The Aeneid : Prologue - Ancient Roman Music скачать в хорошем качестве

The Aeneid : Prologue - Ancient Roman Music

Aulos by ​⁠‪@stefanoskrasopoulis‬, (check out his awesome channel for more music like this), music and vocals by Farya Faraji. This is another historically informed approximation of what Ancient Roman music may have sounded like given the available historical data. The best place to start for reconstructing their music is the poetry: Ancient Roman poetry used the interplay of long vs short vowel lengths and stress accent to create rythmic effects to the poetry, not unlike modern rap does. This gives us a direct insight into some rythmic structures preserved by the phonemic quality of the language. It is known that ancient Greek and Latin music both replicated the phonemic quality of the language by making sure the notes matched the stress accents and that the rhythm of the song matched the lyrics' long and short vowels. Hence, the entire rythmic structure of this piece is directly copied from, and follows the poem's natural, built-in rhythm and rythmic structures, called dactylic hexameter. I want to give many thanks to my friend Luke of the ​⁠‪@polyMATHY_Luke‬ and ​⁠‪@ScorpioMartianus‬ channels for helping ensure the rythmic delivery respects the poem's metre. The melody uses the Ancient Dorian mode of the Diatonic genus, today called Phrygian, one of the most widely used and central modes of Greco-Roman music. I modeled the melodic style on the works of Mesomedes, a 2dn century Greek musician whose compositions survive today. The melody I wrote therefore closely follows the patterns used by Mesomedes, and I also included a chromatic passage modeled after Mesomedes' Hymn to the Muse (though the attribution of the song to him is disputed by some), a song I've previously performed here:    • Hymn to the Muse - Ancient Greek Song   For more information on the workings of the ancient Greco-Roman modes, I refer you to my dedicated videos in the Epic Talking playlist. The instrumentation consists of the Louvre model of the Aulos played expertly by my collaborator Stefanos Krasopoulis, which differs from the Vergina model for having a slightly sharper and more piercing sound. Stefanos played the Aulos using the drone-support speculative approach–music historians are still debating what the two aulos pipes are for, some claiming both would be used to play a single melody, others saying the second aulos would be used to provide a constant drone. Stefanos used the model of what could be called Isokratima, a modern Greek term referring to a drone that uses basic pedal notes to accentuate the melodic contour. In this case, switching to the subtonic during cadential phrases at the conclusion of a melody; something seen today in Greece and the rest of Balkan music. Keep in mind that this is aspect of our arrangement entirely speculative, and more data and research would be required to come to a satisfactory and final conclusion. Other instruments consist of ancient lyres, a frame drum, ancient cymbals, a pan flute and a magnificently made reconstruction of the ancient pandura made by Steffano Landucci, which I can be seen playing in the video. The pronunciation uses reconstructed Classical Pronunciation. Lyrics available in the pinned comment.