Greek Literary Devices

As it is lower than any other pitch in the Epitaph, the last note evokes an air of finality in the composition. Paired with the F sharp and the A, the E acts as a kind of musical inversion of the K, I and Z Greek symbols near the beginning. As this rhythmical pattern only happens twice in the entire composition, the beginning and the end are easily distinguished from the rest of the piece by the listener. This group of three notes is also different from the rest of the Epitaph as it contains the only F sharp in the piece.

Despite our distance in time, I believe that our opinion is reliable as we have absorbed and elaborated so many of the original Greek techniques. Although we no longer use letters and symbols to represent pitch and rhythm, the diatonic genus, the other tetra chord forms and certain modal aspects are still present in many of our scales and melodies. This enables us to have a fairly good comprehension of ancient Greek music.

2. Musically speaking, we inherited many things from the Greeks. In a general sense, they established a base for modern rhythm, using specific letters and symbols for different note values. For example, in the Epitaph, the

letter C with a line above it is considered rhythmically equal to a quarter note. In terms of pitch, the Greater Perfect System—a group of four tetra chords which provided the foundation for modes—has greatly influenced the development of modern musical technique. For example, the diatonic tetra chord genus is particularly relevant today as it is present in many of our scales. The intervals we use today are also derived from a Greek system. Pythagoras attributed specific mathematical ratios to the distance between a certain number of tones or semi tones to distinguish different pitches. These are recognized as several of the perfect consonances that are still used in music theory and harmony today.
Although modern music has incorporated many of the techniques introduced by the Greeks, there are also several things which have been omitted. For example, the Greek system of symbols and letters representing pitch and rhythm has been replaced with specific musical notation on a staff and sharps or flats to represent a change in pitch. Also, the ancient Greek musical instruments are not familiar to us and are no longer commonly used. As a result, we analyze these melodies with a limited exactitude because we do not comprehend the intent of the composers or the styles in which their compositions should be interpreted.

3.

In ancient Greece, ethos—from which the word ethics was derived—was related to music’s ability to influence and captivate the listener. Harmonious and rhythmical music were thought to calm the spirit whereas graceless and arhythmical music could produce a bad tempered or even a dangerous person. In Plato’s Republic, Socrates even states that certain scales should be banned as “rhythm and harmony find their way to the inmost soul” and thus are able to control an individual (reference). Similarly, many Greeks felt that maintaining a specific balance in music was essential to keeping the society peaceful. For example, a person who tried to enter a Greek city with a modified lyre or flute could be sent away as the citizens did not wish to be corrupted by different or perhaps dissonant sounding

melodies.

4. Pythagoras contributed much to the beginnings of music theory and harmony. He discovered the mathematical ratios which represent four of the common intervals which we use today. He established this by weighing different blacksmith anvils, which, when struck by a hammer produced distinct pitches. A ratio was then attributed to the distance between each pitch. For example, a ratio of 3:2 is known as a perfect fifth and a ratio of 5:4 is a major third. Pythagoras also observed that the distance between two harmonious notes was always calculated as a whole number ratio. However, dissonant sound was caused by non-whole number ratios.

5. The melody of the Epitaph evokes feelings of longing and sadness. However, the composition also makes one feel rested and at peace. There is a deep theme of remembering what is lost but not being overburdened with sadness. As a listener, I feel compelled to think not of death and pain but of what is lovely and beautiful about life. Musically, because the tempo follows a fairly constant and even pace, the listener is not inclined to ‘dwell’ on certain pitches as though dwelling on grief. Instead, one is moved to recognize and deal with a loss and then gradually work through the grieving process. The familiar diatonic melody and major tone of the piece also inspire wholesome and uplifting thoughts.