In this way, it is hoped, the reader may find it easier to pass judgement on the merits and disadvantages of each. The aim of this contribution is, above all, to clarify the differences between the two approaches, and make explicit the assumptions which they share and on which they disagree.
But we need to address the differences as two separate questions: on the one hand, the range and general pitch of the tuning, and on the other, the intervallic steps into which this range was articulated. If his particular tuning proposition is correct, the reconstructed late Classical system of harmoníai is not, as will become clear below. There is more at stake than Najock gave away. Najock argued mostly on the basis of modern harp lore, combining string physics with the rules of thumb of modern instrument makers, his experience with early modern harps and his inspection of a reconstruction of an ancient Egyptian instrument. A few years later, this suggestion faced a powerful attack by Dietmar Najock: 2 only a significantly higher tuning would yield a satisfactory sound. 1 I argued that the geometry of the instrument rules out some possibilities such as a continuous diatonic or chromatic scale in the modern sense and tentatively proposed a comparatively slack modulating tuning which replicates the tonality of contemporary lyres in the lower range while doubling and partially tripling the same pitches in the higher octaves.
Keywords: ancient Greek music archaeology harpĪfter the remains of a harp had been discovered in an Athenian grave from the Classical period and the structure of the instrument had been reconstructed by Chrḗstos Terzḗs, I discussed the question of how it might have been strung and tuned.
0 kommentar(er)
