916:
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sufficiently illumine the melody's tonal structure. The song's pitch centers (notes of emphasis according to frequency, duration, and placement) are, in Greek notational nomenclature, C and Z, which correspond to G and D if the scale is mapped on the white keys of the piano (A and E in the "two sharps" transcription above). These two pitches are mese and nete diezeugmenon of the octave species, but the two other standing notes of that scale's tetrachords (hypate and paramese) do not come into play in significant ways as pitch centers, whether individually or together in intervals forming fourths. The melody is dominated by fifths and thirds; and although the piece ends on hypate, that is the only occurrence of this note. This instance of hypate probably derives its suitability as a final by virtue of being "the same," through octave equivalency, as nete diezeugmenon, the pitch center Z.
1191:. According to another source the stele, having first been discovered during the building of the railway next to Aydın, had first remained in the possession of the building firm's director, Edward Purser, where Ramsay found and published about it; in about 1893, as it "was broken at the bottom, its base was sawn off straight so that it could stand and serve as a pedestal for Mrs Purser's flowerpots"; this caused the loss of one line of text, i.e., while the stele would now stand upright, the grinding had obliterated the last line of the inscription. The stele next passed to Edward Purser's son-in-law, Mr Young, who kept it in Buca, Smyrna. It remained there until the defeat of the Greeks, having been taken by the Dutch Consul for safe keeping during the war; the Consul's son-in-law later brought it by way of
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29:
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1235:, suggests the possibility of a similar transcription with displaced barlines of a line of music with this same rhythm. His hypothesis is based on an assumption about ancient rhythmical theory and practice, namely that "the regular iambic environment precluded accented shorts altogether; in other words, the accent of the iambic foot fell on its long".
1146:). If the Anonymus Bellermanni source is correct, this implies that whole of the first half of each double-foot bar or measure is the thesis, and the whole of the second half is the arsis. Stefan Hagel, however, argues that this does not preclude the possibility that within the thesis and arsis there was a further hierarchy of strong and weak notes.
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1158:
the inscription can be "securely dated to the first century C.E.", while on the same basis (the use of swallow-tail serifs, the almost triangular Φ with prolongation below, ligatures between N, H, and M, and above all the peculiar form of the letter omega) another is equally certain it dates from the
1008:
and Jon
Solomon on the one hand as being clearly in the diatonic Iastian tonos, Mathiesen also says it would "fit perfectly" within Ptolemy's Phrygian tonos, since, according to Jon Solomon, the arrangement of the tones (1 ½ 1 1 1 ½ 1 ) "is that of the Phrygian species" according to Cleonides. The
654:
In
English the poem translates as: "As long as you're alive, shine, don't be sad at all; life is short, time asks for its due" per Rohland (2022). Landels (2002) provides a similar, slightly freer, translation: "As long as you live, let the world see you, and don't make yourself miserable; life is
1075:
by function". Moreover, Charles
Cosgrove, building on West, shows that although the notes correspond to the Phrygian octave species, analyzing the song on the assumption that its orientation notes are the standing notes of a set of disjunct tetrachords forming the Phrygian octave species does not
699:, meaning "is alive", was a common ancient convention indicating that the dedicator had survived the dedicatee and created the monument in their memory. The last two surviving words on the tombstone itself are (with the bracketed characters denoting a partial possible reconstruction of the
960:
1238:
However, Tosca Lynch argues that this assumption is contradicted by ancient rhythmical theory and practice. She notes that the song in its conventional transcription corresponds to the rhythm referred to by ancient Greek rhythmicians as an "iambic dactyl"
1219:
A possible alternative way of rhythmizing the
Seikilos song, in order to preserve the iambic ('rising', di-dum) feel of the rhythm, was suggested by Armand D'Angour, with the barlines displaced one quaver to the right, as in the following transcription:
1003:
Although the transcription of the melody is unproblematic, there is some disagreement about the nature of the melodic material itself. There are no modulations, and the notation is clearly in the diatonic genus, but while it is described by
306:), which translates as "I am an image and a stone; Seikilos sets me up here as a long-lasting marker of undying memory". In both cases, the language of the distich implies that the stone should be imagined as speaking to the reader in
721:
meaning "Seikilos to
Euterpe"; hence, according to this reconstruction, the tombstone and the epigrams thereon were dedicated by Seikilos to a woman named Euterpe, who was possibly his wife. Alternatively, the inscription references
293:
In
English it translates as: "I, the stone, am an image and Seikilos places me here (to be) a long-lasting monument to immortal memory" per Landels (2002). D’Angour (2021) maintains that the translation of the letter
967:
782:
in the same year confirmed this tendency. Thus in this epitaph, in most of the words, the accented syllable is higher in pitch than the syllable which follows; and the circumflex accents in
884:, "when the word expresses existence or possibility (i.e. when it is translatable with expressions such as 'exists', 'there is', or 'it is possible')", which is evidently the meaning here.
1128:
argues, however, that this does not rule out the possibility of a dynamic stress. Another view, by
Solomon, is that the stigmai "signify a rhythmical emphasis". According to Mathiesen,
326:
Below the distich follows a brief poem, also in all-capitals, with vocal notation signs above the words. The text, here excluding the musical notations (followed below by the
1067:('middle note') may have had a gravitational function". Although the epitaph's melody is "clearly structured around a single octave, … the melody emphasizes the
1010:
274:
206:, holds that the inscription does not mark a tomb, but was instead a monument erected by Seikilos himself to commemorate his musical and poetic skill.
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imply, is the arsis. Therefore, in Lynch's opinion the conventional transcription is to be preferred as it accurately reflects the original rhythm.
774:
in 1893, shortly after the publication of this inscription, was the first to observe that the music of this song as well as that of the hymns of
844:, where the music has a low note despite the acute accent. Another example of a low note at the beginning of a line which has been observed is
671:
Before the last line was ground off so Mrs. Purser (the wife of the discoverer) could use the stele as a flowerpot stand, the dedication read:
202:(a tombstone inscription) created by a man named Seikilos and possibly dedicated to a woman named Euterpe. An alternative view, put forward by
936:, and a rough word-for-word translation giving an indication of the meaning of each word. The original tune was a fourth lower (Iastian key).
314:; a familiar structure that is commonly found in ancient epitaphs, where the stone appears to 'speak' to the passer-by (see the epitaph of
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The find has been variously dated, but the first or second century AD is the most probable guess. One authority states that on grounds of
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180:
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2463:
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had no finals, dominants, or internal relationships that would establish a hierarchy of tensions and points of rest, although the
2408:
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in the 2nd
Delphic Hymn. There are other places also where the initial syllable of a clause starts on a low note in the music.
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195:), all of it is in fragments; the Seikilos epitaph is unique in that it is a complete, though short, composition.
1992:
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mark, does it indicate stress, does it show arsis or thesis, and which part of the foot ought to be called arsis?
904:
1055:. This piece is … Phrygic (the D mode) with its tonic in the same relative position as that of the Doric." Yet
639:
575:
2120:
1255:(using the term "dactyl" in the rhythmicians' sense of a foot in which the two parts are of equal length) (cf.
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869:'is', where the music has a rising melody on the first syllable. However, there exists a second pronunciation
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248:
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A stigme appears on all the syllables of the second half of each bar as it is printed above (for example on
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1315:) is shown composing and singing a melody based in the Seikilos epitaph. The English lyrics however are by
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1106:), which are also found in certain other fragments of Greek music, such as the fragment from Euripides'
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109:
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255:
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648:
hóson zêis, phaínou | mēdèn hólōs sỳ lypoû | pròs olígon ésti tò zên | tò télos ho khrónos apaiteî.
738:, as a way to emphasize Seikilos' poetic skill. Another possible partial reconstruction could be:
242:
184:
2562:
2485:
2326:
1176:
1025:
922:
340:ΟΣΟΝ ΖΗΣ ΦΑΙΝΟΥ / ΜΗΔΕΝ ΟΛΩΣ ΣΥ / ΛΥΠΟΥ ΠΡΟΣ ΟΛΙ / ΓΟΝ ΕΣΤΙ ΤΟ ΖΗΝ / ΤΟ ΤΕΛΟΣ Ο ΧΡΟ / ΝΟΣ ΑΠΑΙΤΕΙ
1988:"Melody and Word Accent Relationships in Ancient Greek Musical Documents: The Pitch Height Rule"
1849:, p. 177, similarly suggests that the theses were placed on the long syllables of the song.
815:
have a falling contour within the syllable, just as described by the 1st century BC rhetorician
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An approximate translation of the tune into modern musical notation, with the original text, a
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307:
2177:
2003:
An
Ancient Christian Hymn with Musical Notation: Papyrus Oxyrhynchus 1786: Text and Commentary
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2233:
2148:
1822:
1299:
1203:; it remained there until 1966, when it was acquired by the Department of Antiquities of the
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second century AD, and makes comparisons to dated inscriptions of 127/128 AD and 149/150 AD.
331:
2500:
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2209:
Flights of the Soul, Visions, Heavenly
Journeys, and Peak Experiences in the Biblical World
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Based on its structure and language, the artifact is generally understood to have been an
8:
2451:
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2193:. Studies in the History of Music Theory and Literature 1. University of Illinois Press.
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126:
2038:
1227:
A variation of the Seikilos epitaph with barlines as suggested by Armand D'Angour (2018)
1110:. The meaning of these is still uncertain. According to an ancient source (known as the
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173:
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2017:
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233:ΕΙΚΩΝ Η ΛΙΘΟΣ / ΕΙΜΙ ∙ ΤΙΘΗΣΙ ΜΕ / ΣΕΙΚΙΛΟΣ ΕΝΘΑ / ΜΝΗΜΗΣ ΑΘΑΝΑΤΟΥ / ΣΗΜΑ ΠΟΛΥΧΡΟΝΙΟΝ
154:
77:
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2250:
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1907:
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pronunciation and in modern popular vocal style; a mix of both rhythmizations (see
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881:
327:
302:) results in an awkward phrasing in Greek, and thus prefers the conjunctive "and" (
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1961:
1940:
1183:, Turkey. According to one source the stele was then lost and rediscovered in
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2521:
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2417:
1919:
1312:
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Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages
2020:. 2018. "The Song of Seikilos". In: Tom Phillips and Armand D'Angour (eds).
1987:
1467:
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1459:
1211:. This is where the stele has been located since (inventory number: 14897).
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2603:
1132:
The meaning of the stigme has been debated for years by scholars. Is it an
933:
99:
2130:
Lynch, Tosca A.C. 2020. "Rhythmics". In Lynch, T. and Rocconi, E. (eds.),
1259:
38.5–6). According to this, the whole of the first half of each bar (e.g.
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script), consists of letters and signs indicating the melody of the song:
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tends to follow the pitch of the word accents. The publication of the two
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1155:
979:
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60:
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The inscription as it currently exists (without the original final line)
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1911:
1900:"La musique de la Rome antique dans le péplum hollywoodien (1951-1963)"
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81:
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Another version of the song for lyre and voice recorded for Classic FM
2372:
RM recording of the Seikilos song, text accompanied by lyre (download)
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2312:
2157:
Mathiesen, Thomas J. 1985. "Rhythm and Meter in Ancient Greek Music".
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The stele along with other exhibits at the National Museum of Denmark
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eikṑn ḗ líthos eimí. títhēsí me Seikílos éntha mnḗmēs athanátou sêma
168:
and a song with vocal notation signs above the words. A Hellenistic
2234:
Documents of Ancient Greek Music: The Extant Melodies and Fragments
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1192:
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The inscription above each line of the lyrics (transcribed here in
2091:
Songwriting: Strategies for Musical Self-Expression and Creativity
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meaning "Seikilos of Euterpes", i.e. "Seikilos, son of Euterpes".
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Carpe Diem, The Poetics of Presence in Greek and Latin Literature
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1307:
drew inspiration from Ancient Greco-Roman music and instruments.
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The melody has been featured in the video game soundtracks for
183:. The melody of the song is recorded, alongside its lyrics, in
158:
142:
2039:"The Song of Seikilos: a Musically Notated Ancient Greek Poem"
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338:
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223:(also called couplet) on top of the tombstone, originally in
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42:
2377:
Arrangement for organ of the Seikilos song (video and score)
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663:
1715:
1308:
2191:
Music and Ideas in the Sixteenth and Seventeenth Centuries
1751:
1368:
921:
Audio playback is not supported in your browser. You can
830:(a long vowel with an acute accent) has a rising melody.
295:
125:
inscription that preserves the oldest surviving complete
1867:
1800:
1703:
1664:
1416:
1414:
1412:
1410:
1059:
explains that the difficulty lies in the fact that "the
2088:
Hauser, Christian; Tomal, Daniel; Rajan, Rekha (2017).
1857:
1855:
1788:
1776:
1086:
The musical notation has certain dots above it, called
1024:
as corresponding "to a segment from the Ionian scale".
1601:
1482:
1480:
2587:
1407:
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says "The scale employed is the diatonic octave from
1852:
1739:
1577:
1517:
2255:
A New Short Guide the Accentuation of Ancient Greek
1553:
1477:
187:. While older music with notation exists (e.g. the
2313:"The Seikilos Inscription: A Theoretical Analysis"
1985:
1595:
1571:
1383:
1009:overall note series is alternatively described by
833:One word which does not conform is the first word
2325:
2226:
1904:Mélanges de l'École française de Rome - Antiquité
1879:
1818:
1697:
1638:
1547:
1450:
1435:
983:
2611:
2237:. Oxford and New York: Oxford University Press.
2087:
2077:"Ancient Greek Rhythm: The Bellermann Exercises"
2054:. Oxford and New York: Oxford University Press.
1401:
1986:Cosgrove, Charles H., and Mary C. Meyer. 2006.
1942:Civ 6 Greek Pericles&Gorgo Theme music FULL
33:Seikilos stele with poetry and musical notation
2050:Devine, A.M., and Laurence D. Stephens. 1994.
2049:
1620:
2402:
2132:A Companion to Ancient Greek and Roman Music
2016:
1834:
1757:
1214:
161:) in 1883. The stele includes two poems; an
141:AD, the inscription was found engraved on a
1231:Stefan Hagel, discussing an example in the
1162:
1120:', which has been taken to mean a kind of '
2409:
2395:
2022:Music, Text, and Culture in Ancient Greece
1175:The Epitaph was discovered in 1883 by Sir
27:
2359:International Music Score Library Project
2174:
2156:
2138:
1846:
1806:
1782:
1670:
1654:
1642:
1334:in the Greek Mythology Mash-Up Pack DLC.
2329:1929. "Ancient Greek Music: A Survey".
2181:. Lincoln: University of Nebraska Press.
2036:
2000:
1897:
1891:
1733:
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1511:
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16:Oldest surviving complete piece of music
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2185:
2108:
1709:
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1607:
1583:
1523:
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1420:
1036:(in two sharps). The tonic seems to be
2612:
2261:
2144:"New Fragments of Ancient Greek Music"
1898:Vendries, Christophe (29 April 2015).
1377:
1124:' ('arsis' means 'raising' in Greek);
2390:
2205:
2129:
2081:Quaderni Urbinati di Cultura Classica
2074:
1885:
1873:
1861:
1794:
1771:"Orestes 344–45: Colometry and Music"
1745:
1559:
1389:
858:Another apparently anomalous word is
2005:. Heidelberg: Mohr Siebeck Verlag.
984:§ An alternative rhythmization
978:Melody sung in an approximation of
703:or of a possible name abbreviation)
13:
1292:
949:
942:
655:short, and Time demands his due".
14:
2666:
2416:
2348:
1187:in 1922, at about the end of the
2620:Ancient Greek music inscriptions
2597:
2112:Music in Ancient Greece and Rome
1355:For the accentuation, see below.
994:Problems playing this file? See
965:
892:
2645:1883 archaeological discoveries
2268:The Harvard Dictionary of Music
2212:. Eerdmans Publishing Company.
2163:, Vol. 53, Fasc. 1, pp. 14-32.
2083:, New Series, 88, no. 1:125–38.
1993:The Journal of Hellenic Studies
1954:
1933:
1840:
1763:
1648:
1632:
1613:
1541:
1349:
1274:, and the whole of the second (
1179:in Tralleis, a small town near
227:, precedes the song and reads:
2327:Winnington-Ingram, Reginald P.
2296:. Cambridge University Press.
1492:
1402:Hauser, Tomal & Rajan 2017
1189:Greco-Turkish War of 1919–1922
1071:by position … rather than the
880:, which is used, according to
819:, while the first syllable of
759:
209:
185:ancient Greek musical notation
1:
2335:10, No. 4 (October): 326–45.
2318:American Journal of Philology
2169:10.1525/mts.1985.7.1.02a00090
658:
133:. Commonly dated between the
70:
2094:. Rowman & Littlefield.
1362:
1337:
1143:ὅλως, -γον ἔσ-, and ὁ χρόνος
918:
7:
2271:(4th ed.). Cambridge:
2175:Mathiesen, Thomas J. 1999.
2134:, Hoboken: Wiley-Blackwell.
2052:The Prosody of Greek Speech
10:
2671:
2655:National Museum of Denmark
2257:. Bristol Classical Press.
2024:. Oxford University Press
1978:
1625:
1623:, p. 221, supporting
1621:Devine & Stephens 1994
1276:
1261:
1241:
1205:National Museum of Denmark
1142:
1102:
1092:
1079:
871:
860:
846:
835:
821:
817:Dionysius of Halicarnassus
806:
795:
784:
763:
743:
708:
682:
676:
339:
321:
241:
232:
214:
172:song, it is either in the
110:National Museum of Denmark
2571:
2545:
2509:
2424:
2037:D’Angour, Armand (2021).
2001:Cosgrove, Charles. 2011.
1474:, Interpreting the stone.
1215:Alternative rhythmization
1149:
887:
105:
95:
87:
66:
56:
48:
38:
26:
21:
2640:2nd-century inscriptions
2635:1st-century inscriptions
2290:Rohland, Robert (2022).
2273:Harvard University Press
1342:
1163:Discovery and exhibition
2364:"Skolion of Seikilos",
1596:Cosgrove and Meyer 2006
1572:Cosgrove and Meyer 2006
1026:R. P. Winnington-Ingram
923:download the audio file
574:
562:
550:
538:
526:
515:
503:
491:
479:
467:
455:
444:
432:
420:
408:
396:
385:
373:
359:
347:
2311:Solomon, Jon D. 1986.
2229:Martin Litchfield West
2109:Landels, John (2002).
1819:Pöhlmann and West 2001
1698:Pöhlmann and West 2001
1639:Pöhlmann and West 2001
1548:Pöhlmann and West 2001
1451:Winnington-Ingram 1929
1436:Pöhlmann and West 2001
1257:Aristides Quintilianus
1228:
1172:
1138:
1116:), they represent an '
1022:Martin Litchfield West
954:
909:
754:
719:
687:
668:
645:, | | |
344:
291:
237:
181:Ionian (Iastian) tonos
2321:107 (Winter): 455–79.
2227:Pöhlmann, Egert, and
2149:Music Theory Spectrum
2075:Hagel, Stefan. 2008.
1906:(in French) (127–1).
1226:
1170:
1130:
953:
907:
740:
705:
673:
666:
336:
332:Latin transliteration
238:
229:
2206:Pilch, John (2011).
2140:Mathiesen, Thomas J.
1736:, pp. 187, 168, n48.
1380:, pp. 361, 767.
1248:dáktulos kat᾽ íambon
1242:δάκτυλος κατ᾽ ἴαμβον
1233:Anonymus Bellermanni
1113:Anonymus Bellermanni
908:The Seikilos "score"
766:Ancient Greek accent
2625:Ancient Greek music
2452:Ancient Tamil music
2332:Music & Letters
2263:Randel, Don Michael
2043:antigonejournal.com
1876:, pp. 275–295.
1724:, pp. 88, 187.
1006:Thomas J. Mathiesen
961:Epitaph of Seikilos
149:) from the ancient
127:musical composition
76:or 2nd century AD,
2187:Palisca, Claude V.
1912:10.4000/mefra.2791
1797:, pp. 127–28.
1574:, pp. 66, 75.
1514:, Words and music.
1297:For the 1951 film
1229:
1173:
955:
910:
669:
2585:
2584:
2577:Prehistoric music
2558:1st millennium BC
2553:2nd millennium BC
2251:Probert, Philomen
2243:978-0-19-815223-1
2199:978-0-252-03156-4
2160:Acta Musicologica
2101:978-1-4758-2942-6
2068:978-0-19-537335-6
2060:978-0-19-508546-4
2030:978-0-19-879446-2
2011:978-3-16-150923-0
1963:Seikilos' Epitaph
1837:, pp. 70–71.
1712:, pp. 77–78.
1040:; the cadence is
986:, below) is used.
973:
927:
770:A German scholar
115:
114:
2662:
2650:History of Aydın
2630:Steles in Turkey
2602:
2601:
2600:
2593:
2537:Seikilos epitaph
2532:Oxyrhynchus hymn
2411:
2404:
2397:
2388:
2387:
2357:: Scores at the
2355:Seikilos Epitaph
2343:
2322:
2307:
2286:
2258:
2246:
2223:
2202:
2182:
2171:
2153:
2135:
2126:
2105:
2084:
2071:
2046:
2033:
2018:D'Angour, Armand
2013:
1997:
1973:
1972:
1971:
1970:
1958:
1952:
1951:
1950:
1949:
1937:
1931:
1930:
1928:
1926:
1895:
1889:
1883:
1877:
1871:
1865:
1859:
1850:
1844:
1838:
1832:
1826:
1816:
1810:
1804:
1798:
1792:
1786:
1780:
1774:
1767:
1761:
1755:
1749:
1743:
1737:
1731:
1725:
1719:
1713:
1707:
1701:
1695:
1686:
1680:
1674:
1668:
1662:
1652:
1646:
1636:
1630:
1628:
1627:
1617:
1611:
1605:
1599:
1593:
1587:
1581:
1575:
1569:
1563:
1557:
1551:
1545:
1539:
1533:
1527:
1521:
1515:
1509:
1503:
1496:
1490:
1484:
1475:
1469:
1454:
1448:
1439:
1433:
1424:
1418:
1405:
1399:
1393:
1387:
1381:
1375:
1356:
1353:
1284:
1279:
1278:
1269:
1264:
1263:
1254:
1250:
1244:
1243:
1145:
1144:
1105:
1104:
1095:
1094:
1050:
1049:
1019:
975:
974:
952:
882:Philomen Probert
879:
874:
873:
868:
863:
862:
854:
849:
848:
843:
838:
837:
829:
824:
823:
814:
809:
808:
803:
798:
797:
792:
787:
786:
752:
746:
745:
717:
711:
710:
698:
695:
692:
685:
684:
679:
678:
342:
341:
285:
278:
277:
235:
234:
131:musical notation
119:Seikilos epitaph
106:Present location
75:
72:
31:
22:Seikilos epitaph
19:
18:
2670:
2669:
2665:
2664:
2663:
2661:
2660:
2659:
2610:
2609:
2608:
2598:
2596:
2588:
2586:
2581:
2567:
2541:
2505:
2420:
2415:
2351:
2346:
2304:
2283:
2220:
2123:
2102:
1981:
1976:
1968:
1966:
1960:
1959:
1955:
1947:
1945:
1939:
1938:
1934:
1924:
1922:
1896:
1892:
1884:
1880:
1872:
1868:
1860:
1853:
1845:
1841:
1833:
1829:
1817:
1813:
1805:
1801:
1793:
1789:
1781:
1777:
1768:
1764:
1756:
1752:
1744:
1740:
1732:
1728:
1720:
1716:
1708:
1704:
1696:
1689:
1681:
1677:
1669:
1665:
1657:, p. 150;
1653:
1649:
1637:
1633:
1618:
1614:
1606:
1602:
1594:
1590:
1582:
1578:
1570:
1566:
1558:
1554:
1546:
1542:
1534:
1530:
1522:
1518:
1510:
1506:
1497:
1493:
1485:
1478:
1470:
1457:
1449:
1442:
1434:
1427:
1419:
1408:
1400:
1396:
1388:
1384:
1376:
1369:
1365:
1360:
1359:
1354:
1350:
1345:
1340:
1328:Civilization VI
1295:
1293:Popular culture
1252:
1217:
1165:
1152:
1126:Armand D'Angour
1084:
1047:
1046:
1013:
1001:
1000:
992:
990:
989:
988:
987:
976:
966:
963:
956:
950:
945:
943:Scholarly views
940:
939:
938:
937:
930:
929:
928:
926:
895:
890:
768:
762:
747:
736:Greek mythology
712:
696:
693:
690:
680:
661:
652:
585:
572:
560:
548:
536:
524:
513:
501:
489:
477:
465:
453:
442:
430:
418:
406:
394:
383:
371:
357:
324:
280:
221:elegiac distich
217:
212:
204:Armand D'Angour
73:
34:
17:
12:
11:
5:
2668:
2658:
2657:
2652:
2647:
2642:
2637:
2632:
2627:
2622:
2607:
2606:
2583:
2582:
2580:
2579:
2572:
2569:
2568:
2566:
2565:
2563:1st millennium
2560:
2555:
2549:
2547:
2543:
2542:
2540:
2539:
2534:
2529:
2527:Katolophyromai
2524:
2519:
2513:
2511:
2507:
2506:
2504:
2503:
2498:
2493:
2488:
2483:
2482:
2481:
2476:
2471:
2461:
2456:
2455:
2454:
2444:
2439:
2434:
2428:
2426:
2422:
2421:
2414:
2413:
2406:
2399:
2391:
2385:
2384:
2379:
2374:
2369:
2361:
2350:
2349:External links
2347:
2345:
2344:
2323:
2308:
2302:
2287:
2282:978-0674011632
2281:
2265:, ed. (2003).
2259:
2247:
2224:
2218:
2203:
2183:
2172:
2154:
2136:
2127:
2121:
2106:
2100:
2085:
2072:
2047:
2034:
2014:
1998:
1982:
1980:
1977:
1975:
1974:
1953:
1932:
1890:
1878:
1866:
1864:, p. 128.
1851:
1847:Mathiesen 1985
1839:
1827:
1811:
1809:, p. 148.
1807:Mathiesen 1999
1799:
1787:
1783:Mathiesen 1981
1775:
1762:
1750:
1738:
1726:
1714:
1702:
1687:
1685:, p. 461, n14.
1675:
1673:, p. 150.
1671:Mathiesen 1999
1663:
1661:, p. 459.
1655:Mathiesen 1999
1647:
1643:Mathiesen 1999
1641:, p. 88;
1631:
1612:
1610:, p. 144.
1600:
1588:
1576:
1564:
1552:
1540:
1528:
1516:
1504:
1491:
1476:
1455:
1453:, p. 343.
1440:
1425:
1423:, p. 252.
1406:
1394:
1382:
1366:
1364:
1361:
1358:
1357:
1347:
1346:
1344:
1341:
1339:
1336:
1324:Civilization V
1294:
1291:
1216:
1213:
1193:Constantinople
1164:
1161:
1151:
1148:
1083:
1078:
1057:Claude Palisca
1011:Egert Pöhlmann
991:
977:
964:
959:
958:
957:
948:
947:
946:
944:
941:
931:
920:
917:
914:
913:
912:
911:
894:
891:
889:
886:
761:
758:
750:Seikílos Eutér
744:Σεικίλος Εὐτέρ
715:Seikílos Eutér
709:Σεικίλος Εὐτέρ
677:ΣΕΙΚΙΛΟΣ ΕΥΤΕΡ
660:
657:
573:
561:
549:
537:
525:
514:
502:
490:
478:
466:
454:
443:
431:
419:
407:
395:
384:
372:
358:
346:
345:
323:
320:
216:
213:
211:
208:
177:octave species
113:
112:
107:
103:
102:
97:
93:
92:
89:
85:
84:
68:
64:
63:
58:
54:
53:
50:
46:
45:
40:
36:
35:
32:
24:
23:
15:
9:
6:
4:
3:
2:
2667:
2656:
2653:
2651:
2648:
2646:
2643:
2641:
2638:
2636:
2633:
2631:
2628:
2626:
2623:
2621:
2618:
2617:
2615:
2605:
2595:
2594:
2591:
2578:
2574:
2573:
2570:
2564:
2561:
2559:
2556:
2554:
2551:
2550:
2548:
2546:By millennium
2544:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2522:Hurrian songs
2520:
2518:
2517:Delphic Hymns
2515:
2514:
2512:
2508:
2502:
2499:
2497:
2494:
2492:
2489:
2487:
2484:
2480:
2477:
2475:
2472:
2470:
2467:
2466:
2465:
2462:
2460:
2457:
2453:
2450:
2449:
2448:
2445:
2443:
2440:
2438:
2435:
2433:
2430:
2429:
2427:
2423:
2419:
2418:Ancient music
2412:
2407:
2405:
2400:
2398:
2393:
2392:
2389:
2383:
2380:
2378:
2375:
2373:
2370:
2368:
2367:
2362:
2360:
2356:
2353:
2352:
2342:
2338:
2334:
2333:
2328:
2324:
2320:
2319:
2314:
2309:
2305:
2303:9781316510827
2299:
2295:
2294:
2288:
2284:
2278:
2274:
2270:
2269:
2264:
2260:
2256:
2252:
2248:
2244:
2240:
2236:
2235:
2230:
2225:
2221:
2219:9780802865403
2215:
2211:
2210:
2204:
2200:
2196:
2192:
2188:
2184:
2180:
2179:
2173:
2170:
2166:
2162:
2161:
2155:
2151:
2150:
2145:
2141:
2137:
2133:
2128:
2124:
2118:
2115:. Routledge.
2114:
2113:
2107:
2103:
2097:
2093:
2092:
2086:
2082:
2078:
2073:
2069:
2065:
2061:
2057:
2053:
2048:
2044:
2040:
2035:
2031:
2027:
2023:
2019:
2015:
2012:
2008:
2004:
1999:
1995:
1994:
1989:
1984:
1983:
1965:
1964:
1957:
1944:
1943:
1936:
1921:
1917:
1913:
1909:
1905:
1901:
1894:
1887:
1882:
1875:
1870:
1863:
1858:
1856:
1848:
1843:
1836:
1835:D'Angour 2018
1831:
1824:
1820:
1815:
1808:
1803:
1796:
1791:
1784:
1779:
1772:
1766:
1759:
1758:D'Angour 2018
1754:
1747:
1742:
1735:
1734:Cosgrove 2011
1730:
1723:
1722:Cosgrove 2011
1718:
1711:
1706:
1700:, p. 90.
1699:
1694:
1692:
1684:
1679:
1672:
1667:
1660:
1656:
1651:
1645:, p. 149
1644:
1640:
1635:
1622:
1616:
1609:
1604:
1598:, p. 75.
1597:
1592:
1585:
1580:
1573:
1568:
1562:, p. 79.
1561:
1556:
1549:
1544:
1538:, Conclusion.
1537:
1536:D’Angour 2021
1532:
1525:
1520:
1513:
1512:D’Angour 2021
1508:
1501:
1495:
1488:
1483:
1481:
1473:
1472:D’Angour 2021
1468:
1466:
1464:
1462:
1460:
1452:
1447:
1445:
1438:, p. 91.
1437:
1432:
1430:
1422:
1417:
1415:
1413:
1411:
1403:
1398:
1392:, p. 78.
1391:
1386:
1379:
1374:
1372:
1367:
1352:
1348:
1335:
1333:
1330:, as well as
1329:
1325:
1320:
1318:
1314:
1313:Peter Ustinov
1310:
1306:
1302:
1301:
1290:
1288:
1283:
1273:
1268:
1258:
1249:
1236:
1234:
1225:
1221:
1212:
1210:
1206:
1202:
1198:
1194:
1190:
1186:
1182:
1178:
1169:
1160:
1157:
1147:
1137:
1135:
1129:
1127:
1123:
1119:
1115:
1114:
1109:
1099:
1089:
1082:
1077:
1074:
1070:
1066:
1062:
1058:
1054:
1051:
1043:
1039:
1035:
1031:
1027:
1023:
1017:
1012:
1007:
999:
997:
985:
981:
962:
935:
924:
906:
902:
900:
893:Transcription
885:
883:
878:
867:
856:
853:
842:
831:
828:
818:
813:
802:
791:
781:
780:Delphic hymns
777:
773:
767:
757:
753:
751:
739:
737:
734:and music in
733:
729:
725:
718:
716:
704:
702:
686:
672:
665:
656:
651:
649:
646:
643:
641:
638:
635:
632:
629:
625:
622:
619:
616:
613:
609:
606:
603:
600:
596:
592:
589:
584:
581:
579:
577:
571:
568:
566:
565:
559:
556:
554:
553:
547:
544:
542:
541:
535:
532:
530:
529:
523:
520:
517:
512:
509:
507:
506:
500:
497:
495:
494:
488:
485:
483:
482:
476:
473:
471:
470:
464:
461:
459:
458:
452:
449:
446:
441:
438:
436:
435:
429:
426:
424:
423:
417:
414:
412:
411:
405:
402:
400:
399:
393:
390:
387:
382:
379:
377:
376:
370:
367:
364:
362:
356:
353:
351:
350:
343:
335:
333:
329:
319:
317:
313:
312:present tense
309:
305:
301:
297:
290:
288:
284:
276:
273:
270:
267:
264:
260:
257:
253:
250:
247:
244:
236:
228:
226:
222:
207:
205:
201:
196:
194:
193:Delphic Hymns
190:
189:Hurrian songs
186:
182:
178:
175:
171:
167:
164:
160:
157:(present-day
156:
152:
148:
144:
140:
136:
132:
128:
124:
123:Ancient Greek
120:
111:
108:
104:
101:
98:
96:Discovered by
94:
90:
86:
83:
79:
69:
65:
62:
59:
55:
51:
47:
44:
41:
37:
30:
25:
20:
2575:Preceded by
2536:
2510:Extant music
2366:The Session.
2365:
2330:
2316:
2292:
2267:
2254:
2232:
2208:
2190:
2176:
2158:
2147:
2131:
2111:
2090:
2080:
2051:
2042:
2032:, pp. 64–72.
2021:
2002:
1991:
1967:, retrieved
1962:
1956:
1946:, retrieved
1941:
1935:
1923:. Retrieved
1903:
1893:
1881:
1869:
1842:
1830:
1814:
1802:
1790:
1778:
1769:Solomon, J.
1765:
1753:
1741:
1729:
1717:
1710:Palisca 2006
1705:
1683:Solomon 1986
1678:
1666:
1659:Solomon 1986
1650:
1634:
1615:
1608:Probert 2003
1603:
1591:
1586:, p. 5.
1584:Probert 2003
1579:
1567:
1555:
1550:, p. 91
1543:
1531:
1526:, p. 2.
1524:Rohland 2022
1519:
1507:
1500:Rohland 2022
1494:
1489:, p. 1.
1487:Rohland 2022
1421:Landels 2002
1404:, p. 2.
1397:
1385:
1351:
1321:
1305:Miklós Rózsa
1298:
1296:
1286:
1281:
1266:
1247:
1237:
1230:
1218:
1177:W. M. Ramsay
1174:
1153:
1139:
1131:
1111:
1107:
1097:
1096:), singular
1087:
1085:
1080:
1072:
1068:
1064:
1060:
1052:
1044:
1041:
1037:
1033:
1029:
1002:
993:
934:romanization
896:
876:
865:
857:
851:
840:
832:
826:
811:
800:
789:
772:Otto Crusius
769:
755:
749:
741:
732:lyric poetry
720:
714:
706:
688:
674:
670:
653:
650:
647:
644:
586:
582:
580:
569:
567:
557:
555:
545:
543:
533:
531:
521:
518:
510:
508:
498:
496:
486:
484:
474:
472:
462:
460:
450:
447:
439:
437:
427:
425:
415:
413:
403:
401:
391:
388:
380:
378:
368:
365:
354:
352:
337:
325:
308:first person
298:" as "the" (
292:
287:polykhrónion
286:
282:
239:
230:
225:all-capitals
218:
197:
129:, including
118:
116:
100:W. M. Ramsay
2432:Mesopotamia
1502:, p. 2
1378:Randel 2003
1156:paleography
1014: [
980:Koine Greek
760:Word accent
330:script and
310:and in the
275:πολυχρόνιον
210:Inscription
151:Hellenistic
139:2nd century
61:Koine Greek
2614:Categories
2469:Achaemenid
2122:1134704879
1996:126:68–81.
1969:2023-05-17
1948:2023-04-18
1886:Lynch 2020
1874:Lynch 2020
1862:Hagel 2008
1821:, p.
1795:Hagel 2008
1746:Hagel 2008
1560:Pilch 2011
1390:Pilch 2011
1285:), as the
1209:Copenhagen
996:media help
764:See also:
659:Dedication
334:), reads:
88:Discovered
82:Asia Minor
74: 1st
2425:By region
2152:7:159–80.
1920:0223-5102
1498:See also
1363:Citations
1338:Footnotes
1332:Minecraft
1300:Quo Vadis
1270:) is the
1253:(⏑⏔ ⁝ ⏑⏔)
1201:The Hague
1197:Stockholm
1061:harmoniai
899:polytonic
852:baîn᾽ epì
847:βαῖν᾽ ἐπὶ
776:Mesomedes
689:The verb
328:polytonic
316:Simonides
261:Σεικίλος
191:, or the
2479:Sasanian
2474:Parthian
2437:Hittites
2253:. 2003.
2231:. 2001.
1048:♯
583:apaiteî.
269:ἀθανάτου
174:Phrygian
153:town of
49:Material
1979:Sources
1925:19 July
1317:H. Gray
1287:stigmai
1108:Orestes
1093:στιγμαί
1088:stigmai
1081:Stigmai
827:phaínou
812:apaiteî
807:ἀπαιτεῖ
724:Euterpe
640:ἀπαιτεῖ
576:ἀπαιτεῖ
570:khrónos
381:phaínou
322:Epitaph
215:Distich
200:epitaph
166:distich
163:elegiac
155:Tralles
78:Tralles
67:Created
57:Writing
2590:Portal
2501:Celtic
2486:Greece
2464:Persia
2341:726126
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1272:thesis
1185:Smyrna
1150:Dating
1122:upbeat
1103:στιγμή
1098:stigmē
888:Melody
822:φαίνου
726:, the
701:lacuna
637:χρόνος
615:ὀλίγον
595:φαίνου
564:χρόνος
475:olígon
469:ὀλίγον
375:φαίνου
266:μνήμης
256:τίθησί
159:Turkey
143:pillar
121:is an
52:Marble
2604:Music
2459:China
2447:India
2442:Egypt
2337:JSTOR
1785:, 27.
1760:, 63.
1343:Notes
1267:hóson
1181:Aydın
1134:ictus
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841:hóson
790:lupoû
785:λυποῦ
631:τέλος
608:λυποῦ
599:μηδὲν
546:télos
540:τέλος
440:lypoû
434:λυποῦ
416:hólōs
404:mēdèn
398:μηδὲν
369:zêis,
355:hóson
249:λίθος
243:Εἰκὼν
170:Ionic
147:stele
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2298:ISBN
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2239:ISBN
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2195:ISBN
2117:ISBN
2096:ISBN
2064:ISBN
2056:ISBN
2026:ISBN
2007:ISBN
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