"The Music of the Greeks" de William W.

Goodwin:

I. The Characteristics of Greek Music.

II. The Musical Modes.
III. The Harmony and the Instruments.
IV. The Rhythm.
V. The Notation.
VI. The Vocal Music.
VII. The Development of the Tragic Chorus.
VIII. The Lyric Poetry and Music.
IX. The Music in the Public Festivals.
X. The Musical Education.
XI. The Musical Theories of the Greeks.
XII. The Pythagorean Philosophy of Music.
XIII. The Platonic Philosophy of Music.
XIV. The Aristoxenian School of Music.
XV. The Alexandrian School of Music.
XVI. The Musical Documents of the Greeks.
XVII. The Survival of Greek Music in the Middle Ages.

CHAPTER II. THE MUSICAL MODES.

The modes were a prominent feature of Greek music. They were thought of primarily as
melodic patterns which embodied certain emotional states or "affects," and their
characteristic melodies were supposed to produce corresponding emotional effects
upon the hearer. They were not merely theoretical or abstract constructions, but living
and practical realities, representing definite types of musical expression, which were
used by the Greeks in their various forms of musical composition and performance.

The modes were closely related to the various social, political, and religious functions
which music served in ancient Greece. They were associated with particular occasions
and moods, and were frequently named after gods, heroes, or legendary events. They
were also closely related to the various genres of poetry with which they were
associated, such as the epic, lyric, and dramatic forms, and they played an important
role in the performance of choral music.

The Greeks recognized eight basic modes, which were grouped into two categories: the
"perfect" modes (Dorian, Phrygian, and Lydian), and the "mixed" modes (Hypodorian,
Hypophrygian, Hypolydian, Aeolian, and Mixolydian). Each mode was characterized by
a distinctive sequence of intervals, which produced a unique melodic pattern or
"formula."

The Dorian mode was the oldest and most important of the perfect modes. It was
associated with the Spartans, and was used primarily for military music and martial
poetry. It was characterized by a descending tetrachord followed by a descending
heptachord, and had a grave and solemn character.
The Phrygian mode was associated with the worship of Cybele and the Corybantes, and
was used for wild and ecstatic music. It was characterized by a descending tetrachord
followed by an ascending tetrachord and a descending diatonic scale, and had a "fierce
and savage" character.

The Lydian mode was associated with the worship of Apollo and the Muses, and was
used for music of a festive and joyful character. It was characterized by an ascending
tetrachord followed by an ascending heptachord, and had a bright and cheerful
character.

The Hypodorian and Hypophrygian modes were variants of the Dorian and Phrygian
modes, respectively, which were used for music of a less serious or intense character.
The Hypolydian mode was a variant of the Lydian mode which was used for music of a
more subdued or plaintive character.

The Aeolian mode was associated with the worship of Apollo and the Muses, and was
used for music of a lamenting or plaintive character. It was characterized by a
descending tetrachord followed by an ascending diatonic scale, and had a "sweet and
plaintive" character.

The Mixolydian mode was associated with the worship of Dionysus and was used for
music of a lively and cheerful character. It was characterized by an ascending tetrachord
followed by a descending heptachord, and had a "vigorous and exultant" character.

The modes were not fixed or immutable entities, but were subject to variations and
modifications in their use and application. They could be transposed or modified to suit
different vocal ranges or instrumental requirements, and could be combined or
juxtaposed in various ways to produce new effects and emotional nuances.

The modes were not notated in the same way as modern Western music, but were
transmitted orally and through written descriptions and examples. They were based on
a system of intervals and melodic formulas, which could be learned and memorized by
students of music through a process of aural training and practice. The Greek system of
music theory was primarily concerned with the organization and classification of these
modes, rather than with the precise measurement of pitch or rhythm.

The modes were also closely related to the concept of ethos or "character," which was a
fundamental principle of ancient Greek music theory. Each mode was thought to
embody a particular ethos or emotional quality, which was associated with specific
moods, attitudes, and values. For example, the Dorian mode was associated with
courage, discipline, and restraint, while the Phrygian mode was associated with passion,
abandon, and excess.

The concept of ethos was not limited to music, but pervaded all aspects of ancient
Greek culture and thought. It was based on the belief that different forms of artistic
expression could have a profound effect on the moral and emotional character of the
individual and the community, and could be used to promote virtues such as courage,
wisdom, and justice.
TRADUCCIÓN

Los modos fueron una característica destacada de la música griega. Se pensó en

ellos principalmente como patrones melódicos que encarnaban ciertos estados
emocionales o "afectos", y se suponía que sus melodías características
producían efectos emocionales correspondientes en el oyente. No eran meras
construcciones teóricas o abstractas, sino realidades vivas y prácticas, que
representaban tipos definidos de expresión musical, utilizados por los griegos
en sus diversas formas de composición y ejecución musical.

Los modos estaban estrechamente relacionados con las diversas funciones

sociales, políticas y religiosas que cumplía la música en la antigua Grecia.
Estaban asociados con ocasiones y estados de ánimo particulares, y con
frecuencia se nombraban en honor a dioses, héroes o eventos legendarios.
También estaban estrechamente relacionados con los diversos géneros de
poesía con los que se asociaban, como las formas épicas, líricas y dramáticas, y
desempeñaban un papel importante en la interpretación de la música coral.

Los griegos reconocían ocho modos básicos, que se agrupaban en dos

categorías: los modos "perfectos" (Dórico, Frigio y Lidio) y los modos "mixtos"
(Hipodórico, Hipofrigio, Hipolidio, Eólico y Mixolidio). Cada modo se
caracterizaba por una secuencia distintiva de intervalos, que producía un patrón
melódico o "fórmula" único.

El modo Dórico era el más antiguo e importante de los modos perfectos. Estaba
asociado con los espartanos y se usaba principalmente para la música militar y
la poesía marcial. Se caracterizaba por un tetracordo descendente seguido de
un heptacordo descendente, y tenía un carácter grave y solemne.

El modo Frigio estaba asociado con el culto a Cibeles y los Córbates, y se usaba
para la música salvaje y extática. Se caracterizaba por un tetracordo
descendente seguido de un tetracordo ascendente y una escala diatónica
descendente, y tenía un carácter "feroz y salvaje".

El modo Lidio estaba asociado con el culto a Apolo y las Musas, y se usaba para
la música de carácter festivo y alegre. Se caracterizaba por un tetracordo
ascendente seguido de un heptacordo ascendente, y tenía un carácter brillante
y alegre.

Los modos Hipodórico e Hipofrigio eran variantes de los modos Dórico y Frigio,
respectivamente, que se usaban para la música de un carácter menos serio o
intenso. El modo Hipolidio era una variante del modo Lidio que se usaba para la
música de un carácter más suave o plañidero.
El modo Eólico estaba asociado con el culto a Apolo y las Musas, y se usaba
para la música de carácter lamentoso o plañidero. Se caracterizaba por un
tetracordo descendente seguido de una escala diatónica ascendente, y tenía un
carácter "dulce y plañidero".

El modo Mixolidio estaba asociado con el culto a Dionisio y se utilizaba para la

música de carácter vivo y alegre. Estaba caracterizado por un tetracordo
ascendente seguida de un heptacordo descendente y tenía un carácter
"vigoroso y exultante".

Los modos no eran entidades fijas o inmutables, sino que estaban sujetos a
variaciones y modificaciones en su uso y aplicación. Podían ser transpuestos o
modificados para adaptarse a diferentes rangos vocales o requerimientos
instrumentales, y podían ser combinados o yuxtapuestos de varias formas para
producir nuevos efectos y matices emocionales.
Los modos no se notaban de la misma manera que la música occidental
moderna, sino que se transmitían oralmente y a través de descripciones y
ejemplos escritos. Estaban basados en un sistema de intervalos y fórmulas
melódicas, que podían ser aprendidos y memorizados por los estudiantes de
música a través de un proceso de entrenamiento auditivo y práctica. El sistema
de teoría musical griega estaba principalmente preocupado por la organización
y clasificación de estos modos, más que con la medición precisa de la altura o el
ritmo.

Los modos también estaban estrechamente relacionados con el concepto de

ethos o "carácter", que era un principio fundamental de la teoría musical de la
antigua Grecia. Se creía que cada modo encarnaba un ethos o cualidad
emocional particular, que se asociaba con estados de ánimo, actitudes y valores
específicos. Por ejemplo, el modo dórico se asociaba con el coraje, la disciplina y
el autocontrol, mientras que el modo frigio se asociaba con la pasión, el
abandono y el exceso.

El concepto de ethos no se limitaba a la música, sino que impregnaba todos los

aspectos de la cultura y el pensamiento de la antigua Grecia. Se basaba en la
creencia de que diferentes formas de expresión artística podían tener un
profundo efecto en el carácter moral y emocional del individuo y la comunidad,
y podían ser utilizados para promover virtudes como el coraje, la sabiduría y la
justicia.