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Werner L Richmond
Theatre History
Dr. Dibennedeto
12/03/02
In 1987, my freshman year at Prairie View A&M, I was cast as a musician for the
was intrigued by the use of music in the play. As I thought about the origin of music
design in the Ancient Greek theatre I began to research the subject and encountered a
recording of some music designed for the early Greek theatre. The music was directed
by Gregorio Paniagua and the pieces that were performed were the Anakrousis, the
Orestes Stasimo and the Premiere Hymne: Delphique A Apollon. At first the music
resembled something out of an episode of Star Trek, but as I listened I realized that the
music designers for Star Trek were followeda formula that was set centuries ago. All
songs were equal in intensity and character. What I mean by that is the music in
Ancient Greek theatre was a character in itself. The songs started out quietly then
peaked later on to arouse the listeners emotions. The instrumentation was scarce but it
said a lot coming in only to point a moment out to the audience. Author George
fully the choral element in the play we must regard each ode, not as an independent
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unity, but as part of a larger musical design which runs parallel with the plot and
accelerates or retards its pace in accordance with the dramatic necessities of the
moment. (100).
The tour guide through all of this was Aristotle who wrote a list of dos
and dont when it came to music design in the theatre of his day. Aristotle has written
the poetics as a guide to acting and writing tragedies and comedies. In the De Anima
Aristotle distinguishes between sound and voice. Using two passages Aristotle states
that, Voice is a kind of sound characteristic of what has soul in it; nothing that is without
soul utters voice (111). Aristotle goes on further by stating that, What produces the
impact must have soul in it and must be accompanied by an act of imagination, for voice
is sound with a meaning (West 111). Aristoxenus one of Aristotles followers took the
matter further when he wrote the first of three books dedicated to music design called
the Principles and Elements of Harmonics or for short , The Harmonics. The
Harmonics dealt with a general range of subjects from voice movements, pitch, notes,
intervals and scales. Aristoxenus also writes a book based on rythmn called, The
Elements of Rhythm, in which he gives instruction on metre. After hearing the recorded
music of Aristotles and Aristoxenus time, I realized that music from soap operas to
movies were shaped by these two men. The key to making a bright future is to
understand where you have come from. The music design in the Ancient Greek Theatre
Aristotle was born in 384 B.C. at Stagirus, a Greek colony and seaport on the
coast of Thrace. Aristotles father died when he was young so he moved in with his
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uncle who later sent Aristotle to Athens to further his studies. When arriving in Athens
Aristotle registered in the Academy and would study under Socrates for the next 20
years. Aristoxenus was a Greek writer on music and other subjects. Aristoxenus was
born at Taras in southeast Italy in about 370 B.C. After moving to Athens when he was
a young man, he enrolled into the Academy and began his studies with Aristotle.
Aristoxenus wrote many books in his lifetime but only portions of 3 book-rolls on music
has survived. Aristoxenus said that in order to sing effectively, The notes of
the song were attacked cleanly, without swooping or sliding from one note to the next.
This is what differentiates song from speech (West 43). Other vocal techniques were
in vogue as well in the Ancient theatre. One technique was the singing of male
In most cases the older gentlemen would sing the bottom note of the octave and the
younger gentlemen would sing the top note. In the book, Ancient Greek Music, by
M.L.West American musicologist Alan Lomax describes the vocal stylings of the
Ancient Greeks by stating: The variables include vocal width and tension
Blending, in a music sense is the ability to allow voices to sing together affectively
without one voice standing out. West goes on further by saying, In choral singing a
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good blend of voices was admired. The Muses sing with voices coinciding and Alcman
pretends that his choirs voice is a single Muse or Siren voice (45). All voices should
be equal whether complex harmonies are being sung or songs being sung in unison.
Unison is identity in musical pitch, in other words, everyone sings the same note either
at the high end or low end of the octave. This is usually how the Greek choruses would
sing in plays causing more tension in the mood of the scene. This concept is like
watching a movie with the score being sung by a choir beside the screen. Besides
singing there was an ancient rap going on with recited verse and music accompaniment
this was called the parakataloge which was invented by Archilochus. This method was
generally implemented when the chorus would go on and off stage. Poetry also played
an important role in the development of the vocal song. Thomson states that, If poetry
and music went hand in hand, there was no question but that poetry was the mistress
In most cultures during that period people would use their voices in
many ways. Some cultures would yodel, make noises of animals, hum and croon
Singers would also go through great pains to maintain suitable singing voices. As a
vocalist sometimes before a performance I gargle with warm water and salt to loosen
any phlegm that could be on the throat and to relax the vocal chords for a night of
singing. The Greek singers trained as if they were going to compete in the Olympics.
The Greek singers would practice before breakfast because they felt that food would
impair their voices. The Greeks would refrain from any intoxication because it would
make the voice hoarse and they would sometimes fast and diet so their voice would
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stay in mint condition. The Greeks would also supply the sound effects with their
voices. The ligyra voice was refined and concentrated. This person with the ligyra
grasshoppers, people weeping and smooth tongued orators. However, the Greeks
songs according to West, their songs (so far as our knowledge goes) were settings of
thoroughly articulate, often highly sophisticated poetic texts, with little verbal
repitition(39). One type of song sung by the Greeks was the Dithyramb. A Dithyramb
is a song or hymn sung to and danced for the god Dionysius. The lead singer or the
Coryphaeus would lead the chorus. The Premiere Hymne: Delphique A Apollon started
out like a Gregorian chant and evolved into limited instrumentation with a hundred
voiced mass choir. The Greeks did not mix their instruments well with their vocals
INSTRUMENTATION
In Ancient Greece there were three groups of instruments; they were stringed,
wind and percussive instruments. The standard stringed instrument of this time was the
lyre. Lyres had many forms from as early as the seventh century. West describes the
lyre as, having two arms projecting from the body and linked by a crossbar or yoke: the
strings extend from the crossbar over an open space and then over a bridge on the front
sound board to a fastening at the base. The strings are of equal length (48). There
were several distinctive types of Lyres. The first type of Lyre was the Box Lyre. The
Box lyre had three shapes 1) Round-based, 2) Square-based and 3) Rectangular. The
second type of lyre was the Bowl lyre which was of standard type and long armed. This
instrument is the ancestor of the guitar. It was played by either plucking the strings or
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by strumming the instrument. Bowed instruments such as the violin did not appear until
the Middle Ages. Arched Harps are the oldest form of stringed instrument having dated
back to the times of the Sumerians from about 3400 B.C. or earlier. Zithers was
another form of ancient stringed instrument that was not used for performance but
education. The first lute appeared in Mesopotamia at the end of the third millennium
The wind instruments according to West, work by setting up vibrations in air that
across the air into the pipe resembling the technique of playing the flute. Another
means is to blow down the pipe with your mouth shut vibrating your lips which is the
principle to playing trumpet. And finally, a wooden reed could be used in some wind
instruments to get a certain sound. This technique is similar to the clarinet or oboe.
The aulos was a musical instrument resembling a type of flute with finger holes and a
reed mouthpiece. The auloi players played two of them at once. Other pipe
instruments included the panpipe and the pitch-pipe, designed to keep the singers in
tune. The Ancient Greeks were not as dependant on rhythm as other cultures might
have been in that time. The Greeks percussive instruments were limited but there were
two parts of percussive instrumentation. The first group of percussion instruments were
clappers and castanets. Castanets were little cymbals that could be attached to players
fingers. Clappers were men who would generally clap their hands to the beat
supporting the aulos or the lyre music. The other form of percussion was the cymbals
As I sat and listened to the recordings of the Anakrousis, the Orestes Stasimo
and the Premiere Hymne: Delphique A Apollon it was quite clear that musical
accompinament played a small part in the actual musical theatre experience. It was all
about the singer and the lyric. According to West, A choir of many voices was not
balanced by an equivalent band of musicians very often a single piper supplied the
earlier, Dithyrambs were hymns being sung to the god Dionysus. But, through reading
explains that different hymns were sung to different gods. For instance there were
hymns written for Apollo, Aphrodite and Zeus . The Greeks believed that most of these
songs were passed from the gods to them so that they could be glorified. These hymns
often carried a story for example Calame explains that, Helen, in the tragedy that bears
her name, replies to the chorus of young Greek captives with her in Egypt that she
envies the fate of the virgin Kallisto, metamorphosed by Zeus, and the fate of the
daughter of Merops, whom Artemis chased away from her chorus because of her
beauty and then turned into a deer(91). Hymns were also a big part of the types of
songs that were sung by the Greeks. Calame describes hymns as, songs in which
gods and heroes are celebrated (75). In the hymn to Apollo the muse sings of gods
and the miseries that befall mankind and in the Hymn to Artemis Leto and her children
are celebrated. Paeans are defined by Calame as, songs of propitiation or gratitude,
two complementary aspects of the prayer addressed to the gods. Sung as early as the
Archaic period for occasions such as battles, banquets, or marriages, it was addressed
to Apollo, or to Artemis, both of whom were the protecting gods with power over
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girls chorus singing a paean is found in Euripides; before her sacrifice, Iphigenia asks
the chorus of girls from Chalcis to entone a propitiating paean to Artemis (76). The
feminine counterpart of the paean is the ololyge which is the function of the women in
the chorus. For example in the Odyssey ritual cries accompany the sacrificed ox that
Nestor dedicated to Athena. The paean and the ololyge are poetic forms which showed
distinctive features. The ololyge accompanied the Dithyramb. Usually the womens
chorus would answer what the male chorus members had to say in the particular song.
This method is similar to the call and response technique used in Africa. This method
can be seen today in the form of the black Baptist Church. The Hymn usually is led by
a man or the choreagos and he is encouraged by the cries of the church sisters or the
ololyge.
The choregos is basically the lead singer and the chorus members are the back-
ground singers. In the book , Greek Lyric Metre, George Thomson says, The words of
the singer were the dominant element, and often reached, both in sense and in rhythm,
a degree of elaboration rarely equaled in the poetry of other ages (2). There were
some cases when the choregos would sing and then the chorus would start dancing
and singing this was another type of song called the kitharodia.
This genre goes back no further than Plato. These types of performances were
generally saved for theatre festivals. There were cases when the mixed chorus of men
and women would stop singing altogether and start to dance to a melody this was called
a nomos Referred to by this name as early as Homer the Threnos was a song usually
reserved for funerals. The song is sung by the choregos, who is either male or female
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were love songs used at weddings. These nuptial songs originate from the refrain of
women crying out at every interval. Calame states that, If the passage cited from
Euripides Trojan Women suggests a performance in which the wedding song is sung
chorus, other sources have a choral song sung by a womens or a mixed chorus (84).
Aeschylus is the person responsible for turning the Dithyramb into drama.
Born in 525 B.C. Aeschylus was a playwright who turned the Ancient theatre of
Thespis the first actor into an art form. After fighting in the battle of Marathon
Aeschylus then turned his attentions to theatre winning 13 of the play competitions in
Athens. Aeschylus was responsible for making the Dithyramb literate, adding a second
actor in the scene and reducing the chorus from 50 to 12. Aeschylus also introduced
props and scenery. His play Persians written in 472 B.C. is the oldest play in existence.
In Aeschylus early years the chorus had most of the lines sharing them with a single
the book , Greek Lyric Metre says, the long choral odes are worked with such skill into
the dramatic framework that they are no less essential to the effect of the whole than
the action of the plot itself (81). Websters dictionary describes an ode as a lyric poem
usually marked by exaltation of feeling and style, varying length of line, and complexity
of stanza forms.
So far we have discussed the Voice and how the Greeks implemented that art
form into theatre. The instrumentation has been established. Meaning, we now know
what the Greeks were playing while the show was going on. And, we have discussed
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the genre of songs that the choregos and the chorus were performing. Little has been
said about the psyche of the chorus itself. What were these men and women thinking?
How did they prepare for their roles and what did they do in their spare time? As stated
earlier the Greeks believed in staying fit for the show by fasting and dieting and so on.
But, what about their social function? The role of the lyric chorus was to be a channel
for a certain deity to interact with humans. Calame states that, the lyric chorus is thus
the line of communication between the deity and its followers, and therefore the status
of the chorus members, either adolescents, marriageable women, or young wives, and
so on, corresponds in most cases to the sphere of influence of the divinity and thus to
the characteristics of the divinity itself (206). Some choruses took more of a sexual
tone and eroticism was wide spread. There were heterosexual relationships as well as
same sex relationships designed for a whole chorus. For instance, the circle of Sappho
was a chorus made up of a group of yound women on the Isle of Lesbos. Sapphos
rivals Andromeda and Gorgo also had their own girl groups where they could perform
orgies as well as worship through their art. Men generally did the same thing. Older
gentlemen if they wished could find a young lover with the minimum age being twelve
and abduct him, shower him with gifts and then have sex with him in a span of two
months. After the two months were over the lad could then go back home and his lover
would give him an ox to remember him by. This was considered educational by Cretan
some things are there is nothing new under the sun. It is safe to say that the Ancient
Greeks truly lived a riotous life enjoying every thing that life had to offer. The Greeks
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enjoyed and understood their theatre and paved the way for the art form to flourish.
The Greeks took that same zest that they had for their arts and placed it into the lives