Inhaltsangabe
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1892. Excerpt: ... BOOK III. HISTORY OF MUSICAL FORMS. EIGHTH CHAPTER. THE PRACTICE OF MUSIC IN ANTIQUITY. 1jg. What is known of the practical music of the ancient Egyptians and Assyrians, of the forms which music developed with them? As no music in the Egyptian notation has been preserved, we are limited to inferences drawn from pictorial representations, and to the reports, given in later times of course, by Grecian writers. According to these, music considerably enhanced the solemn effect of the Divine service. The solemn processions through the sphinx avenues and statues of Osiris to the most sacred place of the Temple, were preceded by singers and players of instruments; music mingled in the funeral services, singers proclaimed the deeds and merits of the dead with musical accompaniments and pantomimic dances; and military processions, coronation festivals and feasts, borrowed from music both brilliancy and pomp. Everywhere we meet with music as the companion of poetry and dancing. Independent instrumental music we are apparently not justified in assuming. On the other hand, the national air--the simple lyric song, appears to have been familiar even in Egypt from very ancient times; simple airs were sung at work, while thrashing, rowing or drawing water; the returning Spring was greeted, and the dying of the blossoms lamented. The last is particularly recorded by Herodotus, who heard in Egypt the so-called Maneros song, which was known in Greece also, under the name of the Linus Riemann, Catechism of Musical History. Vol. II. I Lament, the lament for a young man snatched away in the bloom of youth. It appears, however, that the rigid conservatism of the Egyptian nature put even music in chains, so that in it also, what remote antiquity had sanctioned, was esteemed and ...
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