Unlocking the Riddles of Imperial Greek Melodies I: the 'Lydian' metamorphosis of the Classical harmonic system

Abstract

This article builds upon the evidence discussed in Lynch 2022a and 2022b, and sheds light on the metamorphosis that turned the Classical Dorian-based harmonic system into the Lydian-based system employed in Imperial Greek scores. Unlike previous hypotheses, the solution set out in this article entails a shift of a mere semitone between the tonal centre of the Classical harmonic system (Dorian mésē F₃) and its counterpart in the Imperial harmonic system (Hypolydian mésē E₃, which corresponded to the Classical mode Lydistí). This semitone shift is akin to a small adjustment in chamber pitch that has occurred repeatedly in the history of Western music but had wide-ranging implications for the organisation of the Imperial harmonic system as a whole, undermining the structural role of that fourths had in the Classical system and introducing a new focus on thirds and fifths. Together with Lynch 2022a and 2022b, this article and its sequel offer the first comprehensive account of the use of notation keys (tónoi) in the extant ancient Greek scores that is fully consistent with the available evidence about ancient harmonic theory and its practical use. This solution also bridges the gap between the harmonic systems employed in Hellenistic and Imperial scores, outlining for the first time a continuous, if evolving, tradition that stretches from the earliest musical documents to late antiquity.

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