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The Anglo-Saxon lyre was once used to accompany poetry throughout England. Unfortunately, it faded from favor after the harp gained popularity in the 9th and 10th centuries. Few records were left about its construction and playing techniques. The Lyre Handbook combines information from a variety of sources to help the musician or historian who is new to the lyre. It includes instructions for constructing a basic lyre and two methods of playing are taught with drills and simple songs. This booklet also contains a bibliography that can help you with further research. With this booklet, you can be one of the people rediscovering the lyre.
Ancient Greek music and music theory has fascinated scholars for centuries not only because of its intrinsic interest as a part of ancient Greek culture but also because the Greeks? grand concept of music has continued to stimulate musical imaginations to the present day. Unlike earlier treatments of the subject, Apollo?s Lyre is aimedøprincipally at the reader interested in the musical typologies, the musical instruments, and especially the historical development of music theory and its transmission through the Middle Ages. The basic method and scope of the study are set out in a preliminary chapter, followed by two chapters concentrating on the role of music in Greek society, musical typology, organology, and performance practice. The next chapters are devoted to the music theory itself, as it developed in three stages: in the treatises of Aristoxenus and the Sectio canonis; during the period of revival in the second century C.E.; and in late antiquity. Each theorist and treatise is considered separately but always within the context of the emerging traditions. The theory provides a remarkably complete and coherent system for explaining and analyzing musical phenomena, and a great deal of its conceptual framework, as well as much of its terminology, was borrowed and adapted by medieval Latin, Byzantine, and Arabic music theorists, a legacy reviewed in the final chapter. Transcriptions and analyses of some of the more complete pieces of Greek music preserved on papyrus or stone, or in manuscript, are integrated with a consideration of the musicopoetic types themselves. The book concludes with a comprehensive bibliography for the field, updating and expanding the author?s earlier Bibliography of Sources for the Study of Ancient Greek Music.
The first comprehensive study of the dominant form of solo singing in Renaissance Italy prior to the mid-sixteenth century.
No ancient culture has left us more tantalizing glimpses of its music than that of the Greeks, whose art and literature continually speak to us of the role of music, its power, and its significance to their society. In this book two scholars--one of music and one of classics--join together to explore the musical life of ancient Greece, focusing on the Greek stringed instruments and, in particular, on the all-important lyre family. Book jacket.
Octavio Paz presents his sustained reflections on the poetic phenomenon and on the place of poetry in history and in our personal lives.
Sappho sang her poetry to the accompaniment of the lyre on the Greek island of Lesbos over 2500 years ago. Throughout the Greek world, her contemporaries composed lyric poetry full of passion, and in the centuries that followed the golden age of archaic lyric, new forms of poetry emerged. In this unique anthology, today's reader can enjoy the works of seventeen poets, including a selection of archaic lyric and the complete surviving works of the ancient Greek women poets—the latter appearing together in one volume for the first time. Sappho's Lyre is a combination of diligent research and poetic artistry. The translations are based on the most recent discoveries of papyri (including "new" Archilochos and Stesichoros) and the latest editions and scholarship. The introduction and notes provide historical and literary contexts that make this ancient poetry more accessible to modern readers. Although this book is primarily aimed at the reader who does not know Greek, it would be a splendid supplement to a Greek language course. It will also have wide appeal for readers of' ancient literature, women's studies, mythology, and lovers of poetry.
Lyre is a sonic, sculptural cornucopia of new and startling forms. Stuart Cooke proposes that all kinds of life -- animal, plant and otherwise -- have their own modes of expression, each of which can each be translated into a different kind of poetry. Ranging across Australasian oceans, coastlines, rainforests, savannahs and deserts, and similarly wide-ranging in its approach to form and lineation, Lyre asks what happens when poems make contact with non-human worlds; in so doing, it welcomes whole new worlds to poetry. Inspired in part by books like Les Murray's Translations from the Natural World and Barry Hill & John Wolseley's Lines for Birds, Lyre is the result of many years of research into a selection of Australasian flora, fauna and landforms. The collection asks what happens to poetry when it encounters more-than human life.
'I'm Peta Lyre,' I mumble. Look people in the eye if you can, at least when you greet them. I try, but it's hard when she is smiling so big, and leaning in. Peta Lyre is far from typical. The world she lives in isn't designed for the way her mind works, but when she follows her therapist's rules for 'normal' behaviour, she can almost fit in without attracting attention. When a new girl, Sam, starts at school, Peta's carefully structured routines start to crack. But on the school ski trip, with romance blooming and a newfound confidence, she starts to wonder if maybe she can have a normal life after all. When things fall apart, Peta must decide whether all the old rules still matter. Does she want a life less ordinary, or should she keep her rating normal? A moving and joyful own voices debut. 'Honest, perceptive and gutsy; I loved tuning into Peta's world.' - Emily Gale