927:
1087:
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.
1202:. 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
916:
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962:
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40:
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983:
1246:, 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".
1157:). 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.
2610:
971:
1169:
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
1019:
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
665:
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
1086:
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
710:, 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
979:
1249:
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"
1230:
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:
1014:
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
317:), 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
732:
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
304:
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
793:
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
895:, "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.
1139:
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,
337:
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
1078:('middle note') may have had a gravitational function". Although the epitaph's melody is "clearly structured around a single octave, … the melody emphasizes the
285:
217:, 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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2369:
2655:
1300:
imply, is the arsis. Therefore, in Lynch's opinion the conventional transcription is to be preferred as it accurately reflects the original rhythm.
2419:
785:
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
855:, 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
682:
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:
213:(a tombstone inscription) created by a man named Seikilos and possibly dedicated to a woman named Euterpe. An alternative view, put forward by
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2209:
2110:
2078:
2070:
2040:
2021:
947:, 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).
915:
325:; a familiar structure that is commonly found in ancient epitaphs, where the stone appears to 'speak' to the passer-by (see the epitaph of
1165:
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
2665:
2291:
1199:
2650:
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2312:
2228:
1074:
had no finals, dominants, or internal relationships that would establish a hierarchy of tensions and points of rest, although the
191:
2003:
866:
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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206:), all of it is in fragments; the Seikilos epitaph is unique in that it is a complete, though short, composition.
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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?
1066:. This piece is … Phrygic (the D mode) with its tonic in the same relative position as that of the Doric." Yet
650:
586:
2283:
1266:(using the term "dactyl" in the rhythmicians' sense of a foot in which the two parts are of equal length) (cf.
2365:
880:'is', where the music has a rising melody on the first syllable. However, there exists a second pronunciation
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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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1326:) is shown composing and singing a melody based in the Seikilos epitaph. The English lyrics however are by
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2405:
2239:
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1117:), which are also found in certain other fragments of Greek music, such as the fragment from Euripides'
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266:
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1123:
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hóson zêis, phaínou | mēdèn hólōs sỳ lypoû | pròs olígon ésti tò zên | tò télos ho khrónos apaiteî.
137:
749:, as a way to emphasize Seikilos' poetic skill. Another possible partial reconstruction could be:
253:
2347:
2273:
933:
351:ΟΣΟΝ ΖΗΣ ΦΑΙΝΟΥ / ΜΗΔΕΝ ΟΛΩΣ ΣΥ / ΛΥΠΟΥ ΠΡΟΣ ΟΛΙ / ΓΟΝ ΕΣΤΙ ΤΟ ΖΗΝ / ΤΟ ΤΕΛΟΣ Ο ΧΡΟ / ΝΟΣ ΑΠΑΙΤΕΙ
161:
2342:
2028:
1999:"Melody and Word Accent Relationships in Ancient Greek Musical Documents: The Pitch Height Rule"
1860:, p. 177, similarly suggests that the theses were placed on the long syllables of the song.
1315:
1136:
826:
have a falling contour within the syllable, just as described by the 1st century BC rhetorician
214:
1234:
943:
An approximate translation of the tune into modern musical notation, with the original text, a
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605:
444:
385:
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2308:
2287:
2249:
2224:
2205:
2197:
2188:
2170:
2127:
2106:
2074:
2066:
2036:
2017:
2014:
An
Ancient Christian Hymn with Musical Notation: Papyrus Oxyrhynchus 1786: Text and Commentary
1926:
326:
165:
88:
2244:
1833:
1327:
1214:; it remained there until 1966, when it was acquired by the Department of Antiquities of the
1170:
second century AD, and makes comparisons to dated inscriptions of 127/128 AD and 149/150 AD.
2542:
2479:
2261:
2175:
1918:
1282:
1128:
909:
892:
338:
195:
141:
2220:
Flights of the Soul, Visions, Heavenly
Journeys, and Peak Experiences in the Biblical World
1781:
628:
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491:
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359:
282:
273:
262:
1338:
1026:
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231:
209:
Based on its structure and language, the artifact is generally understood to have been an
2374:
2204:. Studies in the History of Music Theory and Literature 1. University of Illinois Press.
2049:
1238:
A variation of the Seikilos epitaph with barlines as suggested by Armand D'Angour (2018)
1121:. The meaning of these is still uncertain. According to an ancient source (known as the
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322:
244:ΕΙΚΩΝ Η ΛΙΘΟΣ / ΕΙΜΙ ∙ ΤΙΘΗΣΙ ΜΕ / ΣΕΙΚΙΛΟΣ ΕΝΘΑ / ΜΝΗΜΗΣ ΑΘΑΝΑΤΟΥ / ΣΗΜΑ ΠΟΛΥΧΡΟΝΙΟΝ
203:
199:
634:
515:
269:
2614:
2382:
1178:
1132:
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pronunciation and in modern popular vocal style; a mix of both rhythmizations (see
944:
313:) results in an awkward phrasing in Greek, and thus prefers the conjunctive "and" (
184:
110:
39:
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2277:
2218:
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742:
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71:
2387:
2506:
1972:
1951:
1219:
1194:, Turkey. According to one source the stele was then lost and rediscovered in
1006:
92:
1930:
2189:
Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages
2031:. 2018. "The Song of Seikilos". In: Tom Phillips and Armand D'Angour (eds).
1998:
1478:
1476:
1474:
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1342:
1222:. This is where the stele has been located since (inventory number: 14897).
1211:
1207:
786:
314:
1143:
The meaning of the stigme has been debated for years by scholars. Is it an
2141:
Lynch, Tosca A.C. 2020. "Rhythmics". In Lynch, T. and Rocconi, E. (eds.),
1270:
38.5–6). According to this, the whole of the first half of each bar (e.g.
912:
script), consists of letters and signs indicating the melody of the song:
789:
tends to follow the pitch of the word accents. The publication of the two
615:
432:
1203:
1195:
1191:
2087:
678:
The inscription as it currently exists (without the original final line)
17:
1922:
1911:"La musique de la Rome antique dans le péplum hollywoodien (1951-1963)"
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210:
176:
173:
2393:
Another version of the song for lyre and voice recorded for Classic FM
2383:
RM recording of the Seikilos song, text accompanied by lyre (download)
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2323:
2168:
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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153:
294:
eikṑn ḗ líthos eimí. títhēsí me Seikílos éntha mnḗmēs athanátou sêma
179:
and a song with vocal notation signs above the words. A Hellenistic
2245:
Documents of Ancient Greek Music: The Extant Melodies and Fragments
908:
The inscription above each line of the lyrics (transcribed here in
2102:
Songwriting: Strategies for Musical Self-Expression and Creativity
1704:
1702:
1457:
1455:
1233:
1177:
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767:
meaning "Seikilos of Euterpes", i.e. "Seikilos, son of Euterpes".
738:
673:
180:
157:
53:
2304:
Carpe Diem, The Poetics of Presence in Greek and Latin Literature
1442:
1440:
1318:
drew inspiration from Ancient Greco-Roman music and instruments.
2397:
1319:
2401:
1333:
The melody has been featured in the video game soundtracks for
194:. The melody of the song is recorded, alongside its lyrics, in
2050:"The Song of Seikilos: a Musically Notated Ancient Greek Poem"
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234:(also called couplet) on top of the tombstone, originally in
2388:
Arrangement for organ of the Seikilos song (video and score)
1384:
1382:
960:
2202:
Music and Ideas in the Sixteenth and Seventeenth Centuries
932:
Audio playback is not supported in your browser. You can
841:(a long vowel with an acute accent) has a rising melody.
136:
inscription that preserves the oldest surviving complete
1427:
1425:
1423:
1421:
1070:
explains that the difficulty lies in the fact that "the
2099:
Hauser, Christian; Tomal, Daniel; Rajan, Rekha (2017).
1868:
1866:
1097:
The musical notation has certain dots above it, called
1035:
as corresponding "to a segment from the Ionian scale".
1493:
1491:
2598:
1039:
says "The scale employed is the diatonic octave from
2556:
2520:
2435:
2266:
A New Short Guide the Accentuation of Ancient Greek
198:. While older music with notation exists (e.g. the
116:
106:
98:
77:
67:
59:
49:
32:
2324:"The Seikilos Inscription: A Theoretical Analysis"
1606:
1582:
1020:overall note series is alternatively described by
844:One word which does not conform is the first word
1915:Mélanges de l'École française de Rome - Antiquité
1829:
1708:
1649:
1558:
1461:
1446:
994:
2248:. Oxford and New York: Oxford University Press.
2088:"Ancient Greek Rhythm: The Bellermann Exercises"
2065:. Oxford and New York: Oxford University Press.
1412:
1997:Cosgrove, Charles H., and Mary C. Meyer. 2006.
1953:Civ 6 Greek Pericles&Gorgo Theme music FULL
1141:
751:
716:
684:
347:
249:
240:
44:Seikilos stele with poetry and musical notation
2061:Devine, A.M., and Laurence D. Stephens. 1994.
1631:
2413:
8:
2143:A Companion to Ancient Greek and Roman Music
1845:
1768:
172:) in 1883. The stele includes two poems; an
152:AD, the inscription was found engraved on a
1242:Stefan Hagel, discussing an example in the
1131:', which has been taken to mean a kind of '
2420:
2406:
2398:
2033:Music, Text, and Culture in Ancient Greece
1186:The Epitaph was discovered in 1883 by Sir
38:
29:
2370:International Music Score Library Project
1857:
1817:
1793:
1681:
1665:
1653:
1345:in the Greek Mythology Mash-Up Pack DLC.
2340:1929. "Ancient Greek Music: A Survey".
2192:. Lincoln: University of Nebraska Press.
1744:
1732:
1546:
1522:
1482:
27:Oldest surviving complete piece of music
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1720:
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1669:
1618:
1594:
1534:
1510:
1497:
1431:
1378:
1359:
1047:(in two sharps). The tonic seems to be
2155:"New Fragments of Ancient Greek Music"
1909:Vendries, Christophe (29 April 2015).
1388:
1135:' ('arsis' means 'raising' in Greek);
1004:
2092:Quaderni Urbinati di Cultura Classica
1896:
1884:
1872:
1805:
1782:"Orestes 344–45: Colometry and Music"
1756:
1570:
1400:
869:Another apparently anomalous word is
7:
2016:. Heidelberg: Mohr Siebeck Verlag.
995:§ An alternative rhythmization
989:Melody sung in an approximation of
714:or of a possible name abbreviation)
666:short, and Time demands his due".
25:
1198:in 1922, at about the end of the
2631:Ancient Greek music inscriptions
2608:
2123:Music in Ancient Greece and Rome
1366:For the accentuation, see below.
1005:Problems playing this file? See
976:
2656:1883 archaeological discoveries
2279:The Harvard Dictionary of Music
2223:. Eerdmans Publishing Company.
2174:, Vol. 53, Fasc. 1, pp. 14-32.
2094:, New Series, 88, no. 1:125–38.
2004:The Journal of Hellenic Studies
1285:, and the whole of the second (
1190:in Tralleis, a small town near
238:, precedes the song and reads:
2338:Winnington-Ingram, Reginald P.
2307:. Cambridge University Press.
1413:Hauser, Tomal & Rajan 2017
1200:Greco-Turkish War of 1919–1922
1082:by position … rather than the
891:, which is used, according to
830:, while the first syllable of
196:ancient Greek musical notation
1:
2346:10, No. 4 (October): 326–45.
2329:American Journal of Philology
2180:10.1525/mts.1985.7.1.02a00090
144:. Commonly dated between the
81:
2105:. Rowman & Littlefield.
1154:ὅλως, -γον ἔσ-, and ὁ χρόνος
929:
2282:(4th ed.). Cambridge:
2186:Mathiesen, Thomas J. 1999.
2145:, Hoboken: Wiley-Blackwell.
2063:The Prosody of Greek Speech
2682:
2666:National Museum of Denmark
2268:. Bristol Classical Press.
2035:. Oxford University Press
1636:
1634:, p. 221, supporting
1632:Devine & Stephens 1994
1287:
1272:
1252:
1216:National Museum of Denmark
1153:
1113:
1103:
882:
871:
857:
846:
832:
828:Dionysius of Halicarnassus
817:
806:
795:
774:
754:
719:
693:
687:
350:
252:
243:
183:song, it is either in the
121:National Museum of Denmark
2582:
2048:D’Angour, Armand (2021).
2012:Cosgrove, Charles. 2011.
1485:, Interpreting the stone.
1226:Alternative rhythmization
37:
2651:2nd-century inscriptions
2646:1st-century inscriptions
2301:Rohland, Robert (2022).
2284:Harvard University Press
1174:Discovery and exhibition
2375:"Skolion of Seikilos",
1607:Cosgrove and Meyer 2006
1583:Cosgrove and Meyer 2006
1037:R. P. Winnington-Ingram
934:download the audio file
585:
573:
561:
549:
537:
526:
514:
502:
490:
478:
466:
455:
443:
431:
419:
407:
396:
384:
370:
358:
2322:Solomon, Jon D. 1986.
2240:Martin Litchfield West
2120:Landels, John (2002).
1830:Pöhlmann and West 2001
1709:Pöhlmann and West 2001
1650:Pöhlmann and West 2001
1559:Pöhlmann and West 2001
1462:Winnington-Ingram 1929
1447:Pöhlmann and West 2001
1268:Aristides Quintilianus
1239:
1183:
1149:
1127:), they represent an '
1033:Martin Litchfield West
965:
920:
765:
730:
698:
679:
656:, | | |
355:
302:
248:
192:Ionian (Iastian) tonos
2332:107 (Winter): 455–79.
2238:Pöhlmann, Egert, and
2160:Music Theory Spectrum
2086:Hagel, Stefan. 2008.
1917:(in French) (127–1).
1237:
1181:
964:
918:
677:
343:Latin transliteration
2217:Pilch, John (2011).
2151:Mathiesen, Thomas J.
1747:, pp. 187, 168, n48.
1391:, pp. 361, 767.
1259:dáktulos kat᾽ íambon
1253:δάκτυλος κατ᾽ ἴαμβον
1244:Anonymus Bellermanni
1124:Anonymus Bellermanni
919:The Seikilos "score"
777:Ancient Greek accent
2636:Ancient Greek music
2463:Ancient Tamil music
2343:Music & Letters
2274:Randel, Don Michael
2054:antigonejournal.com
1887:, pp. 275–295.
1735:, pp. 88, 187.
1017:Thomas J. Mathiesen
972:Epitaph of Seikilos
160:) from the ancient
138:musical composition
87:or 2nd century AD,
2198:Palisca, Claude V.
1923:10.4000/mefra.2791
1808:, pp. 127–28.
1585:, pp. 66, 75.
1525:, Words and music.
1308:For the 1951 film
1240:
1184:
966:
921:
680:
2596:
2595:
2588:Prehistoric music
2569:1st millennium BC
2564:2nd millennium BC
2262:Probert, Philomen
2254:978-0-19-815223-1
2210:978-0-252-03156-4
2171:Acta Musicologica
2112:978-1-4758-2942-6
2079:978-0-19-537335-6
2071:978-0-19-508546-4
2041:978-0-19-879446-2
2022:978-3-16-150923-0
1974:Seikilos' Epitaph
1848:, pp. 70–71.
1723:, pp. 77–78.
1051:; the cadence is
997:, below) is used.
984:
938:
781:A German scholar
126:
125:
16:(Redirected from
2673:
2661:History of Aydın
2641:Steles in Turkey
2613:
2612:
2611:
2604:
2548:Seikilos epitaph
2543:Oxyrhynchus hymn
2422:
2415:
2408:
2399:
2368:: Scores at the
2366:Seikilos Epitaph
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2333:
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2213:
2193:
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2146:
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2116:
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2082:
2057:
2044:
2029:D'Angour, Armand
2024:
2008:
1984:
1983:
1982:
1981:
1969:
1963:
1962:
1961:
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1948:
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1894:
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1495:
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1416:
1410:
1404:
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1367:
1364:
1295:
1290:
1289:
1280:
1275:
1274:
1265:
1261:
1255:
1254:
1156:
1155:
1116:
1115:
1106:
1105:
1061:
1060:
1030:
986:
985:
963:
893:Philomen Probert
890:
885:
884:
879:
874:
873:
865:
860:
859:
854:
849:
848:
840:
835:
834:
825:
820:
819:
814:
809:
808:
803:
798:
797:
763:
757:
756:
728:
722:
721:
709:
706:
703:
696:
695:
690:
689:
353:
352:
296:
289:
288:
246:
245:
142:musical notation
130:Seikilos epitaph
117:Present location
86:
83:
42:
33:Seikilos epitaph
30:
21:
2681:
2680:
2676:
2675:
2674:
2672:
2671:
2670:
2621:
2620:
2619:
2609:
2607:
2599:
2597:
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2578:
2552:
2516:
2431:
2426:
2362:
2357:
2336:
2321:
2315:
2300:
2294:
2272:
2260:
2237:
2231:
2216:
2196:
2185:
2167:
2149:
2140:
2134:
2119:
2113:
2098:
2085:
2060:
2047:
2027:
2011:
1996:
1992:
1987:
1979:
1977:
1971:
1970:
1966:
1958:
1956:
1950:
1949:
1945:
1935:
1933:
1908:
1907:
1903:
1895:
1891:
1883:
1879:
1871:
1864:
1856:
1852:
1844:
1840:
1828:
1824:
1816:
1812:
1804:
1800:
1792:
1788:
1779:
1775:
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1743:
1739:
1731:
1727:
1719:
1715:
1707:
1700:
1692:
1688:
1680:
1676:
1668:, p. 150;
1664:
1660:
1648:
1644:
1629:
1625:
1617:
1613:
1605:
1601:
1593:
1589:
1581:
1577:
1569:
1565:
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1553:
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1533:
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1508:
1504:
1496:
1489:
1481:
1468:
1460:
1453:
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1438:
1430:
1419:
1411:
1407:
1399:
1395:
1387:
1380:
1376:
1371:
1370:
1365:
1361:
1356:
1351:
1339:Civilization VI
1306:
1304:Popular culture
1263:
1228:
1176:
1163:
1137:Armand D'Angour
1095:
1058:
1057:
1024:
1012:
1011:
1003:
1001:
1000:
999:
998:
987:
977:
974:
967:
961:
956:
954:Scholarly views
951:
950:
949:
948:
941:
940:
939:
937:
906:
901:
779:
773:
758:
747:Greek mythology
723:
707:
704:
701:
691:
672:
663:
596:
583:
571:
559:
547:
535:
524:
512:
500:
488:
476:
464:
453:
441:
429:
417:
405:
394:
382:
368:
335:
291:
232:elegiac distich
228:
223:
215:Armand D'Angour
84:
45:
28:
23:
22:
15:
12:
11:
5:
2679:
2677:
2669:
2668:
2663:
2658:
2653:
2648:
2643:
2638:
2633:
2623:
2622:
2618:
2617:
2594:
2593:
2591:
2590:
2583:
2580:
2579:
2577:
2576:
2574:1st millennium
2571:
2566:
2560:
2558:
2554:
2553:
2551:
2550:
2545:
2540:
2538:Katolophyromai
2535:
2530:
2524:
2522:
2518:
2517:
2515:
2514:
2509:
2504:
2499:
2494:
2493:
2492:
2487:
2482:
2472:
2467:
2466:
2465:
2455:
2450:
2445:
2439:
2437:
2433:
2432:
2427:
2425:
2424:
2417:
2410:
2402:
2396:
2395:
2390:
2385:
2380:
2372:
2361:
2360:External links
2358:
2356:
2355:
2334:
2319:
2313:
2298:
2293:978-0674011632
2292:
2276:, ed. (2003).
2270:
2258:
2235:
2229:
2214:
2194:
2183:
2165:
2147:
2138:
2132:
2117:
2111:
2096:
2083:
2058:
2045:
2025:
2009:
1993:
1991:
1988:
1986:
1985:
1964:
1943:
1901:
1889:
1877:
1875:, p. 128.
1862:
1858:Mathiesen 1985
1850:
1838:
1822:
1820:, p. 148.
1818:Mathiesen 1999
1810:
1798:
1794:Mathiesen 1981
1786:
1773:
1761:
1749:
1737:
1725:
1713:
1698:
1696:, p. 461, n14.
1686:
1684:, p. 150.
1682:Mathiesen 1999
1674:
1672:, p. 459.
1666:Mathiesen 1999
1658:
1654:Mathiesen 1999
1652:, p. 88;
1642:
1623:
1621:, p. 144.
1611:
1599:
1587:
1575:
1563:
1551:
1539:
1527:
1515:
1502:
1487:
1466:
1464:, p. 343.
1451:
1436:
1434:, p. 252.
1417:
1405:
1393:
1377:
1375:
1372:
1369:
1368:
1358:
1357:
1355:
1352:
1350:
1347:
1335:Civilization V
1305:
1302:
1227:
1224:
1204:Constantinople
1175:
1172:
1162:
1159:
1094:
1089:
1068:Claude Palisca
1022:Egert Pöhlmann
1002:
988:
975:
970:
969:
968:
959:
958:
957:
955:
952:
942:
931:
928:
926:
925:
924:
923:
922:
905:
902:
900:
897:
772:
769:
761:Seikílos Eutér
755:Σεικίλος Εὐτέρ
726:Seikílos Eutér
720:Σεικίλος Εὐτέρ
688:ΣΕΙΚΙΛΟΣ ΕΥΤΕΡ
671:
668:
584:
572:
560:
548:
536:
525:
513:
501:
489:
477:
465:
454:
442:
430:
418:
406:
395:
383:
369:
357:
356:
334:
331:
227:
224:
222:
219:
188:octave species
124:
123:
118:
114:
113:
108:
104:
103:
100:
96:
95:
79:
75:
74:
69:
65:
64:
61:
57:
56:
51:
47:
46:
43:
35:
34:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2678:
2667:
2664:
2662:
2659:
2657:
2654:
2652:
2649:
2647:
2644:
2642:
2639:
2637:
2634:
2632:
2629:
2628:
2626:
2616:
2606:
2602:
2589:
2585:
2584:
2581:
2575:
2572:
2570:
2567:
2565:
2562:
2561:
2559:
2557:By millennium
2555:
2549:
2546:
2544:
2541:
2539:
2536:
2534:
2533:Hurrian songs
2531:
2529:
2528:Delphic Hymns
2526:
2525:
2523:
2519:
2513:
2510:
2508:
2505:
2503:
2500:
2498:
2495:
2491:
2488:
2486:
2483:
2481:
2478:
2477:
2476:
2473:
2471:
2468:
2464:
2461:
2460:
2459:
2456:
2454:
2451:
2449:
2446:
2444:
2441:
2440:
2438:
2434:
2430:
2429:Ancient music
2423:
2418:
2416:
2411:
2409:
2404:
2403:
2400:
2394:
2391:
2389:
2386:
2384:
2381:
2379:
2378:
2373:
2371:
2367:
2364:
2363:
2359:
2353:
2349:
2345:
2344:
2339:
2335:
2331:
2330:
2325:
2320:
2316:
2314:9781316510827
2310:
2306:
2305:
2299:
2295:
2289:
2285:
2281:
2280:
2275:
2271:
2267:
2263:
2259:
2255:
2251:
2247:
2246:
2241:
2236:
2232:
2230:9780802865403
2226:
2222:
2221:
2215:
2211:
2207:
2203:
2199:
2195:
2191:
2190:
2184:
2181:
2177:
2173:
2172:
2166:
2162:
2161:
2156:
2152:
2148:
2144:
2139:
2135:
2129:
2126:. Routledge.
2125:
2124:
2118:
2114:
2108:
2104:
2103:
2097:
2093:
2089:
2084:
2080:
2076:
2072:
2068:
2064:
2059:
2055:
2051:
2046:
2042:
2038:
2034:
2030:
2026:
2023:
2019:
2015:
2010:
2006:
2005:
2000:
1995:
1994:
1989:
1976:
1975:
1968:
1965:
1955:
1954:
1947:
1944:
1932:
1928:
1924:
1920:
1916:
1912:
1905:
1902:
1898:
1893:
1890:
1886:
1881:
1878:
1874:
1869:
1867:
1863:
1859:
1854:
1851:
1847:
1846:D'Angour 2018
1842:
1839:
1835:
1831:
1826:
1823:
1819:
1814:
1811:
1807:
1802:
1799:
1795:
1790:
1787:
1783:
1777:
1774:
1770:
1769:D'Angour 2018
1765:
1762:
1758:
1753:
1750:
1746:
1745:Cosgrove 2011
1741:
1738:
1734:
1733:Cosgrove 2011
1729:
1726:
1722:
1717:
1714:
1711:, p. 90.
1710:
1705:
1703:
1699:
1695:
1690:
1687:
1683:
1678:
1675:
1671:
1667:
1662:
1659:
1656:, p. 149
1655:
1651:
1646:
1643:
1633:
1627:
1624:
1620:
1615:
1612:
1609:, p. 75.
1608:
1603:
1600:
1596:
1591:
1588:
1584:
1579:
1576:
1573:, p. 79.
1572:
1567:
1564:
1560:
1555:
1552:
1549:, Conclusion.
1548:
1547:D’Angour 2021
1543:
1540:
1536:
1531:
1528:
1524:
1523:D’Angour 2021
1519:
1516:
1512:
1506:
1503:
1499:
1494:
1492:
1488:
1484:
1483:D’Angour 2021
1479:
1477:
1475:
1473:
1471:
1467:
1463:
1458:
1456:
1452:
1449:, p. 91.
1448:
1443:
1441:
1437:
1433:
1428:
1426:
1424:
1422:
1418:
1414:
1409:
1406:
1403:, p. 78.
1402:
1397:
1394:
1390:
1385:
1383:
1379:
1373:
1363:
1360:
1353:
1348:
1346:
1344:
1341:, as well as
1340:
1336:
1331:
1329:
1325:
1324:Peter Ustinov
1321:
1317:
1313:
1312:
1303:
1301:
1299:
1294:
1284:
1279:
1269:
1260:
1247:
1245:
1236:
1232:
1225:
1223:
1221:
1217:
1213:
1209:
1205:
1201:
1197:
1193:
1189:
1180:
1173:
1171:
1168:
1160:
1158:
1148:
1146:
1140:
1138:
1134:
1130:
1126:
1125:
1120:
1110:
1100:
1093:
1090:
1088:
1085:
1081:
1077:
1073:
1069:
1065:
1062:
1054:
1050:
1046:
1042:
1038:
1034:
1028:
1023:
1018:
1010:
1008:
996:
992:
973:
953:
946:
935:
917:
913:
911:
904:Transcription
903:
898:
896:
894:
889:
878:
867:
864:
853:
842:
839:
829:
824:
813:
802:
792:
791:Delphic hymns
788:
784:
778:
770:
768:
764:
762:
750:
748:
745:and music in
744:
740:
736:
729:
727:
715:
713:
697:
683:
676:
669:
667:
662:
660:
657:
654:
652:
649:
646:
643:
640:
636:
633:
630:
627:
624:
620:
617:
614:
611:
607:
603:
600:
595:
592:
590:
588:
582:
579:
577:
576:
570:
567:
565:
564:
558:
555:
553:
552:
546:
543:
541:
540:
534:
531:
528:
523:
520:
518:
517:
511:
508:
506:
505:
499:
496:
494:
493:
487:
484:
482:
481:
475:
472:
470:
469:
463:
460:
457:
452:
449:
447:
446:
440:
437:
435:
434:
428:
425:
423:
422:
416:
413:
411:
410:
404:
401:
398:
393:
390:
388:
387:
381:
378:
375:
373:
367:
364:
362:
361:
354:
346:
344:
340:
332:
330:
328:
324:
323:present tense
320:
316:
312:
308:
301:
299:
295:
287:
284:
281:
278:
275:
271:
268:
264:
261:
258:
255:
247:
239:
237:
233:
225:
220:
218:
216:
212:
207:
205:
204:Delphic Hymns
201:
200:Hurrian songs
197:
193:
189:
186:
182:
178:
175:
171:
168:(present-day
167:
163:
159:
155:
151:
147:
143:
139:
135:
134:Ancient Greek
131:
122:
119:
115:
112:
109:
107:Discovered by
105:
101:
97:
94:
90:
80:
76:
73:
70:
66:
62:
58:
55:
52:
48:
41:
36:
31:
19:
2586:Preceded by
2547:
2521:Extant music
2377:The Session.
2376:
2341:
2327:
2303:
2278:
2265:
2243:
2219:
2201:
2187:
2169:
2158:
2142:
2122:
2101:
2091:
2062:
2053:
2043:, pp. 64–72.
2032:
2013:
2002:
1978:, retrieved
1973:
1967:
1957:, retrieved
1952:
1946:
1934:. Retrieved
1914:
1904:
1892:
1880:
1853:
1841:
1825:
1813:
1801:
1789:
1780:Solomon, J.
1776:
1764:
1752:
1740:
1728:
1721:Palisca 2006
1716:
1694:Solomon 1986
1689:
1677:
1670:Solomon 1986
1661:
1645:
1626:
1619:Probert 2003
1614:
1602:
1597:, p. 5.
1595:Probert 2003
1590:
1578:
1566:
1561:, p. 91
1554:
1542:
1537:, p. 2.
1535:Rohland 2022
1530:
1518:
1511:Rohland 2022
1505:
1500:, p. 1.
1498:Rohland 2022
1432:Landels 2002
1415:, p. 2.
1408:
1396:
1362:
1332:
1316:Miklós Rózsa
1309:
1307:
1297:
1292:
1277:
1258:
1248:
1241:
1229:
1188:W. M. Ramsay
1185:
1164:
1150:
1142:
1122:
1118:
1108:
1107:), singular
1098:
1096:
1091:
1083:
1079:
1075:
1071:
1063:
1055:
1052:
1048:
1044:
1040:
1013:
945:romanization
907:
887:
876:
868:
862:
851:
843:
837:
822:
811:
800:
783:Otto Crusius
780:
766:
760:
752:
743:lyric poetry
731:
725:
717:
699:
685:
681:
664:
661:
658:
655:
597:
593:
591:
580:
578:
568:
566:
556:
554:
544:
542:
532:
529:
521:
519:
509:
507:
497:
495:
485:
483:
473:
471:
461:
458:
450:
448:
438:
436:
426:
424:
414:
412:
402:
399:
391:
389:
379:
376:
365:
363:
348:
336:
319:first person
309:" as "the" (
303:
298:polykhrónion
297:
293:
250:
241:
236:all-capitals
229:
208:
140:, including
129:
127:
111:W. M. Ramsay
2443:Mesopotamia
1513:, p. 2
1389:Randel 2003
1167:paleography
1025: [
991:Koine Greek
771:Word accent
341:script and
321:and in the
286:πολυχρόνιον
221:Inscription
162:Hellenistic
150:2nd century
72:Koine Greek
2625:Categories
2480:Achaemenid
2133:1134704879
2007:126:68–81.
1980:2023-05-17
1959:2023-04-18
1897:Lynch 2020
1885:Lynch 2020
1873:Hagel 2008
1832:, p.
1806:Hagel 2008
1757:Hagel 2008
1571:Pilch 2011
1401:Pilch 2011
1296:), as the
1220:Copenhagen
1007:media help
775:See also:
670:Dedication
345:), reads:
99:Discovered
93:Asia Minor
85: 1st
2436:By region
2163:7:159–80.
1931:0223-5102
1509:See also
1374:Citations
1349:Footnotes
1343:Minecraft
1311:Quo Vadis
1281:) is the
1264:(⏑⏔ ⁝ ⏑⏔)
1212:The Hague
1208:Stockholm
1072:harmoniai
910:polytonic
863:baîn᾽ epì
858:βαῖν᾽ ἐπὶ
787:Mesomedes
700:The verb
339:polytonic
327:Simonides
272:Σεικίλος
202:, or the
2490:Sasanian
2485:Parthian
2448:Hittites
2264:. 2003.
2242:. 2001.
1059:♯
594:apaiteî.
280:ἀθανάτου
185:Phrygian
164:town of
60:Material
18:Seikilos
1990:Sources
1936:19 July
1328:H. Gray
1298:stigmai
1119:Orestes
1104:στιγμαί
1099:stigmai
1092:Stigmai
838:phaínou
823:apaiteî
818:ἀπαιτεῖ
735:Euterpe
651:ἀπαιτεῖ
587:ἀπαιτεῖ
581:khrónos
392:phaínou
333:Epitaph
226:Distich
211:epitaph
177:distich
174:elegiac
166:Tralles
89:Tralles
78:Created
68:Writing
2601:Portal
2512:Celtic
2497:Greece
2475:Persia
2352:726126
2350:
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2252:
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2200:2006.
2153:1981.
2130:
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2077:
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2020:
1929:
1759:, 126.
1283:thesis
1196:Smyrna
1161:Dating
1133:upbeat
1114:στιγμή
1109:stigmē
899:Melody
833:φαίνου
737:, the
712:lacuna
648:χρόνος
626:ὀλίγον
606:φαίνου
575:χρόνος
486:olígon
480:ὀλίγον
386:φαίνου
277:μνήμης
267:τίθησί
170:Turkey
154:pillar
132:is an
63:Marble
2615:Music
2470:China
2458:India
2453:Egypt
2348:JSTOR
1796:, 27.
1771:, 63.
1354:Notes
1278:hóson
1192:Aydın
1145:ictus
1129:arsis
1029:]
852:hóson
801:lupoû
796:λυποῦ
642:τέλος
619:λυποῦ
610:μηδὲν
557:télos
551:τέλος
451:lypoû
445:λυποῦ
427:hólōs
415:mēdèn
409:μηδὲν
380:zêis,
366:hóson
260:λίθος
254:Εἰκὼν
181:Ionic
158:stele
54:Stele
2507:Maya
2502:Rome
2309:ISBN
2288:ISBN
2250:ISBN
2225:ISBN
2206:ISBN
2128:ISBN
2107:ISBN
2075:ISBN
2067:ISBN
2037:ISBN
2018:ISBN
1938:2022
1927:ISSN
1637:ἔστι
1630:Cf.
1337:and
1320:Nero
1293:zêis
1273:ὅσον
1206:and
1084:mese
1080:mese
1076:mese
1031:and
888:ésti
883:ἔστι
877:estì
872:ἐστὶ
847:ὅσον
815:and
739:Muse
629:ἔστι
623:πρὸς
613:ὅλως
599:ὅσον
498:ésti
492:ἔστι
474:pròs
468:πρὸς
421:ὅλως
360:ὅσον
283:σῆμα
274:ἔνθα
263:εἰμί
230:The
148:and
128:The
102:1883
50:Type
2176:doi
1919:doi
1288:ζῇς
1218:in
1210:to
1043:to
812:zên
807:ζῆν
804:,
741:of
705:ζει
694:ΖΕΙ
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190:or
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