Farms: Ancient Egyptian Music - Creator Sun God Instrumental III + IV)
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The concept for this album came when composer/multi-instrumentalist Michael Atherton was commissioned to produce a creative reconstruction of ancient Egyptian music for an exhibition at the Australian Museum in 1998. Atherton took it one step further, pursuing a long-term research project of which this entrancing CD is the result. By studying literary and visual records as well as surviving artifacts, he began to get an idea of which instruments had been used in ancient Egypt, then approached the compositions by drawing on his experience with medieval monophony, Eastern European and Turkish folk music, and a variety of intercultural projects. Atherton primarily uses 5, 6, and 7 note scales based on specific pitches, resulting in a combination of Moroccan ramal mai mode and Persian afshari. He also gravitates toward pentatonic scales and major modes. The melodies move in small steps. The setting of the hymns is monophonic, with the inclusion of call and response development. Sung items include interpolated recitations, as a means of acknowledging a deep connection between language and music. Although music existed in prehistoric Egypt, the evidence for it becomes secure only in the historical (or "dynastic" or "pharaonic") period--after 3100 BCE. Music formed an important part of Egyptian life, and musicians occupied a variety of positions in Egyptian society. Music found its way into many contexts in Egypt: temples, palaces, workshops, farms, battlefields and the tomb. Music was an integral part of religious worship in ancient Egypt, so it is not surprising that there were gods specifically associated with music, such as Hathor and Bes (both were also associated with dance, fertility and childbirth). All the major categories of musical instruments (percussion, wind, stringed) were represented in pharaonic Egypt. Percussion instruments included hand-held drums, rattles, castanets, bells, and the sistrum--a highly important rattle used in religious worship. Hand clapping too was used as a rhythmic accompaniment. Wind instruments included flutes (double and single, with reeds and without) and trumpets. Stringed instruments included harps, lyres, and lutes--plucked rather than bowed. Instruments were frequently inscribed with the name of the owner and decorated with representations of the goddess (Hathor) or god (Bes) of music. Both male and female voices were also frequently used in Egyptian music. Professional musicians existed on a number of social levels in ancient Egypt. Perhaps the highest status belonged to temple musicians; the office of "musician" (shemayet) to a particular god or goddess was a position of high status frequently held by women. Musicians connected with the royal household were held in high esteem, as were certain gifted singers and harp players. Somewhat lower on the social scale were musicians who acted as entertainers for parties and festivals, frequently accompanied by dancers. Informal singing is suggested by scenes of workers in action; captions to many of these pictures have been interpreted as words of songs. Otherwise there is little evidence for the amateur musician in pharaonic Egypt, and it is unlikely that musical achievement was seen as a desirable goal for individuals who were not professionals. The ancient Egyptians did not notate their music before the Graeco-Roman period, so attempts to reconstruct pharaonic music remain speculative. Representational evidence can give a general idea of the sound of Egyptian music. Ritual temple music was largely a matter of the rattling of the sistrum, accompanied by voice, sometimes with harp and/or percussion. Party/festival scenes show ensembles of instruments (lyres, lutes, double and single reed flutes, clappers, drums) and the presence (or absence) of singers in a variety of situations.
Comments
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No se si soy yo, pero siento una conexion con Udyat..
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hard to conciliate scientific researches with artistic work... sounds of bagpipes are quite the same all around the world and cultures....what is hard to assume is what rythms, what melodies, maybe harmonies were used in the ancient Egytian music...
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really awesome beets
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First you need to get these images of white people out of the pictures this is Africa ancient Kemet!! stop stealing our SHIT!!
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Son pocoas las personas que disfrutan esta clace de muica,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,Sera que se ha vivido en otra vida..........................
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touch the soul..
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Starting is confusing, it is not having unique Egyptian flavor; but after 1:17 there is total metamorphosis. Surprisingly the following part of melody matches with melodies of central middle Himalayan folk music. Searching for the missing link.
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XD
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The Pharaons are not human
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this music is not ancient egyptian music
egyptians played harpes , lyres not arabic sound
their music were closed to european music
egyptians were black -
what kind of horn is this anybody he are she is playing
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come to Egypt, you will fall in love with the ancient cevilization mixing with desert along with the Nile River, Hope I will back Soooooooooooon <3
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OLá! from Brazil. wonderful music and vídeo.
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I'm amazed how can someone recreate ancient Egyptian melodies when we cannot even be sure about the pronunciation of their words. This makes me think that this is just mere speculation and entertainment.
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A beautiful and mystical sound
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daaaaaaaaaang ... i felt like i'm playing Hitman ... shit
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BruceSocool Fuck off with that shit asshole.
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Praise RA!
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احلى بلد فى الدنيا مصر
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sounds more narnian