Τετάρτη 26 Δεκεμβρίου 2012

 
                       TO ALL OUR FOLLOWERS AND VIEWERS
               by: Evi Martyn
 
   It is with great pleasure and pride  that I am sending this message
     to all of you who have been following our  ADVOCACY OF THE
     HELLENIC CULTURE .
       
     I wish to express my "THANKS"  and gratitude for your interest
   in this magnificent cause whose only purpose is to support, sustain,
   and perpetuate the immortal  HELLENIC HISTORY, CULTURE ,
   LANGUAGE AND TRADITIONS.
 
   We have just completed our first year since our inception and
   we are ecstatic with the outpour of interest from around the world.
  
   Our writers and I are experiencing the growing numbers of readers
   who are enhancing their knowledge with the wealth of information
   we provide. The number of readers has now reached over 4.000.
 
  We hope the that NEW YEAR will be more productive and enlighte-
  ning for all.
  
  Please, check our Web site: www.hellinesandfilellines.blogspot.com
  and our VIDEOS: 
 
 
  With this we wish everyone "MERRY CHRISTMAS AND A HAPPY
                                           NEW YEAR."
 
  EVI MARTYN
  Founder and advocate of the HELLENIC CULTURE ADVOCACY
 

Τρίτη 25 Δεκεμβρίου 2012

 
PRIESTESS (PYTHIA) OF ANCIENT DELPHI
                     PART III

In Part III, we will now explore the four-step process for persons seeking an audience with the Oracle at Delphi, along with the excavations commencing in 1892, and other investigative work completed by various geologists.

In the traditions associated with Apollo, the oracle only gave prophecies during the nine warmest months of each year.  On the seventh day of each month, the oracle would undergo purification rites, including fasting, to ceremonially prepare the Pythia for communications with the divine.  She would bathe in the Castalian Spring then would drink the holier waters of the Kassotis, which flowed closer to the temple, where a naiad possessing magical powers was said to live. [1] She then descended into the adytum (Greek for “inaccessible”) and mounted her tripod seat, holding laurel leaves and a dish of Kassotis Spring water into which she gazed.  Nearby was the omphalos  (Greek for “navel”), which was flanked by two sold gold eagles representing the authority of Zeus, and the cleft from which emerged the sacred pneuma.

The experience of supplicants (those seeking a consultation with the oracle)

Four-Stage Process Of The Supplicant: It would appear that the supplicant to the oracle would undergo a four-stage process, typical of shamanic journeys.

Journey to Delphi:  Supplicants were motivated by some need to undertake the long and sometimes arduous journey to come to Delphi in order to consult the oracle.  In some cases the supplicants traveled great distances to consult the oracle.

Preparation of the Supplicant:  Supplicants were interviewed in preparation of their presentation to the Oracle by the priests in attendance.  The genuine cases were sorted and the supplicant had to go through rituals involving the framing of their questions, the presentation of gifts to the Oracle and a procession along the Sacred Way carrying laurel leaves to visit the temple, symbolic of the journey they had made.

Visit to the Oracle:  The supplicant would then be led into the temple to visit the adyton, put his question to the Pythia, receive his answer and depart.  The degree of preparation already undergone would mean that the supplicant was already in a very aroused and meditative state.

Return Home:  Oracles were meant to give advice to shape future action, which was meant to be implemented by the supplicant, or by those that had sponsored the supplicant to visit the Oracle.  The validity of the Oracular utterance was confirmed by the consequences of the application of the oracle to the lives of those people who sought Oracular guidance [2]

At times when the Pythia was not available, supplicants could obtain guidance by asking simple Yes-or-No questions to the priests.  A response was returned through the tossing of colored beans, one color designating “yes” another “no.”  little else is known of this practice. [3]

Between 535 and 635 of the Oracles of Delphi are known to have survived since classical times, of which over half are said to be accurate historically (see the article Famous Oracular Statements from Delphi  for some examples). [4]

Excavations
Beginning during 1892, a team of French archaeologist directed by Theophile Homolle of the College de France excavated the site at Delphi.  Contrary to ancient literature, they could find a fissure or possible means for the production of fumes which were said to be inhaled by the Oracle.  Later, Adolphe Paul Oppe published an influential article [32] in 1904, which made three crucial claims:  No chasm or vapor ever existed; no natural gas could create prophetic visions; and the recorded incidents of a priestess undergoing violent and often deadly reactions was inconsistent with the more customary reports. [5]

Other scholars such as Frederick Poulson, E.R. Dodds, Joseph Fontenrose, and Saul Levin all stated that there were no vapors and no chasm.  For the decades to follow, scientists and scholars believed the ancient descriptions of a sacred, inspiring pneuma to be false.

However, a subsequent re-examination of the French excavation has shown that this consensus may have been mistaken.  Broad (2007) demonstrates that a French photograph of the excavated interior of the temple clearly depicts a springlike pool as well as a number of small vertical fissures, indicating numerous pathways by which vapors could enter the base of the temple. [6]

During the 1980s, the interdisciplinary team of geologists Jelle Zeilinga de Boar, archaeologist John Rl Hale, forensic chemist Jeffrey P. Chanton, and toxicologist Henry R. Spiller [7] investigated the site at Delphi using this photograph and other sources as evidence, as part of a United Nations survey of all active faults  in Greece [5]

Jelle Zeilinga de Boar saw evidence of a fault line in Delphi that lay under the ruined temple.  During several expeditions, they discovered two major fault lines, one lying north-south, the Kerna fault, and the other lying east-west, the Delphic fault, which parallels the shore of the Corinthian Gulf.   The rift of the Gulf of Corinth is one of the most geologically active sites on Earth; shifts there impose immense strains on nearby fault lines, such as those below Delphi.  The two faults cross one another, and they intersect right below where the adyton was probably located.  (The actual, original oracle chamber had been destroyed by the moving faults, but there is strong structural evidence that indicates where it was most likely located. [8]

Footnotes
1.      Broad, W.J. (2007), p.34-36
2.     Fontenrose, Joseph (1981), “Delphic Oracle: Its Response and Operations.” (Uni of Calif. Press)
3.     Broad, W.J. (2007), p. 38-40
4.     Fontenrose, op cit
5.     ab The Oracle at Delphi Medb hErren
6.     Broad, W.J. (2007), P 146-7.
7.     Wikipedia-Pythia
 

Τρίτη 18 Δεκεμβρίου 2012




PRIESTESS (PYTHIA) OF ANCIENT DELPHI

                               PART II

In Part II, we will now explore how the priestess was chosen, and the vapors that were said to have played a role in her inspirations and prophesies.

Though little is known of how the priestess was chosen, the Pythia was probably selected, at the death of her predecessor, from amongst a guild of priestesses of the temple.  These women were all natives of Delphi and were required to have had a sober life and be of good character. (1) (2) Although some were married, upon assuming their role as the Pythia, the priestesses ceased all family responsibilities, marital relations, and individual identity.  In the heyday of the oracle, the Pythia may have been a woman chosen from an influential family, well educated in geography, politics, history, philosophy, and the arts.  It has been reported that during later periods, however, uneducated peasant women were also chosen for the role.  The archaeologist John Hale reports:
“The Pythia was (on occasion) a noble of aristocratic family, sometimes a peasant, sometimes rich, sometimes poor, sometimes old, sometimes young, sometimes a very lettered and educated woman to whom somebody like the high priests and the philosopher Plutarch would dedicate essays, other times who could not write her own name.  So it seems to have been aptitude rather than any ascribed status that made these women eligible to be Pythias and speak for the God. (3)
The job of a priestess, especially the Pythia, was a respectable career for Greek women.  Priestesses enjoyed many liberties and rewards for their societal position, such as freedom from taxation, the right to own property and attend public events, a salary and housing provided by the state, a wide range of duties depending on their affiliation, and often gold crowns. (4)
During the main period of the oracle’s popularity, as many as three women served as Pythia, another vestige of the triad, with two taking turns in giving prophecy and another kept in reserve. (5)
Plutarch, a known statesman and historian, said (6) that the Pythia’s life was shortened through the service of Apollo.  The sessions were said to be exhausting.  At the end of each period the Pythia would be like a runner after a race or a dancer after an ecstatic dance, which may have had a physical effect on the health of the Pythia.
Several other officials served the oracle in addition to the Pythia (7) after 200 BC at any given time there were two priests of Apollo, who were in charge of the entire sanctuary; Plutarch, who served as a priest during the late first century and early second century AD, gives us the most information about the organization of the oracle at that time.  Before 200 BC, while the temple was dedicated to Apollo, there was probably only one priest of Apollo.  Priests were chosen from among the main citizens of Delphi, and were appointed for life.  In addition to overseeing the oracle, priests would also conduct sacrifices at other festivals of Apollo, and had charge of the Pythian games.  Earlier arrangements, before the temple became dedicated to Apollo, are not documented.
 Fumes and vapors
There have been many attempts to find a scientific explanation for he Pythia’s inspiration.  However, most commonly, (8) these refer to an observation made by Plutarch, who presided as high priest at Delphi for several years, who stated that her oracular powers appeared to be associated with vapors from the Kerna spring waters that flowed under the temple.  It has often been suggested that these vapors may have been hallucinogenic gases which placed the Pythia in a trance.  It is said that the gases were “sweet and perfume-y” according to Plutarch.
NOTES
1.       Broad, W.J. (2007), P. 31-32
2.       Herbert W. Parke, “History of the Delphic Oracle and H.W. Parks And D.E.W. Wormell “The Delphic Oracle, 1956 Volume 1: The history attempt the complicated reconstruction of the oracle’s institutions; a recent comparison of the process of select at Delphi which Near Eastern oracles is part of Herbert B. Huffman, “The Oracular Process: Delphi and the near East.” Vetus Testmentum 57.4, (2007;449-60)
3.       quoted in an interview on the radio program “The Ark,” transcript available.
4.       Broad, W.J. (2007), p.32
5.       Plutarch Moralia 414b.
6.       “Plutarch – On the Failure of Oracles,”  Penelope.uchicago.edu. retrieved 2012-03-19.
7.       On the temple personnel, see Roux 1976, pp. 54-63.
8.       J.Z. DeBoer, and J.R. Hale.  “The Geological Origins of the Oracle of Delphi, Greece.” in W.G.McGuire, D.R. Griffiths, P. Hancock, and I.S.  Stewart, eds. “The Archaeology of Geological Catastrophes (Geological Society of London) 2000. Popular accounts in A&E.

Τετάρτη 21 Νοεμβρίου 2012

VIDEO LINK:  www.youtube.com/watch?v=noGmCvVc9Gw



PRIESTESS PYTHIA, PRIESTESS OF ANCIENT DELPHI

                                PART I

The Pythia commonly known as the “Oracle of Delphi,” was the priestess at the Temple of Apollo at Delphi, located on the slopes of Mount Parnassus.  It is said that the Pythia was widely credited for her prophesies inspired by Apollo.

The earliest account of the origin of the Delphic oracle is provided in the Homeric Hymn to Delphic Apollo, which recent scholarship dates within a narrow range, ca 580-570 BC.  Some historians state that it dated back to the 13th century B.C. During this period the Delphic Oracle was the most prestigious and authoritative oracle among the Greeks.  The oracle is one of the best-documented religious institutions of the Classical Greeks.  The last recorded response was given during AD 393, when the emperor Theodosius I ordered pagan temples to cease operation.

Authors who mention the oracle include: Aeschylus, Aristotle, Clement of Alexandria, Diodorus, Diogenes, Euripides, Herodotus, Julian, Justin, Livy, Luca, Ovid, Pausanias, Pindar, Plato, Plutarch, Sophocles, Strabo, Thucydides and Xenophon.

The name “Pythia” derived from Pytho, which in myth was the original names of Delphi.  The Greeks derived this place name from the verb, pythein (to rot), which refers to the decomposition of the body or the monstrous Python after she was slain by Apollo.

No major decision was made without consulting the Oracle of Delphi first.  Greek leaders, foreign kings, generals and common folk made the pilgrimage to the Delphi sanctuary, paying great sums for the Pythias’s oracles.

The prophesies of the Pythia would determine the course of everything from when a farmer planted his seeds to when an empire declared war.  Arguments over the correct interpretation of an oracle were common.  The oracle was sought for every question of life. 

Pilgrims would first bathe in the Castalian spring, ritually sacrifice a sheep and then put their questions to the god.  The King of Lydia and Phrygia traveled to ask on matters of civic governance and outcasts arrived seeking purification.

The Pythia played a major role in Greek Colonization too.  She advised on likely sites for settlement, suggested patron deities, and was overall a key agent in the spread of Greek culture throughout the Mediterranean.

The Oracle of Delphi functioned in a specific place, the adytum, or “no entry” area of the temple’s core, and through a specific person, the Pythia who was chosen to speak as a possessed medium, for Apollo, the god of prophesy.  Apollo was known as an oracular god, a prophetic deity, and known to his fellow Olympians as a legislator.  From Delphi, we are told by historian Herodotus, he dictated the constitution of Sparta.

Part II is scheduled toward the beginning of December.  We will explore how the priestess was chosen, the 4 step-process that  the visitors would go through before consulting the Oracle and the vapors that were said to have played a role in her inspirations and prophesies (based upon research by Joseph Fontenrose).

CONTRIBUTING WRITER:  PATRICIA BOWMAN
November 14, 2014


VIDEO LINK:  www.youtube.com/watch?v=noGmCvVc9Gw




Δευτέρα 23 Ιουλίου 2012


           MYTHOLOGY, IDOLATRY,                         PAGANISM, POLYTHEISM
               All elements that make the fantastic
                       Greek History Immortal

CONTINUATION PART 2

 
Zeus, known as Jupiter by the Romans:  Zeus was King of the gods and ruler of Mount Olympus.  God of the sky and thunder.  He is symbolized by the thunberbolt, eagle, oak tree, scepter and scales.
Hera, known as Juno by the Romans: Hera was Queen of the gods and was the goddess of marriage and family.  Her symbols include the peacock, pomegranate, crown,cuckoo, lion and cow.  She was said to have been extremely beautiful and had, "cow eyes." 
Poseidon, know as Neptune by the Romans:  Poseidon was the lord of the seas, earthquakes and horses. Symbolized by the horse, bulls, dolphins and trident
Dionysus, known as Bacchus by the Romans:  God of wine, celebrations, ecstasy.  Patron god of the art of theater. Symbolized by the grapevine, ivy, cup, tiger, panther, leopard, dolphin and goat.
Apollo, known as Poebus by the Romans:  God of light, knowledge, music, poetry, raven, wolf, swan and mouse.
Artemis, also known as Diana by the Romans:   The virgin goddess of the hunt, virginity, childbirth, archery and all animals.  Symbolized by the moon and deer, the hound and she bear, snake, bow and arrow.
Hermes, known as Mercury by the Romans:  Messenger of the gods, commerce and thieves.  Symbolized by the caduceus
Athena, known as Minnerva by the Romans:  She was the virgin goddess of wisdom.  Symbolized by the owl, olive tree. She arose from her father's head fully grown and in full battle armor after Zeus swallowed her.
Ares, known as Mars by the Romans:  God of war, violence and bloodshed.  Symbolized by the boar, serpent, dog, vulture, spear and shield.
Aphrodite, known as Venus by Romans:  Goddess of love, beauty and desire.  Symbolized by the dove, apple, bee, swan and rose.
Hephaestus, known as Vulcan by the Romans:  Master blacksmith, craftsman, god of fire and of forge.  Symbolized by fire, the anvil, ax, donkey and hammer.
Demeter, known as Ceres by the Romans:  Goddess of fertility, agriculture, nature.  Symbolized by wheat, torch, pig.
Hades, known as Pluto by the Romans:  Because Hades spent too much time in the underworld was not always given a seat in the pantheon - temple.
Hestia, known as Vesta by the Romans:  Goddess of the hearth, and order of domesticity and family.

In conclusion and of interest, the question lingers, whether these mythological characters were real or imagined and requires further investigation. The Holy Bible speaks of similar creature such as centaurs, cherubs, angels of God and angels of man, giants - not only human but also of giant vegetation around the same time period?  Could these creature have been what scientists refer to today as "transhumanistic creature," or are they only allegorical as some believe? 

 ARTICLE BY:  Suzen de Witt
 Hellenic Culture Advocacy
 July 22, 2012




Δευτέρα 18 Ιουνίου 2012

Dear  friends,

The following is a VIDEO we are posting to portray the
Hellenic Culture and History, over a period of 2.500 years.

Please, wish us luck, our Advocacy is doing great so far
thanks to you,
Evi Martyn


Interview With Evi Martyn On Hellenic Culture

Πέμπτη 14 Ιουνίου 2012

           MYTHOLOGY, IDOLATRY, PAGANISM,
                             POLYTHEISM

                       All elements that make the fantastic
                               Greek History Immortal


PART 1


An introduction
By:  Evi Martyn


In the following article Ms. Suzan De Witt, one of our writers, will expound on Mythology, Idolatry, Paganism and 
Polytheism in the Greek Empire prior to Christ and the
Christian Religion.


I would like to make a reference to the incredible but true fact  history has recorded in regards to the turning point, and pivotal moment of Greek Polytheism and their introduction to 
Christianity.

Here it is:  When St. Paul, on his way to Rome to preach Christianity, stopped in Athens and visited the Parthenon, he was confronted by all the statues representative of the twelve Gods of Olympus.

As he was observing all the various names of the Gods he came across a statue that had no name on it, instead of a name he read, "To The Unknown God."

The Greeks, in their infinite wisdom, in order not to offend a missed God, created a special alter dedicated to the  "Unknown God." 

To that Paul replied:  "This is the God I have come to talk to you about,"  and the rest was history.

What wisdom, what imagination and foresight those amazing people had!! 
                                                         Evi Martyn
                                              Hellenic Culture Advocate




PAGANISM, IDOLATRY, POLYTHEISM: 
By: Suzan De Witt


Greece was a pagan Empire prior to Christ.  The Golden Age of Greece 331 B.C. to 146 B.C. was an intense period of paganism and idolatry throughout the world.  Many fairy tales and horoscopes have made light of those idols in today's society, but to ancient Greece, idolatry was a serious matter.
Greeks had faith in these symbols and images and prayed to them believing in their powers.  We must keep in mind that they had no benefit of God or Christianity, but instinctively felt the need and desire to have "God" in their lives.


                                Mythology

The mythology of ancient Greece has survived in the form of fairy tales and children's stories.  Mythology also figures prominently in astrology.

Investigating the basis for these mythological figures from the past leaves one with a haunting suspicion that perhaps these mythological creatures were in fact real??? 

The mythological Gods were the immortals of the ancient Greek pantheon (temple of all Gods).  They are divided into roughly eight classifications that represented certain elements and energies such as:

           a)     Protogenoi class
           b)     Daimones class
           c)     Theoi class
           d)     Daimones class 2
           e)     12 Olympian Gods
           f)      Constellation group
           g)     Monsters, beasts, giants
           h)     Heroi Hemi Theoi


Of the eight classifications of mythological Gods the 12 Olympian Gods were the prinicipal deities of the Greek Pantheon.


To be continued soon

In PART 2,  of this article, we will discuss the 12 Olympian Gods.


By: Suzan De Witt
 














 

Παρασκευή 18 Μαΐου 2012



       May 18, 2012, Friday

       A big thank you to all my readers
       for the wonderful comments I am
       receiving !!!!
       It is the best way to encourage!!!
       Evi Martyn
       Scroll down to read: "THE ORIGINS OF MUSIC"   
       *** If you wish to send your comments, please, go to
                               Evi Martyn guest book.

             

Δευτέρα 14 Μαΐου 2012

May 14, 2012

                           Continuing on the subject: " THE ORIGINS OF MUSIC "

                                      THE PERIODS OF MUSIC

1.    Prehistoric:

       At the end of the sixth and the beginning of the fifth century
      B.C. we have the beginning of the GREEK TRAGEDY . This
      period marks an enormous ERA of great poets of COMEDY
      and TRAGEDY   ( 555-440 B.C.)

     Unfortunately, for the music in Ancient Greek Tragedy we do
     not have  saved works.  However, the Ancient Greek Tragedy
     has undoubtedly impressed many composers of Western Euro-
     pe, who wrote notable OPERAS based on Greek DRAMA.
                                        Some examples:
                 17th century / Claudio Monteverdi ( Italian composer)
                                         Opera: L'ORFEO which is regularly
                                                                         performed today
                 
                 18th  century / Christoph Gluck ( German composer)
                                         Opera:  ORFEO and EURIDICE

                 19th  century / Richard Wagner ( German composer)
                                          adopted Greek Drama in his operas.

                 20th  century / Richard Strauss  ( German composer)
                                          Opera: ELEKTRA based on Greek
                                                                           drama.

2.     ANCIENT MUSIC:     (2000-1200 A.D.)
                                  
        Byzantine Music: /  Music of the Byzantine Empire
        composed to Greek texts, as ceremonial, festival or religious
        church music.
        The Byzantine Music remains the oldest genre of extant
        music where the names of the composers are known. It is
        a very important Musical ERA particularly for the Othodox
        Christian Church, which has adopted the"Byzantine Chant"
        as part of its LITURGY.

 3.     Renaissance  1685-1757
             Baroque     1685-1750
                  Classical   1756-1791
                       Romantic  1833-1897
                            Post Romantic  1860-1911
                                 Impressionistic  1862-1918
                                     Twentieth Century  1891-1953

4.     The twelve tone Music:   (Arnold Schonberg, Igor Stravinski
                                                   Scott Bradley)

5.     Neoclassicism : ( Stravinski, Sergei Prokofieff, 
                                      Paul Hindemith ( my teacher) ***
       
        Futurism:  ( Filippo Tomasso, Luigi Ruscolo, etc.)  

6.     Electronic Music:  This music was developed post WW2 
                                        when magnetic tapes became 
                                        available for creating various sounds
                                        and then manipulating them in some 
                                        way.

7.     Jazz-influenced
        Classical composition:  ( Leonard Benrstein, 
                                                  Aron Copland, 
                                                  George Gershwin
                                                  Darius Milhaud
                                                  Maurice Ravel)      
*** Paul Hindemith and his wife Maria Landes Hindemith were my 
       teachers at the Hochschule fur Musik , in Munich Germany
       during my studies there. Fantastic teachers!!!!!                                        

                                                                                           Article by:  EVI MARTYN
                                                                                concert pianist
                                                               Hellenic Culture Advocate 

                          This segment concluded our subject   THE ORIGINS OF MUSIC.
                          We hope we gave you a concise illustration in short of the fantastic ART called
                                                                            '' ' MUSIC ' ''    


Κυριακή 13 Μαΐου 2012



May 13, 2012  ( mothers day )
                                      I dedicate this article to my mother, who stood by me all those
                                      long and arduous years I was studying to be a musician.
                                                             Thank you mother!!


We continue on the subject  " THE ORIGINS OF MUSIC "  with what we feel is most
important to discuss, and that is " Old Instrumentation " .

We will present to our readers some of the findings of contemporary excavations and
what they brought to light.               
                                                                                              Article by :  EVI MARTYN
                                                                                                                   concert pianist

                                           OLD   INSTRUMENTATION

Old instruments date all the way back to the end of the ICE AGE.
We find wooden round  flutes with 3 or 5 holes.

One sound whistles made of reindeer bones are found in caves and rocks mixed with pictures of archers.

These findings are more prevalent in MESOPOTAMIA around
7.000 B.C. 

                        Findings in ancient Greece

The oldest Greek musical Instrument was found near the lake KASTORIA around 5.800 B.C.,  It is a flute --------
This flute was made of a large bone of a bird and produces
more than one sound ( musical note)   However!!

The oldest known bone flute is 25 thousand years old and it was found in the Slovanian cave DIVJE BABE in 1995.

In my article " The Origins of Music " dated  May 6,  I have posted a VIDEO  from my
lecture regarding this subject, Please, go to that date and click on the VIDEO to see
the display of OLD INSTRUMENTS  on the power point. Scroll down to find the date.
                   Greek, Egyptian, Middle Eastern, Russian, Roman, Chinese.
                                     
                                                                                                        Evi Martyn
                                                                 Hellenic Culture Advocate
To be continued:

The next segment will be dedicated to the PERIODS OF MUSIC.


May 12, 2012


PART TWO 
Subject:  " The Origins of Music"

        The Philosophy of Music,  a historical analysis

                    Credit goes to the Greek philosopher
                                    PYTHAGORAS
                                                         Article by: Evi Martyn

It is highly probable that the Greek initiates gained their knowledge of the philosophic and therapeutic aspects of Music from the Egyptians, who, in turn,
considered HERMES the founder of the Art.
According to one legend, this God constructed the first Lyre by stretching strings
across the concavity of a turtle shell.  Both Isis and Osiris were patrons of music and
poetry.  PLATO , declared that songs and poetry had existed in Egypt for  at least
ten thousand years.

The Lyre was regarded as the secred symbol of the human constitution, the body of
the instrument representing the physical form, the strings the nerves, and the musician the spirit.

While the early Chinese, Hindus, Persians, Egyptians, Israelites, and Greeks employed both vocal and instrumental music in their religious ceremonies, it was
PYTHAGORAS who raised the art to its true dignity by demonstrating its mathematical foundation.  Although he himself was not a musician, he is now generally credited with the diatonic SCALE.  ( check the 1996 discussion on Harmonics, Music, Pythagoras and the Universe from the Alexandria City,
            Ray Tomes, Andrew Green, Joseph Milne).
       *******************************************************************************************

The subject  Music is vast and I will continue with a PART THREE , where we will discuss
the Evolution of Music, Periods of Music, Instrumentation, vocal music etc.
Meanwhile, those of you who didn't see the VIDEO on" THE ORIGINS OF MUSIC"
please, click on:  http://www.youtube.com/watch?v=ZL5gZjhqW74 from my lecture
May 15, 2011 and enjoy.
.

                                                                                        Evi Martyn : concert pianist
                                                                                          Hellenic Culture Advocate