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Mesopotamian music had a strong influence in ancient Greece. The practice of deifying string instruments was sometimes echoed in Classical Greece, but the mythology was modified resulting in the Greek ‘lyre heroes’ such as Orpheus, Amphion, Cadmus and Linus. [205] Like the Mesopotamians, the Greeks connected music to the planets.
Gabbay, Uri (2018). "Drums, Hearts, Bulls, and Dead Gods: The Theology of the Ancient Mesopotamian Kettledrum". Journal of Ancient Near Eastern Religions. 18. Brill. Kilmer, Anne (2001). The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan. p. §8 Mesopotamia. Sachs, Curt ...
Ancient music refers to the musical cultures and practices that developed in the literate civilizations of the ancient world, succeeding the music of prehistoric societies and lasting until the post-classical era. Major centers of ancient music developed in China, Egypt, Greece, India, Iran/Persia, the Maya civilization, Mesopotamia, and Rome.
They excavated pieces of three lyres and one harp in Ur, located in what was Ancient Mesopotamia and is contemporary Iraq. [2] [3] They are over 4,500 years old, [4] from ancient Mesopotamia during the Early Dynastic III Period (2550–2450 BC). [5] The decorations on the lyres are fine examples of the court art of Mesopotamia of the period. [6]
Ugarit, where the Hurrian songs were found. The complete song is one of about 36 such hymns in cuneiform writing, found on fragments of clay tablets excavated in the 1950s from the Royal Palace at Ugarit (present-day Ras Shamra, Syria), [5] in a stratum dating from the fourteenth century BC, [6] but is the only one surviving in substantially complete form.
The system dates to Ancient Mesopotamia, [4] and consisted of alternating ascending fifths and descending fourths; see Music of Mesopotamia § Music theory. Within Ancient Greek music, the system had been mainly attributed to Pythagoras (who lived around 500 BCE) by modern authors of music theory; Ancient Greeks borrowed much of their music ...
Anne Draffkorn Kilmer (1931 – 2023) was an American historian of the ancient Near East who served as a professor of Assyriology at the University of California, Berkeley. [1] She was an expert in ancient Mesopotamian culture, specifically Sumero-Akkadian cuneiform texts and the history of ancient music, games, and mathematics.
The hymn discusses music being played at the temple towards the end with drums and the coarse sound of a bull's horn sounding at temple ceremonies: "the wild bull's horn was made to growl, the algarsura instrument was made to thud." [31] Samuel Noah Kramer suggested that the musical instruments mentioned in the hymn were played in accompaniment.