{"title":"莎草纸上的乐谱P. CtYBR inv. 4510:重新阅读和新的解释","authors":"L. Capron","doi":"10.1163/22129758-12341391","DOIUrl":null,"url":null,"abstract":"\nAfter a new reading of P.CtYBR inv. 4510, combined with a musical analysis, it is possible to detect the presence of three musical pieces, written respectively in diatonic scales of hypo-iastian, iastian and hyper-iastian. These three melodies are notably different in their composition. The first one shows a large variety of rhythmical figures, uses chromatic degrees and metaboles, when the two others seem to be written in a soberer way. In particular, the hypothesis of a new scale, created by the componer for this first piece only, is proposed here.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2023-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"La notation musicale dans le papyrus P. CtYBR inv. 4510 : relecture et nouvelles interprétations\",\"authors\":\"L. Capron\",\"doi\":\"10.1163/22129758-12341391\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\nAfter a new reading of P.CtYBR inv. 4510, combined with a musical analysis, it is possible to detect the presence of three musical pieces, written respectively in diatonic scales of hypo-iastian, iastian and hyper-iastian. These three melodies are notably different in their composition. The first one shows a large variety of rhythmical figures, uses chromatic degrees and metaboles, when the two others seem to be written in a soberer way. In particular, the hypothesis of a new scale, created by the componer for this first piece only, is proposed here.\",\"PeriodicalId\":36585,\"journal\":{\"name\":\"Greek and Roman Musical Studies\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2023-05-09\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Greek and Roman Musical Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1163/22129758-12341391\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Greek and Roman Musical Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1163/22129758-12341391","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Arts and Humanities","Score":null,"Total":0}
La notation musicale dans le papyrus P. CtYBR inv. 4510 : relecture et nouvelles interprétations
After a new reading of P.CtYBR inv. 4510, combined with a musical analysis, it is possible to detect the presence of three musical pieces, written respectively in diatonic scales of hypo-iastian, iastian and hyper-iastian. These three melodies are notably different in their composition. The first one shows a large variety of rhythmical figures, uses chromatic degrees and metaboles, when the two others seem to be written in a soberer way. In particular, the hypothesis of a new scale, created by the componer for this first piece only, is proposed here.
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