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138 or 128 BC - Athenios son of Athenios composes the First Delphic Hymn (Bélis 1992, 48–49 and 53–54; Pöhlmann and West 2001, 71). 128 BC - Limenios, son of Thoinos composes a "Paean and Prosodion to the God" (i.e., Apollo), today called the Second Delphic Hymn (Pöhlmann and West 2001, 71).
"But that music is a language by whose means messages are elaborated, that such messages can be understood by the many but sent out only by the few, and that it alone among all language unites the contradictory character of being at once intelligible and untranslatable—these facts make the creator of music a being like the gods and make music itself the supreme mystery of human knowledge."
ca. 1st century – Seikilos epitaph, the oldest surviving complete piece of music; late 3rd century – Oxyrhynchus hymn, the earliest known Christian hymn to contain both lyrics and musical notation [9] 387 – Te Deum, early Christian hymn; ca. 6th–7th century – Jieshi Diao Youlan No. 5, Chinese guqin melody, oldest extant substantial ...
Pottery inscribed with personal names has been found at Keeladi, a site that was occupied between the 6th century BC and 1st century AD. [69] 5th century BC inscriptions on potsherds found in Kodumanal, Porunthal and Palani have been claimed as Tamil-Brahmi, [70] [71] but this is disputed. [72] 2nd century BC: Meroitic
The 1st century BC, also known as the last century BC and the last century BCE, started on the first day of 100 BC and ended on the last day of 1 BC. The AD/BC notation does not use a year zero ; however, astronomical year numbering does use a zero, as well as a minus sign, so "2 BC" is equal to "year –1".
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The revival of interest in Early music has given rise to a scholarly approach to the performance of music. Through academic musicological research of music treatises, urtext editions of musical scores and other historical evidence, performers attempt to be faithful to the performance style of the musical era in which a work was originally conceived.
At present some music historians tend to concentrate on the internal analysis of a composition and its relation to a specific and usually narrowly defined historical frame. Indeed, much musicological writing presents by implication a formidable orthodoxy in which history is perceived as a succession of paradigms of musical language, style, and ...