yaitu : Sonata Piano, 87 buah kuartet, 24 buah opera, 100 buah simfoni, yang paling terkenal adalah The Surprisse Sympony. Dalam sejarah musik, Joseph Haydn termashur sebagai Bapak Simfony yang mewujudkan bentuk orkes dan kuartet seperti yang kita kenal sekarang. Di Wina ia diakui sebagai Komponis Austria yang handal.

2. Wolfgang Amandeus Mozart (1756 – 1791) 

Lahir pada tanggal 27 januari 1756 di Salzburg Austria, meninggal tanggal 5 Desember 1791 di Wina Austria. Hasil karyanya adalah : Requiem Mars, 40 buah Simfony, Opera Don Geovani, Kuintet Biola Alto, Konserto Piano. Pada usia 3 tahun ia telah dapat menghasilkan melodi dan menerapkan accor pada hrpsikord. Pada usia 5 tahun ia telah mulai menciptakan lagu dan muncul didepan umum pada usia 6 tahun, kemudian bersama saudara perempuannya mengadakan Tour keliling Eropa. Pada tahun 1781 ia pindah ke kota Wina dan mengarang ciptaan-ciptaannya yang termaahur. Permainannya sangat menakjubkan, sehingga dijiluki Anak Ajaib. Biarpun memperoleh banyak sukses, tapi ia sangat miskin dan dalam keadaan yang sengsara, ia meninggal di Wina dalam usia 35 tahun dan dikuburkan di pekuburan fakir miskin. Ia menulis banyak komposisi dalam bentuk yang berbeda-beda tetapi berpegang kuat pada gaya klasik murni.

5. Zaman Romantik (1820 – 1900) 

Musik romantic sangat mementingkan perasaan yang subyaktif. Musik bukan saja dipergunakan untuk mencapai keindahan nada-nada, akan tetapi digunakan untuk mengungkapkan perasaan. Oleh karena itu, dinamika dan tempo banyak dipakai. Komponis-komponis pada Zaman romantic adalah : 

a. Ludwig Von Bethoven dari Jerman.

b. Franz Peter Schubert dari Wina.

c. Francois Fredrick Chopin dari Polandia

d. Robert Alexander Schumann dari jerman.

e. Johanes Brahms dari Hamburg Jerman.

Riwayat Haidup Komponis Zaman Romantik :

A. Ludwig Von Beethoven (1770 – 1827) 

Lahir Desember 1770 di Bonn Jerman, ia meninggal tanggal 26 Maret 1827 di Wina Austria. Ia menamakan dirinya sebagai Pujangga Nada. Sejak usia 4 tahun dia belajar musik dibawah asuhan ayanhnya. Pada usia 17 tahun ia pergi ke Wina menemui komponis Mozart, kemudian Mozart memberi bimbingan musik kepadanya, sehingga ia dapat menjadi pemain musik yang baik danm komonis yang berbakat. Pada usia 30 tahun pendengarannya mulai berkurang, dan usia 50 tahun pendengarannya tuli sama sekali. Pada waktu ciptaannya Ninth Symphonies lahir, ia tidak mampu lagi mendengarkan hasil karyanya itu. Pada tanggal 26 Maret 1827, dia meninggal di Wina. Ia hidup dengan sangat menderita, tetapi mampu menciptakan Sonata dunia yang paling indah. Hasil ciptaannya antara lain : 

- 5 buah sonata cello dan piano.

- 9 buah symfoni

- 32 sonata piano.

B. Franz Peter Scubert (1797 – 1828) 

Lahir di Wina 31 Januari 1797, dia meninggal tanggal 19 Desember 1828, ciptaannya antara lain : Ave Maria, The Erl King, Antinghed Symphony, Gretchen At The Spining Sheel, The Wild Rose. Schubert mempunyai suara yang merdu dan menjadi penyayi paduan suara Imperial Choir. Kemudian ia memperdalam pengetahuan musiknya dibidang komposisi. Pada waktu meninggal, Ia tidak dikenal orang banyak dan berpasan agar dikuburkan dekat makan Beethoven. Dia meninggalkan 100 buah hasil karyanya, kebanyakan lagu-lagu solo.

C. Wilhelm Richard Wagner (1813 – 1883) 

Lahir tanggal 22 Mei 1813 di Leipzig Jerman, meninggal 13 Februari 1883 di Venesia. Hasil ciptaannya antaralain : Tannhauser, Die Maistersinger Von Hurberg, Lohengrin, Der Fliegende Holander.

D. Johannes Brahms (1883 – 1897) 

Lahir 7 Mei 1883 di Hamburg Jerman, ia meninggal 3 April 1897 di Wina Austria. Hasil ciptaannya : Hungarian Dance, Muskoor Ein Deusches Requiem, Kuartet gesek.. paa usia 14 tahun ia telah menjadi pianis yang baik. Dia adalah seorang komponis terakhir dari aliran Romantik, karyanya sangat indah.

6. Zaman Modern (1900 – sekarang) 

Musik pada Zaman ini tidak mengakui adanay hokum-hukum dan peraturan-peraturan, karena kemajuan ilmu dan teknologi yang semakin pesat, misalnya penemuan dibidang teknik seperti Film, Radio, dan Televisi. Pada masa ini orang ingin mengungkapkan sesuatu dengan bebas.

Komponis-komponis pada Zaman Modern : 

1. Claude Achille Debussy dari Prancis

2. Bella Bartok dari Honggaria.

3. Maurice Ravel dari Prancis.

4. Igor Fedorovinsky dari Rusia

5. Edward Benyamin Britten dari Inggris.

Prehistoric musicFrom Wikipedia, the free encyclopedia

Musical eras

Prehistoric

Ancient (before AD 500)

Early (500 – 1760)

Common practice (1600 – 1900)

Modern and contemporary (1900 – present)

Prehistoric music (previously called primitive music) is a term in the history of

music for all music produced inpreliterate cultures (prehistory), beginning somewhere in

very late geological history. Prehistoric music is followed by ancient music in most of

Europe (1500 BCE) and later musics in subsequent European-influenced areas, but still

exists in isolated areas.

Prehistoric music thus technically includes all of the world's music that has existed

before the advent of any currently-extant historical sources concerning that music, for

example, traditional Native American music of preliterate tribes and Australian

Aboriginal music. However, it is more common to refer to the "prehistoric" music of non-

European continents – especially that which still survives – as folk, indigenous or traditional

music.

Contents

 [hide]

1   Origins

2   Flutes

3   Cycladic

culture

4   See also

5   External

links

6   Notes

7   References

8   Further

reading

[edit]Origins

The origin of music is not known as it occurred prior to the advent of recorded history.

Some suggest that the origin of music likely stems from naturally

occurring sounds and rhythms. Human music may echo

these phenomena using patterns, repetition and tonality. Even today, some cultures

have certain instances of their music intending to imitate natural sounds. In some

instances, this feature is related toshamanistic beliefs or practice.[1][2] It may also serve

entertainment (game)[3][4] or practical (luring animals in hunt)[3] functions.

Even aside from the bird song, monkeys have been witnessed to beat on hollow logs.

Although this might serve some purpose of territorialism, it suggests a degree of

creativity and seems to incorporate a call and response dialogue. See: zoomusicology.

It is possible that the first musical instrument was the human voice itself, which can

make a vast array of sounds, from singing, humming and whistling through

to clicking, coughing and yawning. (See Darwin'sOrigin of Species on music & speech.)

The oldest known Neanderthal hyoid bone with the modern human form has been dated

to be 60,000 years old,[5] predating the oldest known bone flute by 10,000 years; but

since both artifacts are unique the true chronology may date back much further.

Most likely the first rhythm instruments or percussion instruments involved

the clapping of hands, stones hit together, or other things that are useful to

create rhythm and indeed there are examples of musical instruments which date back

as far as the paleolithic, although there is some ambiguity over archaeological finds

which can be variously interpreted as either musical or non-musical instruments/tools.

Examples of paleolithic objects which are considered unambiguously musical are bone

flutes or pipes; paleolithic finds which are open to interpretation are pierced phalanges

(usually interpreted as "phalangeal whistles"), objects interpreted as Bullroarers,

and rasps.

Music can be theoretically traced to prior to the Oldowan era of the Paleolithic age,

the anthropologicaland archeological designation suggests that music first arose

(amongst humans) when stone tools first began to be used by hominids.

The noises produced by work such as pounding seed and roots into meal is a likely

source of rhythm created by early humans.

Prehistoric music varies greatly in style, function, general relation to culture, and

complexity. The Timbilamusic of the Chopi is considered one of the most complex

preliterate musics.[citation needed]

[edit]Flutes

Main article: Paleolithic flutes

The oldest flute ever discovered may be the so-called Divje Babe flute, found in

the Slovenian cave Divje Babe I in 1995, though this is disputed.[6] The item in question

is a fragment of the femur of a juvenilecave bear, and has been dated to about 43,000

years ago.[7][8] However, whether it is truly a musical instrument or simply a carnivore-

chewed bone is a matter of ongoing debate.[6]

In 2008 archaeologists discovered a bone flute in the Hohle Fels cave

near Ulm, Germany.[9] [10] The five-holed flute has a V-shaped mouthpiece and is made

from a vulture wing bone. The researchers involved in the discovery officially published

their findings in the journal Nature, in June 2009. The discovery is also the oldest

confirmed find of any musical instrument in history.[11] The flute, one of several found,

was found in the Hohle Fels cavern next to the Venus of Hohle Fels and a short

distance from the oldest known human carving.[12] On announcing the discovery,

scientists suggested that the "finds demonstrate the presence of a well-established

musical tradition at the time when modern humans colonized Europe".[13] Scientists have

also suggested that the discovery of the flute may help to explain why early humans

survived, while Neanderthals became extinct.[11]

The oldest known wooden pipes were discovered near Greystones, Ireland, in 2004. A

wood-lined pit contained a group of six flutes made from yew wood, between 30 and

50cm long, tapered at one end, but without any finger holes. They may once have been

strapped together.[14]

In 1986 several gudi (literally "bone flutes") were found in Jiahu in Henan Province,

China. They date to about 6,000 BC. They have between 5 and 8 holes each and were

made from the hollow bones of a bird, the red-crowned crane. At the time of the

discovery, one was found to be still playable. The bone flute plays both the five- or

seven-note scale of Xia Zhi and six-note scale of Qing Shang of the ancientChinese

musical system.

[edit]Cycladic culture

Further information: Cycladic culture

On the island of Keros (Κέρος), two marble statues from the late Neolithic culture

called Early Cycladic culture (2900 BC-2000 BC) were discovered together in a single

grave in the 19th century. They depict a standing double flute player and a sitting

musician playing a triangular-shaped lyre or harp. The harpist is approximately 23 cm

(9 in) high and dates to around 2700-2500 BC. He expresses concentration and intense

feelings and tilts his head up to the light. The meaning of these and many other figures

is not known; perhaps they were used to ward off evil spirits or had religious

significance or served as toys or depicted figures from mythology.

The discovery of this and similar pieces (they are very simplified and abstract in form) in

the late 19th century had considerable influence on the sculpture of the early 20th

century, for example on that by modernists such as Picasso and Modigliani.[citation needed]

Ancient musicFrom Wikipedia, the free encyclopedia

Musical eras

Prehistoric

Ancient (before AD 500)

Early (500 – 1760)

Common practice (1600 – 1900)

Modern and contemporary (1900 – present)

Ancient music is music that developed in literatecultures, replacing prehistoric music.

Ancient music refers to the various musical systems that were developed across various

geographical regions such as Persia, India, China, Greece, Rome, Egypt and

Mesopotamia (see music of Mesopotamia, Greek music,Roman music). Ancient music is

designated by the characterization of the basic audible tones and scales. It may have been transmitted

through oral or written systems.

Contents

 [hide]

1   Mesopotamia

o 1.1   The Harps of Ur

o 1.2   Harps from Assyria

and Egypt

o 1.3   Hurrian Music

2   Ancient India

3   Ancient China

4   Ancient Persia

5   Ancient Greece

6   Ancient Rome

7   See also

8   References

9   External links

[edit]Mesopotamia

Main article: Music of ancient Mesopotamia

Anne Draffkorn Kilmer from the University of California at Berkeley published in 1986

her decipherment of cuneiform tablet from Nippur dated to about 2000 BCE.,

demonstrating that it represents fragmentary instructions for performing music and that

the music was composed in harmonies of thirds, and that it was also written using

a diatonic scale (Kilmer 1986) The notation in that tablet was not as developed as the

notation in the later cuneiform tablet dated to about 1250 BCE. (Kilmer 1965) Although

the interpretation of the notation system is still controversial, it is clear that the notation

indicates the names of strings on a lyre, the tuning of which is described in other tablets

(West 1994). These tablets represent the earliest recorded melodies, though

fragmentary, from anywhere in the world. (West 1994)

[edit]The Harps of UrMain article: Lyres of Ur

In 1929 Leonard Woolley discovered pieces of four harps while excavating in the ruins

of the ancient city of Ur located in what was Ancient Mesopotamia and is

contemporary Iraq. Some fragments are inPennsylvania, some in the British

Museum in London, and some in Baghdad. They have been dated to2,750 BCE.

Various reconstructions have been attempted, but none were totally satisfactory.

Depending on various definitions, they could be classed as lyres rather than harps. The

most famous is the bull-headed harp, held in Baghdad. The second Iraqi War led to the

destruction of the bull-head lyre [1], and attempts are being made to play a replica of it as

part of a touring orchestra.

[edit]Harps from Assyria and Egypt

Assurbanipal (705 - 681 BCE) was king of Assyria. At his capital at Nineveh is a bas-

relief showing the fall of the Judean city of Lachish. In the procession is

the Elamite court orchestra, containing seven lyre-players and possibly a hammer-

dulcimer player. The lyres appear to have seven strings. True harps are shown

in murals from the time Ramesses III of Egypt, about 1200 BCE. "The Tomb of the

Harpists" contains a bas-relief with two blind musicians. James Bruce described it in

1768 and it is sometimes known as Bruce's Tomb.

[edit]Hurrian Music

Among the Hurrian texts from Ugarit are some of the oldest known instances of written

music, dating from c.1800 BCE. A reconstructed hymn is replayed at the Urkesh

webpage.

[edit]Ancient India

Main article: Music in ancient India

See also: Ancient Tamil music and Origins and history of Carnatic music

Musical instruments, such as the seven-holed flute and various types of stringed

instruments have been recovered from the Indus valley civilization archaeological sites.

The Samaveda consists of a collection (samhita) of hymns, portions of hymns, and

detached verses, all but 75 taken from the Rigveda, to be sung, using specifically

indicated melodies called Samagana, byUdgatar priests at sacrifices in which the juice

of the Soma plant, clarified and mixed with milk and other ingredients, is offered in

libation to various deities. In ancient India, memorization of the sacred Vedasincluded

up to eleven forms of recitation of the same text.

The Nātya Shastra is an ancient Indian treatise on the performing arts,

encompassing theatre, danceand music. It was written at an uncertain date in

classical India (between 200 BC and 200 AD). The Natya Shastra is based upon the

much older Natya Veda which contained 36000 slokas [2]. Unfortunately there are no

surviving copies of the Natya Veda. There are scholars who believe that it may have

been written by various authors at different times. The most authoritative commentary

on the Natya Shastra is Abhinavabharati by Abhinava Gupta.

While much of the discussion of music in the Natyashastra focuses on musical

instruments, it also emphasizes several theoretical aspects that remained fundamental

to Indian music:

1. Establishment of Shadja as the first, defining note of the scale or grama.

2. Two Principles of Consonance: The first principle states that there exists a

fundamental note in the musical scale which is Avinashi (अवि�ना�शी�) and Avilopi

(अवि�लोपी�) that is, the note is ever-present and unchanging. The second principle,

often treated as law, states that there exists a natural consonance between

notes; the best between Shadja and Tar Shadja, the next best between Shadja

and Pancham.

3. The Natyashastra also suggests the notion of musical modes or jatis which are

the origin of the notion of the modern melodic structures known as ragas. Their

role in invoking emotions are emphasized; thus compositions emphasizing the

notes gandhara or rishabha are said to be related to tragedy (karuna rasa)

whereas rishabha is to be emphasized for evoking heroism (vIra rasa).

Jatis are elaborated in greater detail in the text Dattilam, composed around the same

time as the Natyashastra.

The Natyashastra also suggests several aspects of musical performance, particularly its

application to vocal, instrumental and orchestral compositions. It also deals with

the rasas and bhavas that may be evoked by music.

[edit]Ancient China

Main article: Guqin history

A famous Tang Dynasty qin, "Jiu Xiao Huan Pei" 《九霄環佩》.

The history of the Guqin, an ancient Chinese musical instrument , is a long one. It is

mentioned in Chinese writings dating back nearly 3,000 years, and related instruments

have been found in tombs from about 2,500 years ago. Non-fretted zithers unearthed in

southern Chinese tombs show similar instruments that gradually became longer and

had fewer strings, but they are not named in the tombs. Chinese legend says the qin

originally had five strings, but then two were added around 1000 BCE.

[edit]Ancient Persia

Main article: Music in ancient persia

Little is known of the music during the ancient Persian period except for the fact that

various instruments, such as guitars, lute, and flute were created and played.

Instruments, such as the "Barbat," are said to have originated in this period, probably

around 800 B.C.

During the Achaemenid Empire, that famous "Persian Empire," it was stated by

Herodotus that music played an important role, especially in court. He mentions that

music was crucial to religious ceremonies in worshiping the god Mithra.[citation needed]

[edit]Ancient Greece

Main article: Music of ancient Greece

Ancient Greek musicians developed their own robust system of musical notation. The

system was not widely used among Greek musicians, but nonetheless a modest corpus

of notated music remains fromAncient Greece and Rome. The epics of Homer were

originally sung with instrumental accompaniment, but no notated melodies from Homer

are known. Several complete songs exist in ancient Greek musical notation.

The Seikilos epitaph is the oldest surviving complete musical composition from the

Greek tradition or from any tradition. Three

complete hymns by Mesomedes of Crete (2nd century CE) exist in manuscript. In

addition, many fragments of Greek music are extant, including fragments from tragedy,

among them a choral song by Euripides for his Orestes and

an instrumental intermezzo from Sophocles'Ajax. Romans did not have their own

system of musical notation, but a few Romans apparently learned the Greek system. A

line from Terence's Hecyra was set to music and possibly notated by

his composer Flaccus .

It has always been known that some ancient music was not strictly monophonic. Some

fragments of Greek music, such as the Orestes fragment, clearly call for more than one

note to be sounded at the same time. Greek sources occasionally refer to the technique

of playing more than one note at the same time. In addition, double pipes, such as used

by the Greeks and Persians, and ancient bagpipes, as well as a review of ancient

drawings on vases and walls, etc., and ancient writings (such as in

Aristotle,Problems, Book XIX.12) which described musical techniques of the time, all

indicate harmony existed. One pipe in the aulos pairs (double flutes) may have served

as a drone or "keynote," while the other played melodic passages. Kilmer's

decipherment of the cuneiform tablets indicate that the simultaneous sounding of

different pitches was practiced very early, perhaps by 2000 BCE.

[edit]Ancient Rome

Main article: Music of ancient Rome

Much is known about the theories of Pythagoras and Aristoxenus (some of it from

Greek sources and some through the writings of later Roman authors), and there exist

about 40 deciphered examples of Greek musical notation. Very little survives about the

music of the Romans. There are various reasons for this, one of which is that early

fathers of the Christian church were aghast at the music of theatre, festivals, and pagan

religion and suppressed it once Christianity became the official religion of the Roman

empire.

The Romans are not said to have been particularly creative or original when it came to

music. They did not attach any spiritual ethos to music, as did the Greeks. Yet, if the

Romans admired Greek music as much as they admired everything else about Greek

culture, it is safe to say that Roman music was mostly monophonic (that is, single

melodies with no harmony) and that the melodies were based on an elaborate system

of scales (called 'modes'). The rhythm of vocal music may have followed the natural

metre of the lyrics.

The Romans may have borrowed the Greek method of 'enchiriadic notation' to record

their music, if they used any notation at all. Four letters (in English notation 'a', 'g', 'f' and

'c') indicated a series of four succeeding tones with the range of a tetrachord. Rhythm

signs, written above the letters, indicated the duration of each note.

Biblical period

"David with his harp" Paris Psalter,

c. 960, Constantinople

According to Easton's Bible Dictionary, Jubal was the inventor of musical instruments

(Gen. 4:21). The Hebrews were much given to the cultivation of music. Their whole

history and literature afford abundant evidence of this. After the Deluge, the first

mention of music is in the account of Laban's interview with Jacob (Gen. 31:27). After

their triumphal passage of the Red Sea, Moses and thechildren of Israel sang their song

of deliverance (Ex. 15). But the period of Samuel, David, and Solomon was the golden

age of Hebrew music, as it was of Hebrew poetry. Music was now for the first time

systematically cultivated. It was an essential part of training in the schools of

the prophets (1 Sam. 10:5; 19:19-24; 2 Kings 3:15; 1 Chr. 25:6). There now arose also

a class of professional singers (2 Sam. 19:35; Eccl. 2:8). Solomon's Temple, however,

was the great school of music. In the conducting of its services large bands of trained

singers and players on instruments were constantly employed (2 Sam. 6:5; 1 Chr. 15;

16; 23;5; 25:1-6). In private life also music seems to have held an important place

among the Hebrews (Eccl. 2:8; Amos 6:4-6; Isa. 5:11, 12; 24:8, 9; Ps. 137; Jer. 48:33;

Luke 15:25).[2]

Music and theatre scholars studying the history and anthropology of Semitic and

early Judeo-Christianculture, have also discovered common links between theatrical

and musical activity in the classical cultures of the Hebrews with those of the later

cultures of the Greeks and Romans. The common area of performance is found in a

"social phenomenon called litany," a form of prayer consisting of a series

ofinvocations or supplications. The Journal of Religion and Theatre notes that among

the earliest forms of litany, "Hebrew litany was accompanied by a rich musical

tradition:"[3]

"While Genesis 4.21 identifies Jubal as the “father of all such as handle the harp

and pipe,” thePentateuch is nearly silent about the practice and instruction of

music in the early life of Israel. Then, in I Samuel 10 and the texts which follow, a

curious thing happens. “One finds in the biblical text,” writes Alfred Sendrey, “a

sudden and unexplained upsurge of large choirs and orchestras, consisting of

thoroughly organized and trained musical groups, which would be virtually

inconceivable without lengthy, methodical preparation.” This has led some

scholars to believe that the prophet Samuel was the patriarch of a school which

taught not only prophets and holy men, but also sacred-rite musicians. This

public music school, perhaps the earliest in recorded history, was not restricted

to a priestly class--which is how the shepherd boy David appears on the scene

as a minstrel to King Saul."[3]