The Mesopotamian Theory of Music and the Ugarit Notation – A Reexamination

Chapters in this book

1. Frontmatter i
2. Contents vii
3. Preface 1
4. I. Prologue
5. A Brief Account of the Development of the Field of Music Archaeology 11
6. II. Studies
7. The Mesopotamian Theory of Music and the Ugarit Notation – A Reexamination 15
8. Mesopotamian Music Theory Since 1977 92
9. Sounds from the Divine: Religious Musical Instruments in the Ancient Near East 102
10. The Balaĝ Instrument and Its Role in the Cult of Ancient Mesopotamia 129
11. The Ala-Instrument: Its Identification and Role 148
12. Musical Practices and Instruments in Late Bronze Age Ugarit (Syria) 172
13. Nudity and Music in Anatolian Mythological Seduction Scenes and Iconographic Imagery 185
14. Illusions of Grandeur: The Instruments of Daniel 3 Reconsidered 201
15. Greek Epic and Kypriaka: Why “Cyprus Matters” 213
16. Aristophanes’ Phrynichos and the Orientalizing Musical Pattern 248
17. Aspects of Music Culture in the Land of Israel during the Hellenistic, Roman and Byzantine Periods: Sepphoris as a Case Study 273
18. Soothing Lyres and epodai: Music Therapy and the Cases of Orpheus, Empedocles and David 298
19. Sounds from under the Ashes: The Music of Cults and Mysteries in the Ancient Vesuvian Land 340
20. III. Epilogue
21. Ancient Music in the Modern Classroom 365