Ancient Music

Ancient music is music that developed in literate cultures, replacing prehistoric music . Ancient music refers to the various musical systems that were developed across various geographical regions such as Mesopotamia, India, Persia, Egypt, China, Greece and Rome. Ancient music is designated by the characterization of the basic notes  and scales . It may have been  transmitted through oral or written systems .

Prehistoric music
Prehistoric music (previously primitive music) is a term in the history of music for all music produced in preliterate cultures (prehistory), beginning somewhere in very late geological history. Prehistoric music is followed by ancient music in different parts of the world but still exists in isolated areas. However, it is more common to refer to the "prehistoric" music which still survives as folk, indigenous or traditional music. Prehistoric music is studied alongside other periods within music archaeology.

Findings from paleolithic archaeology sites suggest that prehistoric people used carving and piercing tools to create instruments. Archeologists have found Paleolithic flutes carved from bones in which lateral holes have been pierced. The Divje Babe flute, carved from a cave bear femur, is thought to be at least 40,000 years old. Instruments such as the seven-holed flute and various types of stringed instruments, such as the Ravanahatha, have been recovered from the Indus Valley Civilization archaeological sites. India has one of the oldest musical traditions in the world—references to Indian classical music (marga) are found in the Vedas, ancient scriptures of the Hindu tradition. The earliest and largest collection of prehistoric musical instruments was found in China and dates back to between 7000 and 6600 BCE.

Egypt
Music has been an integral part of Egyptian culture since antiquity. The ancient Egyptians credited one of the powerful gods Hathor with the invention of music, which Osiris in turn used as part of his effort to civilize the world. The earliest material and representational evidence of Egyptian musical instruments dates to the Predynastic period, but the evidence is more securely attested in tomb paintings from the Old Kingdom (c. 2575–2134 BC) when harps, end-blown flutes (held diagonally), and single and double pipes of the clarinet type (with single reeds) were played (Anderson, Castelo-Branco, and Danielson 2001; Anon. 1999). Percussion instruments and lutes were added to orchestras by the Middle Kingdom. Bronze cymbals dating from the Roman period—30 BC to 641 AD—have been found in a tomb on a site near Naucratis (Anon. 2003). Egyptian folk music, including the traditional Sufi dhikr rituals, are the closest contemporary music genre to ancient Egyptian music, having preserved many of its features, rhythms, and instruments (Hickmann 1957; Hickmann 1960). Although experiments have been carried out with surviving Egyptian instruments (on the spacing of holes in flutes and reed pipes, and attempts to reconstruct the stringing of lyres, harps, and lutes), only the Tutankhamun trumpets and some percussion instruments yield any secure idea of how ancient Egyptian instruments sounded. None of the many theories that have been formulated have any adequate foundation (Anderson, Castelo-Branco, and Danielson 2001).

Mesopotamia
In 1986, Anne Draffkorn Kilmer from the University of California at Berkeley published her decipherment of a cuneiform tablet from Nippur dated to about 2000 BCE. She proposed that they represent fragmentary instructions for performing music, that the music was composed in harmonies of thirds, and that it was also written using a diatonic scale (Kilmer 1986). The notation in that tablet was not as developed as the notation in the later cuneiform Hurrian tablets from Ugarit, dated by Kilmer to about 1250 BCE (Kilmer 1965). The interpretation of the notation system is still controversial (at least five rival interpretations have been published), but it is clear that the notation indicates the names of strings on a lyre, and its tuning is described in other tablets. These tablets represent the earliest recorded melodies, though fragmentary, from anywhere in the world (West 1994, 161–62).

Harps of Ur
In 1929, Leonard Woolley discovered pieces of four harps while excavating in the ruins of the ancient city of Ur, located in what was Ancient Mesopotamia and is contemporary Iraq. Some of the fragments are now located at the University of Pennsylvania, in the British Museum in London, and in Baghdad. They have been dated to 2,750 BCE. Various reconstructions have been attempted, but none have been totally satisfactory. Depending on various definitions, they could be classed as lyres rather than harps. The most famous is the bull-headed harp, held in Baghdad. The second Iraqi War led to the destruction of the bull-head lyre (Anon. 2005).

Hurrian music
Among the Hurrian texts from Ugarit are some of the oldest known instances of written music, dating from c.1400 BCE and including one substantially complete song. A reconstruction of this hymn is presented at the Urkesh webpage.

Ancient India
Musical instruments, such as the seven-holed flute and various types of stringed instruments have been recovered from the Indus valley civilization archaeological sites.

The Samaveda consists of a collection (samhita) of hymns, portions of hymns, and detached verses, all but 75 taken from the Rigveda, to be sung, using specifically indicated melodies called Samagana, by Udgatar priests at sacrifices in which the juice of the soma plant, clarified and mixed with milk and other ingredients, is offered in libation to various deities. In ancient India, memorization of the sacred Vedas included up to eleven forms of recitation of the same text.

The Nātya Shastra is an ancient Indian treatise on the performing arts, encompassing theatre, dance and music. It was written at an uncertain date in classical India(between 200 BCE and 200 CE). The Natya Shastra is based upon the much older Natya Veda which contained 36000 slokas (Ghosh 2002, 2). Unfortunately, there are no surviving copies of the Natya Veda. There are scholars who believe that it may have been written by various authors at different times. The most authoritative commentary on the Natya Shastra is Abhinavabharati by Abhinava Gupta.

While much of the discussion of music in the Natyashastra focuses on musical instruments, it also emphasizes several theoretical aspects that remained fundamental to Indian music: Jatis are elaborated in greater detail in the text Dattilam, composed around the same time as the Natyashastra.
 * 1) Establishment of Shadja as the first, defining note of the scale or grama.
 * 2) Two Principles of Consonance: The first principle states that there exists a fundamental note in the musical scale which is Avinashi (अविनाशी) and Avilopi (अविलोपी) that is, the note is ever-present and unchanging. The second principle, often treated as law, states that there exists a natural consonance between notes; the best between Shadja and Tar Shadja, the next best between Shadja and Pancham.
 * 3) The Natyashastra also suggests the notion of musical modes or jatis which are the origin of the notion of the modern melodic structures known as ragas. Their role in invoking emotions are emphasized; thus compositions emphasizing the notes gandhara or rishabha are said to be related to tragedy (karuna rasa) whereas rishabha is to be emphasized for evoking heroism (vIra rasa).

Ancient China
Legend has it that the qin, the most revered of all Chinese musical instruments, has a history of about 5,000 years. This legend states that the legendary figures of China's pre-history — Fuxi, Shennong and Huang Di, the "Yellow Emperor" — were involved in its creation. Nearly all qin books and tablature collections published prior to the twentieth century state this as the actual origins of the qin (Yin n.d., 1–10), although this is now viewed as mythology. It is mentioned in Chinese writings dating back nearly 3,000 years, and examples have been found in tombs from about 2,500 years ago. The exact origins of the qin is still a very much continuing subject of debate over the past few decades. A qin has recently been found in an archaeological site near Beijing, which is believed to be around 1,000 years old.

Ancient Greece
Ancient Greek musicians developed their own robust system of musical notation. The system was not widely used among Greek musicians, but nonetheless, a modest corpus of notated music remains from Ancient Greece and Rome. The epics of Homer were originally sung with instrumental accompaniment, but no notated melodies from Homer are known. Several complete songs exist in ancient Greek musical notation. Three complete hymns by Mesomedes of Crete (2nd century CE) exist in manuscript. In addition, many fragments of Greek music are extant, including fragments from tragedy, among them a choral song by Euripidesfor his Orestes and an instrumental intermezzo from Sophocles' Ajax.

Some fragments of Greek music, such as the Orestes fragment, clearly call for more than one note to be sounded at the same time. Greek sources occasionally refer to the technique of playing more than one note at the same time. In addition, double pipes, such as used by the Greeks and Persians, and ancient bagpipes, as well as a review of ancient drawings on vases and walls, etc., and ancient writings (such as in Aristotle, Problems, Book XIX.12) which described musical techniques of the time, all indicate harmony existed.

Ancient Rome
The music of ancient Rome borrowed heavily from the music of the cultures that were conquered by the empire, including music of Greece, Egypt, and Persia. Music was incorporated into many areas of Roman life including the military, entertainment in the Roman theatre, religious ceremonies and practices, and "almost all public/civic occasions."

The philosopher-theorist Boethius translated into Latin and anthologized a number of Greek treatises, including some on music. His work The Principles of Music (better-known under the title De institutione musica) divided music into three types: Musica mundana (music of the universe), musica humana (music of human beings), and musica instrumentalis (instrumental music).