Synaulia is a team of musicians, archeologists, palaentologists and choreographers dedicated to the application of their historical research to ancient music and dance, in particular to the ancient Etruscan and Roman periods. [1]
The name comes from the Ancient Greek "συναυλία" (sunaulía), which in ancient Rome referred to a group of instruments consisting mainly of wind instruments.
The group was founded and at first sponsored by the Rijksmuseum van Oudheden in Leiden, Netherlands in 1995 by Italian paleorganologist Walter Maioli and choreographer and anthropologist Natalie Van Ravenstein. [2]
In the beginning the Synaulia's task was mainly educational: the reconstruction of ancient musical instruments for the Dutch archeological center, Archeon. [3] [ failed verification ] Later the scope was widened to include a more profound study into Italy's music and dance focusing primarily on ancient Rome. The fruits of Synaulia's intensive study were used as material for films, serials and documentaries about ancient Rome (among them Gladiator by Ridley Scott and the television series Rome ), the use of the instruments for scholastic purposes, as well as in the publication of numerous articles on the subject. [4] [ failed verification ]
In the absence of a system of musical notation for the period in question, the reconstruction and study of ancient musical expression was based on comparative studies of iconography, textual analysis, social studies and customs, also drawing from paleorganology, ethnomusicology, archeology and historiography.
The richness of the iconographic documentation, the abundance of tested theories and numerous literary connections facilitated the study and reproduction of a wide range of antique musical instruments, helping to determine, among other points of interest, their melodic and harmonic possibilities and acoustic quality.
Armed with this historical information, the group's research was then subdivided into several main research branches. The first branch was dedicated to wind instruments. The research led to the reconstruction of instruments such as syrinx, fistulae, tibiae, cornu, tuba, bucina, iynx, and rhombus. The second branch dealt with string instruments: among others the lyra, cithara, sambuca, cordae and pandura were reconstructed. [5] [ failed verification ]
The Greeks and Romans did not invent string instruments, but rather improved and created variations on the existing ones. The first mentions of antique string instruments such as zithers, lyres and harps were documented in the area from the Nile to Mesopotamia around 3000 BC. The lyre in particular had an essential role in Greek-Roman life. The Greek lyre was a strongly symbolic instrument made of tortoise shell (representing the intermediate life between Sky and Earth), a piece of stretched leather (a symbol of sacrifice) and two horns to which the cords were affixed (representing the celestial Bull). This instrument represented a symbolic altar, uniting Sky with Earth. In many representations other instruments often accompany the string instruments. The most common duo is the lyrae et citarae drawn together by the Pan flute. Other frequently represented combinations are stringed instruments and tibiae, double instruments with reed and double pipes with the tympanum and other percussion instruments. The third branch was dedicated to percussion, and work was undertaken to reconstruct the tympanum, cymbal, scabillum, sistrum, rasum and other celebrated instruments from the late imperial period, the so-called “Golden Age” (aurea aetas). [6] [ failed verification ]
Other collaborators as consultants and collaborators of the project are Nathalie van Ravenstein, Luce Maioli, Ivan Gibellini, Anna Maria Liberati (Museo della Civiltà Romana, Maurizio Pellegrini (Museo Nazionale Etrusco di Villa Giulia, Rome) Romolo Staccioli e Maria Grazia Iodice (Università La Sapienza, Rome), Paola Elisabetta Simeoni (Museo Nazionale delle Arti e Tradizioni Popolari), Maria Grazia Siliato, Marcus Junkelmann Ratzennhofen (Germany), Carlo Merlo (Clesis, Rome), Magdi Kenawy (Accademia d’Egitto, Rome), Werner Hilgers (Rheinisches Landesmuseum Bonn, Germany), il H.P. Kuhnen (Rheinisches Landesmuseum, Trier Germany), Maria Paola Guidobaldi (Sovrintendenza di Pompei), Febo Guizzi (Milan), Gerard Ijzereef (Amsterdam) e Fabrizio Felice Ridolfi (Rome).
Compositions and variations of Synaulia, Music of Ancient Rome vol. I and vol. II were used in soundtracks of documentaries, games, and films, like:
The lyre is a stringed musical instrument that is classified by Hornbostel–Sachs as a member of the lute family of instruments. In organology, a lyre is considered a yoke lute, since it is a lute in which the strings are attached to a yoke that lies in the same plane as the sound table, and consists of two arms and a crossbar.
An aulos or tibia (Latin) was a wind instrument in ancient Greece, often depicted in art and also attested by archaeology.
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. Though extremely diverse, the music of ancient civilizations is frequently characterized by monophony, improvisation, and the dominance of text in musical settings.
Mesomedes of Crete was a Greek citharode and lyric poet and composer of the early 2nd century AD in Roman Greece. Prior to the discovery of the Seikilos epitaph in the late 19th century, the hymns of Mesomedes were the only surviving written music from the ancient world. Three were published by Vincenzo Galilei in his Dialogo della musica antica e della moderna, during a period of intense investigation into music of the ancient Greeks. These hymns had been preserved through the Byzantine tradition(Anthol. pal. xiv. 63, xvi. 323), and were presented to Vincenzo by Girolamo Mei.
The barbiton, or barbitos, is an ancient stringed instrument related to the lyre known from Greek and Roman classics.
The pandura or pandore, an ancient string instrument, belonged in the broad class of the lute and guitar instruments. Akkadians played similar instruments from the 3rd millennium BC. Ancient Greek artwork depicts such lutes from the 3rd or 4th century BC onward. Iranian influences are indicated by the Persian origin of the word.
Music was almost universally present in ancient Greek society, from marriages, funerals, and religious ceremonies to theatre, folk music, and the ballad-like reciting of epic poetry. This played an integral role in the lives of ancient Greeks. There are some fragments of actual Greek musical notation, many literary references, depictions on ceramics and relevant archaeological remains, such that some things can be known—or reasonably surmised—about what the music sounded like, the general role of music in society, the economics of music, the importance of a professional caste of musicians, etc.
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The kithara, or Latinized cithara, was an ancient Greek musical instrument in the yoke lutes family. It was a seven-stringed professional version of the lyre, which was regarded as a rustic, or folk instrument, appropriate for teaching music to beginners. As opposed to the simpler lyre, the cithara was primarily used by professional musicians, called kitharodes. In modern Greek, the word kithara has come to mean "guitar", a word which etymologically stems from kithara.
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Deductions about the music of the ancient Celts of the La Tène period and their Gallo-Roman and Romano-British descendants of Late Antiquity rely primarily on Greek and Roman sources, as well as on archaeological finds and interpretations including the reconstruction of the Celts' ancient instruments. Most of the textual information centers on military conflicts and on maybe the most prominent Celtic instrument of its time, the carnyx.
A musical instrument of the chordophone family, the lyre-guitar was a type of guitar shaped to look like a lyre, popular as a fad-instrument in the late 1800s. It had six single courses, with a fretboard located between two curved arms recalling the shape of the ancient Greek kithara. It was tuned and played like the conventional guitar.
Matteo Silva is a well known composer, music producer, ethnomusicologist and visual artist. He was born in Ulm, Germany from German mother and Italian father, grew up in Bologna, Italy and Lugano, Switzerland, studied composition at Giuseppe Verdi Conservatory in Milan with Niccolò Castiglioni and philosophy in Venice with Emanuele Severino; he is founder of the independent music record label Amiata Records; as radio editor he collaborated with Rete 2, a cultural channel of the Swiss Broadcasting Corporation and produced the “Encyclopedia of World Music” in 76 volumes for the Italian RCS Rizzoli Group published by Fabbri; for the group “Espresso – La Repubblica” he produced, among other series, a very popular CD series of “World Music”, a work that for the first time in Italy let music of less known cultures be accessible to a larger audience. Another remarkable project produced for the "Espresso - La Repubblica" group has been " La grande musica della Sardegna" a CD series on all different music styles in Sardinia approached in a musicological way but published for the first time outside the academic circuits with great public success.
Walter Maioli is an Italian researcher, paleorganologist, poly-instrumentalist and composer. Specialized in experimental archaeology and music, in particular that of archaic civilization. He has been researching the music of antiquity and prehistory for more than thirty-five years. Always interested in the music of the Mediterranean, he has gone on journeys to discover the folkloristic Italian and Mediterranean traditions learning the Arabic, African, Oriental, and European music since the beginning of the seventies.
Corde Oblique are one of the main ethereal progressive neofolk bands from Italy. They are the solo project of Riccardo Prencipe with vocal contributions from numerous female singers and actresses. After seven albums the project began to change its skin and proposed "FolkGaze" sounds, a cross between folk and shoegazer.
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Music technology is the study or the use of any device, mechanism, machine or tool by a musician or composer to make or perform music; to compose, notate, playback or record songs or pieces; or to analyze or edit music.
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The psalterion is a stringed, plucked instrument, an ancient Greek harp. Psalterion was a general word for harps in the latter part of the 4th century B.C. It meant "plucking instrument".