Music and politics in the ancient world

Between V and I A. pr. m. pr. m. e. Chinese and European political theorists considered music a useful indicator of the political nature and condition of society and its rulers. Although their views had no scientific basis, written sources and archaeological sources can be used today to determine the location of music and related cultural manifestations in the authorities and its nearest spheres. Thus, they can provide information on identity, sel f-awareness, prestige and status, from household to state, conquest and government implementation, resistance and uprising, as well as case law, diplomacy and arbitration. Seemingly, these sources can actually convey something new about power relationships, ideology and political changes in the ancient world. They are also an indirect indicator of political capacity in a no n-writing environment.

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Between V and I A. pr. m. pr. m. e. Chinese and European political theorists considered music a useful indicator of the political nature and condition of society and its rulers. Although their views had no scientific basis, written sources and archaeological sources can be used today to determine the location of music and related cultural manifestations in the authorities and its nearest spheres. Thus, they can provide information on identity, sel f-awareness, prestige and status, from household to state, conquest and government implementation, resistance and uprising, as well as case law, diplomacy and arbitration. Seemingly, these sources can actually convey something new about power relationships, ideology and political changes in the ancient world. They are also an indirect indicator of political capacity in a no n-writing environment.

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In the period of Roman expansion, barbaric instruments - the trumpet and the drum - were described in the sources as 'odd' or 'primitive' and their sound as onmuzikaal. In both Greek and Latin literature, the world of barbarians - especially in the West - is described as a space full of noise. Their ignorance about music became a sign of their inhumanity, because only musical knowledge led to a harmonious society. Only the Eastern barbarians were really musical, because they lived closer to Greek society. Yet their music was considered a tertified and lusty - just like the East itself. This contrast fed the Roman discourse on acculturation and legitimized the moral superiority of the Romans about others. Conclusions can also be drawn from this about the perception of their own music.

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Journal of Academic Perspective on Social Studies (JAPSS), 2022

Music is used by politicians as a means to reach the masses by conveying their message and to raise their image. The state also uses music to keep certain memories. However, music and musicians suffered from the hands of politicians when the music criticized politicians or the standard standards in the state or society. Music can therefore be both an ideological instrument in the hands of the state and a symbol of criticism that results in oppression by the state. Historically, various examples show how important music can be in the dissolution and collapse of a political organization, but also in the establishment and structure. From Plato, More, Campanella to Khomeini, philosophers, thinkers, rulers and politicians mention the importance of music in the state. In this study it is argued that this vision can be seen as a projection of totalitarian thinking within the aforementioned historical line. Although music is seen in this context as an harmless act that is not essentially political, depending on the preference of the individual or group, and an harmless act that is not inherently political, some thinkers consider it a disturbing act that social Order and harmony can disrupt and encourage the indifference or disobedience of people towards political power, or even rebellion.

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Bloomsbury Akademiker, 2023

This book explores the central role of ancient music - in all its facets - has played in the development of musical practices and ideas throughout history. The discussion is structured around key concepts, theoretical models and aesthetic questions - from the educational and therapeutic value of music to its place in the ideal of cosmic harmony and its relationship with senses and emotions - as well as the function of music in debates on individual and cultural identity. The result is a timely reassessment of the Greek model's paradigmatic value in the musical reception of antiquity in various historical periods. The book highlights Musikek's contribution to modern cultural debates in classical subjects, musicology, philosophy, aesthetics, anthropology, performance and cultural studies, as well as in artistic environments, and provides a clear and extensive account of Musikk's inextricable source of inspiration for musicians, researchers, researchers and antiquity scientists. the centuries.

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Greek and Roman music research

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Kaip Muzika (Jos SД…vokos, Practical IR institucijos) Fortuoja diplomatijД…, Galios SiekimД… Ir TarptautiniЕі SantykiЕі PalaikymД…? Е eЕЎiolika TarptautiniЕі MokslininkЕі, AtstovaujanДЌiЕі Muzicology, Etnomuzicology, Politikos MokslЕі, KultЕ«ros Estorijos, PrancЕ«zЕі StudijЕі, Germanisticos Iro . Svarstydami Tokius Klausimus, Kaip, PavyzdЕѕiui, KД… ReiЕЎkia PolitinД—ms Institucijoms Veikti "Sutartinai", Muzikos "Universalumo" KlausimД…, Laisvosios Improvizacijos Sucniks Sushica, Susiji IKANTЕі VAIDMENДЇ Skatinant KultЕ«rinius Mainus, Muzikos, Kaip Globalizacijo's IR Tarpvalstybinio Susitikimo PriemonД—s, PanaudojimД…, Authoriai PerЕѕengia ne tik discipline, bet Ir Geographines Bei Muzikine's ribas.

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In poetia, Musica e agoni Nella Grecia Antica, Poezija, IV-Ojo Tarptautinio Moisa Susitikimo, Vykusio LeДЌД—je 2010 m. Spalio MД—nesДЇ, MedЕѕiaga, Rudiae, Ricerche Sul Mondo Classico, 22-23 t. : D. Castaldo-e. g. giianachi A. Manieri, 2011 m.

Historical musicology and ethnomusicology have developed as different fields of science. Nevertheless, it is gradually becoming clear that an interdisciplinary approach in both fields reveals important dimensions that fill out the picture of both approaches. I will try to focus on certain social dimensions found in the historical sources and on some important social phenomena that show that social change can explain musical change because music changes its function. The societal response to musical change is indispensable to the way music in turn affects society, and similar musical changes in relation to the musical ethos can occur in different eras precisely because the musical ethos is influenced by the social function and purpose that music pursues in different societies. In this sense, it is becoming clear that an interdisciplinary approach to contemporary and ancient phenomena in music and society can offer new knowledge and new interpretations that can shed light on the ancient musical phenomena and their relationship to the contemporary ones. It also reveals the internal and constant process of preservation and change in both music and society. In our case, the phenomenon of music competitions in ancient Greece is an ideal topic because the main reason for its emergence is precisely due to social change.

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Past conference "Music and the Order of the World", 2022 m.

The relationship between music and order is one of the most respected topics by Western canonical philosophers of antiquity. Plato's treatment of this topic opened new avenues in the understanding of mousikГ©, positing it as the most vulnerable arena of the polis. It is to Plato that we owe the philosophy of music to the basis not only of education, but also of politics. In Plato's Republic, the most important stage of education is childhood; the vehicles of this education are mousikГ© for the soul (or mind) and gymnastics for the body. For Plato, musical education is a cultural education, in which music occupies a central place. By recognizing the role of mousikГ© in the formation of early psychology, and by considering a psychological approach to politics as the key to understanding political philosophy, Plato highlights a theory of music that places man at its center. Plato claims that the political preservation of the ideal city depends on adequate musical practice and the protection of musical modes. The fact that music is proposed as a fundamental element of the philosophy of education may come as a surprise and problematizes the meaning of the human concept of education. It may suggest that a pedagogy that does not give the greatest importance to the arts (especially musical modes) is doomed to failure. Does the same fate await a political philosophy that ignores their importance? It is in the context of these concerns that the question must be asked: why does Plato consider mousikГ© to be essential for order in the polis? atsisiЕіsti Nemokamai atsisiЕіsti PDF PerЕѕiЕ«rД—ti PDF chevron_right

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