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mamamoon92 · 4 years ago

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Greek gods & goddesses ✨

☆ACHELOIS: A minor moon goddess whose name means “she who washes away pain”.

☆Alcyone: One of the seven, Pleiades and daughter of Atlas and Pleione. She bore several children with the god Poseidon.

☆ALECTRONA: An early Greek goddess of the sun, daughter of Helios and Rhode, and possibly goddess of the morning.

☆AMPHITRITE: Greek goddess of the sea, wife of Poseidon and a Nereid.

☆ANTHEIA: Goddess of gardens, flowers, swamps, and marshes.

☆APATE: Goddess of gardens, flowers, swamps, and marshes.

☆APHAEA: A Greek goddess who was worshipped almost exclusively at a single sanctuary on the island of Aegina in the Saronic Gulf.

☆APHRODITE: Goddess of love and beauty and married to Hephaestus.

☆ARTEMIS: Virginal goddess of the hunt and twin sister of Apollo.

☆ASTRAEA: Known as the “Star Maiden”, daughter of either Zeus and Themis, or of Astraeus and EOS and associated with the Greek goddess of justice, Dike.

☆ATÉ: Greek goddess of mischief, delusion, ruin, and folly.

☆ATHENA: Goddess of wisdom, poetry, art, and war strategy. Daughter of Zeus and born from his forehead fully grown, wearing battle armour.

☆ATROPOS: Eldest of the three Moirai, goddesses of fate and destiny (also known as The Fates). Atropos chose the mechanism of death and ended the life of each mortal by cutting their thread.

☆BIA: The goddess of force and raw energy, daughter of Pallas and Styx, and sister of Nike, Kratos, and Zelus.

☆BRIZO:Ancient Greek prophet goddess who was known as the protector of mariners, sailors, and fishermen.

☆CALLIOPE: One of the Muses, the muse of epic poetry, daughter of Zeus and Mnemosyne and the wisest of the Muses.

☆CALYPSO: Sea nymph who lived on the island of Ogygia, where she detained ODYSSEUS for several years. Generally said to be the daughter of the Titan ATLAS.

☆CELAENO: One of the Pleiades, and a wife of Poseidon. Said to be the mother of the sea god’s children Lycus and Nycteus

☆CETO: Primordial sea monster goddess, the daughter of Gaia and Pontus and mother of sea monsters.

☆CIRCE: A goddess of magic who transformed her enemies, or those that insulted her, into beasts.

☆CLIO: The muse of history and one of the nine muses known as “The Muses”. Like all the muses, Clio is the daughter of Zeus and the Titaness Mnemosyne.

☆CLOTHO: Youngest of the Three Fates and responsible for spinning the thread of human life.

☆CYBELE: The Greek goddess of caverns, mountains, nature and wild animals.

☆DEMETER: Goddess of agriculture, fertility, sacred law and the harvest.

☆DORIS: A sea nymph whose name represented the bounty of the sea. Mother of the Nereids.

☆EILEITHYIA: Goddess of childbirth, referred to by Homer as “the goddess of the pains of birth”.

☆ELECTRA: One of the seven daughters of Atlas and Pleione, known as The Pleiades.

☆ELPIS: The spirit and personification of hope. Hope was usually seen as an extension to suffering by the Greek, not as a god.

☆ENYO: Minor goddess of war and destruction, the companion and lover of the war god Ares and connected to Eris.

☆EOS: A Titaness and the goddess of the dawn.

☆ERATO: One of the Muses, the muse of lyric poetry, especially love and erotic poetry.

☆ERIS: Greek goddess of chaos, strife and discord and connected to the war-goddess Enyo.

☆EUTERPE: One of the Muses, the muse of music and lyric poetry.

☆GAIA: The primal Greek goddess of the Earth. Known as the great mother of all and often referred to as “Mother Earth”.

☆HARMONIA: The Greek goddess of harmony and concord.

☆HEBE: Goddess of eternal youth.

☆HECATE: The goddess of magic, crossroads, moon, ghosts, witchcraft and necromancy (the undead).

☆HEMERA: Primordial goddess of the day, daytime and daylight. Daughter to Erebus and Nyx (the goddess of night).

☆HERA: Goddess of goddesses, women, and marriage. Married to Zeus and known as Queen of the Gods.

☆HESTIA: goddess of the hearth, home, architecture, domesticity, family, and the state. Also one of the Hesperides.

☆HYGEA: Goddess of good health, cleanliness, and sanitation. This is where the word “hygiene” comes from.

☆IRIS: Greek goddess of the rainbow and messenger of the gods. She is also known as one of the goddesses of the sea and the sky.

☆KERES: The Keres were female spirits, the daughters of Nyx, the goddess of night.

☆KOTYSA: Dionysian goddess whose celebrations were wild and lascivious.

☆LACHESIS: Second of the Three Fates, the measurer of the thread of life woven by Clotho’s spindle which determines Destiny.

☆MAIA: Eldest of the seven Pleiades and the greek goddess of fields.

☆MANIA: Spirit goddess of insanity, madness, crazed frenzy and the dead.

☆MELPOMENE: One of the Muses. Originally the muse of singing, she then became the muse of tragedy.

☆MEROPE: One of the seven Pleiades and married to king Sisyphos of Ephyra.

☆METIS: Titan goddess of wisdom, an Oceanid, and the first great spouse of Zeus.

☆NEMESIS: The goddess of retribution and personification of vengeance.

☆NIKE: Goddess of victory, known as the Winged Goddess of Victory.

☆NYX: Primordial goddess of the night.

☆PEITHO: Greek goddess of persuasion and seduction.

☆PERSEPHONE: Goddess of vegetation and spring and queen of the underworld. Lives off-season in the underworld as the wife of HADES.

☆PHEME: The goddess of fame, gossip and renown. Her favour is notability, and her wrath is scandalous rumors.

☆POLYHYMNIA: One of The Muses, the muse of sacred poetry, sacred hymn, dance, and eloquence as well as agriculture, geometry and pantomime.

☆RHEA: Titaness and goddess of nature. Daughter of the earth goddess Gaia and the sky god Uranus, and known as “the mother of gods”.

☆SELENE: Goddess of the Moon, sometimes referred to as Luna and the ��mother’ of vampires.

☆STEROPE: One of the seven Pleiades (the daughters of Atlas and Pleione) and the wife of Oenomaus – although according to some accounts, she is his mother by Ares.

☆STYX: Goddess of the river Styx and a Naiad who was the first to aid Zeus in the Titan war.

☆TAYGETE: A mountain nymph and one of the seven Pleiades.

☆TERPSICHORE: Goddess of dance and chorus and one of the nine Muses.

☆THALIA: One of the Muses, the muse of comedy and idyllic poetry.

☆THE ERINNYES: Goddesses of retribution and vengeance whose job was to punish men who committed heinous crimes.

☆THE GRACES: Goddesses of retribution and vengeance whose job was to punish men who committed heinous crimes.

☆THE MUSES: The nine Muses were the goddesses the arts.

☆THEMIS: Ancient Greek Titaness and goddess of divine order, law, natural law and custom.

☆THETIS: Sea nymph, goddess of water and one of the fifty Nereids, daughters of the ancient sea god Nereus. Also a shapeshifter and a prophet.

☆TYCHE: Goddess of prosperity and fortune.

☆URANIA: One of the Muses, the muse of astronomy and astrology.

🖤✨

#green witch #lunar witch #gemini #witchyvibes #witchy blog #greek gods #greek goddess #mythology #greek

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x-x-just-a-little-witchyy-x-x · 3 years ago

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Greek Deities (female)

Female

ACHELOIS - A minor moon goddess whose name means “she who washes away pain”.

ALCYONE - One of the seven, Pleiades and daughter of Atlas and Pleione. She bore several children with the god Poseidon.

ALECTRONA - An early Greek goddess of the sun, daughter of Helios and Rhode, and possibly goddess of the morning.

AMPHITRITE - Greek goddess of the sea, wife of Poseidon and a Nereid.

ANTHEIA - Goddess of gardens, flowers, swamps, and marshes.

APATE - Goddess of gardens, flowers, swamps, and marshes.

APHAEA - A Greek goddess who was worshipped almost exclusively at a single sanctuary on the island of Aegina in the Saronic Gulf.

APHRODITE - Goddess of love and beauty and married to Hephaestus.

ARTEMIS - Virginal goddess of the hunt and twin sister of Apollo.

ASTRAEA - Known as the “Star Maiden”, daughter of either Zeus and Themis, or of Astraeus and EOS and associated with the Greek goddess of justice, Dike.

ATE - Greek goddess of mischief, delusion, ruin, and folly.

ATHENA - Goddess of wisdom, poetry, art, and war strategy. Daughter of Zeus and born from his forehead fully grown, wearing battle armour.

ATROPOS - Eldest of the three Moirai, goddesses of fate and destiny (also known as The Fates). Atropos chose the mechanism of death and ended the life of each mortal by cutting their thread.

BIA - The goddess of force and raw energy, daughter of Pallas and Styx, and sister of Nike, Kratos, and Zelus.

BRIZO - Ancient Greek prophet goddess who was known as the protector of mariners, sailors, and fishermen.

CALLIOPE - One of the Muses, the muse of epic poetry, daughter of Zeus and Mnemosyne and the wisest of the Muses.

CALYPSO - Sea nymph who lived on the island of Ogygia, where she detained ODYSSEUS for several years. Generally said to be the daughter of the Titan ATLAS.

CELAENO - One of the Pleiades, and a wife of Poseidon. Said to be the mother of the sea god’s children Lycus and Nycteus

CETO - Primordial sea monster goddess, the daughter of Gaia and Pontus and mother of sea monsters.

CIRCE - A goddess of magic who transformed her enemies, or those that insulted her, into beasts.

CLIO - The muse of history and one of the nine muses known as “The Muses”. Like all the muses, Clio is the daughter of Zeus and the Titaness Mnemosyne.

CLOTHO - Youngest of the Three Fates and responsible for spinning the thread of human life.

CYBELLE - The Greek goddess of caverns, mountains, nature and wild animals.

DEMETER - Goddess of agriculture, fertility, sacred law and the harvest.

DORIS - A sea nymph whose name represented the bounty of the sea. Mother of the Nereids.

EILEITHYIA - Goddess of childbirth, referred to by Homer as “the goddess of the pains of birth”.

ELECTRA - One of the seven daughters of Atlas and Pleione, known as The Pleiades.

ELPIS - The spirit and personification of hope. Hope was usually seen as an extension to suffering by the Greek, not as a god.

ENYO - Minor goddess of war and destruction, the companion and lover of the war god Ares and connected to Eris.

EOS - A Titaness and the goddess of the dawn.

ERATO - One of the Muses, the muse of lyric poetry, especially love and erotic poetry. ERIS - Greek goddess of chaos, strife and discord and connected to the war-goddess Enyo.

EUTERPE - One of the Muses, the muse of music and lyric poetry.

GAIA - The primal Greek goddess of the Earth. Known as the great mother of all and often referred to as “Mother Earth”.

HARMONIA - The Greek goddess of harmony and concord.

HEBE - Goddess of eternal youth.

HECATE - The goddess of magic, crossroads, moon, ghosts, witchcraft and necromancy (the undead).

HEMERA - Primordial goddess of the day, daytime and daylight. Daughter to Erebus and Nyx (the goddess of night).

HERA - Goddess of goddesses, women, and marriage. Married to Zeus and known as Queen of the Gods.

HESTIA - goddess of the hearth, home, architecture, domesticity, family, and the state. Also one of the Hesperides.

HYGEA - Goddess of good health, cleanliness, and sanitation. This is where the word “hygiene” comes from.

IRIS - Greek goddess of the rainbow and messenger of the gods. She is also known as one of the goddesses of the sea and the sky.

KERES - The Keres were female spirits, the daughters of Nyx, the goddess of night.

KOTYS - A Dionysian goddess whose celebrations were wild and lascivious.

LACHESIS - Second of the Three Fates, the measurer of the thread of life woven by Clotho’s spindle which determines Destiny.

MAIA - Eldest of the seven Pleiades and the greek goddess of fields.

MANIA - Spirit goddess of insanity, madness, crazed frenzy and the dead.

MELPOMENE - One of the Muses. Originally the muse of singing, she then became the muse of tragedy. MEROPE - One of the seven Pleiades and married to king Sisyphos of Ephyra. METIS - Titan goddess of wisdom, an Oceanid, and the first great spouse of Zeus.

NEMESIS - The goddess of retribution and personification of vengeance.

NIKE - Goddess of victory, known as the Winged Goddess of Victory.

NYX - Primordial goddess of the night.

PEITHO - Greek goddess of persuasion and seduction.

PERSEPHONE - Goddess of vegetation and spring and queen of the underworld. Lives off-season in the underworld as the wife of HADES.

PHEME - The goddess of fame, gossip and renown. Her favour is notability, and her wrath is scandalous rumors.

POLYHYMNIA - One of The Muses, the muse of sacred poetry, sacred hymn, dance, and eloquence as well as agriculture, geometry and pantomime.

RHEA - Titaness and goddess of nature. Daughter of the earth goddess Gaia and the sky god Uranus, and known as “the mother of gods”.

SELENE - Goddess of the Moon, sometimes referred to as Luna and the ‘mother’ of vampires.

STEROPE - One of the seven Pleiades (the daughters of Atlas and Pleione) and the wife of Oenomaus – although according to some accounts, she is his mother by Ares.

STYX - Goddess of the river Styx and a Naiad who was the first to aid Zeus in the Titan war.

TAYGETE - A mountain nymph and one of the seven Pleiades.

TERPSICHORE - Goddess of dance and chorus and one of the nine Muses.

THALIA - One of the Muses, the muse of comedy and idyllic poetry.

THE ERINNYES - Goddesses of retribution and vengeance whose job was to punish men who committed heinous crimes.

THE GRACES - Goddesses of retribution and vengeance whose job was to punish men who committed heinous crimes.

THE MUSES - The nine Muses were the goddesses the arts.

THEMIS - Ancient Greek Titaness and goddess of divine order, law, natural law and custom.

THETIS - Sea nymph, goddess of water and one of the fifty Nereids, daughters of the ancient sea god Nereus. Also a shapeshifter and a prophet.

TYCHE - Goddess of prosperity and fortune.

URANIA - One of the Muses, the muse of astronomy and astrology.

Information found on: https://greekgodsandgoddesses.net/goddesses/

#witchblr #my research #greek goddesses

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clioportraits · 6 years ago

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The muses must be really busy this week

Calliope, Erato and Polyhimnia did most of their work beforehand but these few days must help the contestants remember and properly sing their lyrics, as well as help the fans learn them.

Melpomene and Thalia gotta assist with the performing energy as well as shelter emotionally the losers and rejoice the winners.

My bae Clio has to watch over all these nations that spent centuries warmongering against each others and make sure they don’t slip into old habits during the voting rounds.

Urania... surely there must be some stage decor inspired in the sky and stars, right? There are always a few each year. Anyway, she brings the coffee.

But Terpsichore (muse of dance and chorus) and Euterpe (of music)... OH BOI! The poor women won’t sleep, eat or relax this week at all!! So be good my friends and sacrifice a pizza to them!

#esc 2019 #eurovison #esc greece #greek mythology #eurovision memes #clio originals

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libidomechanica · 6 years ago

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But he soone would explaining metaphysics, had bredd

And placid miscreant! Here right so a wyf in pees. Shal berė hym on lyve. The wheeling dwells in my love, love’s fuellers, and all that loyal treason, of the corps lay in truth, the slaves

do do paint the fame your vertue is contaynd in your heauy hart, hind, and

waves, and gane, the amorous sphere to give him a good felawe. Hangs that rang with truth or error, retire: but look into your selfe with mortality. For whoso may, who

in her cruelty doth worke delyte? She merely rubbing the heauen aspirant profounder; nor vnto me gaue by kind. A sad, sour, sober beverage was vacant, thou verray blood of twilight with hounds and walking in chorus, cheek where western gate, Luke Havergal— luke Havergal, the striped white: to see a matrons from former follies

moue to stayed steps: for the rest: but ours so true

fire withouten purveiance of Platonism, which made hym with one salue of soueraigne

head of shepheards, which round jubilance of dry land that Loues honor, to

say I love has died or some female or two seconds in a glass; place has been but she, my golden hair. There lies in never craned, and by each soule

never saw her most desperate Father once more stedfast might diffuse; but of such a tale! Submits his nations; to ‘do at Rome,

a cardinal, that ear which turn’d, pious, temperament, of all before the poet heresy nor trumpet peaceful fold, of a pretty women—the sweet

prayses forth. With daungerous life is less of her years— and said ‘the wild rose- briar, friendship in a Brussels lace. I sawe Calliope wyth Muses Hobbinol, I conne no skill reueale, and certain portion of a close in her

lip he doth still my painful plight. Can nowhere fyne t’o reden on the lake as,

seistow, olde barel-ful of lyes! While you would fondly cherish’d by the

other maxim, ‘Noscitur a sociis,’ is much Adeline’s servant too.’

#poetry #automatically generated text #Patrick Mooney #Markov chains #old textual selection method #Markov chain length: 7 #148 texts

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bobdylandreams · 4 years ago

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Mother Of Muses

Written by Bob Dylan

Released on Rough And Rowdy Ways (2020) Tabbed by Eyolf Østrem

The tab for the intro is a combination of what the main guitar plays throughout the verses, but numerous variations occur. The E6-E7 figure in the second line is sometimes played Em or Em7. (This figure is quite useful for songs in A major. Dylan used it for Aznavour's The Times We've Known in New York, 1998.) The C-shape barre versions of D and E can of course be replaced with simpler shapes. The rather awkward twist to the F#m towards the end can be played as a straightforward F#m.

A E6 E7 A . : . . . : . . . -------|-----------------|-----------------|| -----0-|h2---0---2---0---|-2-------------0-|| ---2---|-2-----2-1---1---|-2-----------2---|| -------|-2-------2---0---|-2---------------|| -------|-0---------------|-0---------------|| -------|---------0-------|-----------------|| Mother of A D Dsus2 A A E6 E7 A : . . . : . . . : . . . : . . . |---------2---0---|-0---------------|-----------------|-----------------| |h2---0---3-------|-2-------------0-|h2---0---2---0---|-2-----------2-3-| |-2-----2-2-------|-2-----------2---|-2-----2-1---1---|-2---------------| |-2---------------|-2---------2-----|-2-------2---0---|-2-----------2-4-| |-0-------0-------|-0---------------|-0---------------|-0---------------| |-----------------|-----------------|---------0-------|-----------------| mu-ses, sing for me. Sing of the mountains and the Sing of the deep dark sea A Em Em G/b A/c# D E D : . . . : . . . : . . . : . . . |-0---------------|-0---------------|-----------------|-2---------------| |-5-----5-8---7---|-0-------0---2---|-3---2-3-5-------|-3---------------| |-6---6---9-------|-0-------0---2---|-2-------------4-|-2---------------| |-7-------9-------|---------0---2---|-4-----------6---|-0---------------| |-0---------------|---------2---4---|-----------7-----|-----------------| |---------0-------|-0---------------|-----------------|-----------------| lakes and the sing your hearts nymphs of the forest out, all you women of the chorus. Sing of D6 A/e A C#7 F#m D A/e E6 E7 A : . . . : . : . . . : . . . : . |-7-----7-5-------|---------|-----------------|-----0-----------|-------- |-7-------5-------|-----2---|-3---2---------0-|-2-------2---0---|-------- |-7---7---6-------|-----4---|-1---2---2-------|-2-----2-1---1---|-2------ |-7-7-----7-------|-----3---|---------4-------|-2-------2---0---|-2------ |-5-------7-------|-----4---|---------5-------|-----------------|-0------ |-----------------|---------|-2---------------|---------0-------|-------- honor and faith and glory be. Mother of muses, sing for me.

A D Dsus2 A Mother of Muses sing for me A E6 E7 A Sing of the mountains and the deep dark sea A Em Em . G/b Sing of the lakes and the nymphs of the forest A/c# D E/g# D/a Sing your hearts out, all your women of the chorus D6 A/e A C#7 F#m Sing of honor and fate and glory be A/e E6 E7 A Mother of Muses sing for me

Mother of Muses sing for my heart Sing of a love too soon to depart Sing of the heroes who stood alone Whose names are engraved on tablets of stone Who struggled with pain so the world could go free Mother of Muses sing for me

Sing of Sherman, Montgomery and Scott A Em A And of Zhukov, and Patton, and the battles they fought Who cleared the path for Presley to sing Who carved the path for Martin Luther King Who did what they did and they went on their way Man, I could tell their stories all day

I'm falling in love with Calliope A Em A She don't belong to anyone, why not give her to me? She's speaking to me, speaking with her eyes I've grown so tired of chasing lies Mother of Muses, wherever you are I've already outlived my life by far

Mother of Muses, unleash your wrath Things I can't see, they're blocking my path Show me your wisdom, tell me my fate Put me upright, make me walk straight Forge my identity from the inside out You know what I'm talking about

Take me to the river, release your charms Let me down a while in your sweet, loving arms Wake me, shake me, free me from sin Make me invisible, like the wind Got a mind that ramble, got a mind that roam I'm travelin' light and I'm a-slow coming home

The basic tab as played by Blake Mills himself:

A E6 E7 A . : . . . : . . . -------|-------2---------|-----------------|| -------|/2---5---2---0---|-----------------|| ---2-4-|-----------------|-2-----------2-4-|| -------|/2-------2---0---|-2---------------|| -------|-----------------|-4---------------|| -------|-0-------0-------|-5-----5-5-------|| A D Dsus2 A A E6 E7 A : . . . : . . . : . . . : . . . |---------2---0---|-0---------------|-------2---------|-----------------| |-2-------3-------|-2---------------|/2---5---2---0---|-------------2-3-| |-2---4-2-2-------|-2-----------2-4-|-----------------|-2-----------2-4-| |-2-------4-------|-2---------------|/2-------2---0---|-2---------------| |-0-------0-------|-0---------------|-----------------|-4---------------| |-----------------|-----------------|-0-------0-------|-5-----5-5-------| A Em Em G/b A/c# D E Dadd9/a : . . . : . . . : . . . : . . . |-0-----0-7---5---|-5---------------|-----------------|-0---------------| |-5---5---8-------|-8-------0---2---|-3---2-3-5---5---|-3---------------| |-6---6-----------|---------0---2---|-2-------4-------|-2---------------| |-----------------|---------0---2---|-----------------|-4---------------| |-0---------------|-7-----------4---|-----------------|-----------------| |---------0-------|---------7-------|-2-------4-------|-5---------------| D6 A/e A C#7 F#m D A/e E6 E7 A : . . . : . : . . . : . . . : . |-7-----7-5-------|---------|-----------------|-------2---------|-------- |-7---7---5-----2-|-2---0---|-3---2---------0-|-2---5---2---0---|-------- |-7-------6---6---|-2---1---|-1---2---2-------|-2---------------|-2------ |-7---7---7-7-----|-2---0---|---------0-------|-2-------2---0---|-2------ |-5-------7---7---|---------|-----------------|-----------------|-4------ |-----------------|-0---1---|-2---------------|-0-------0-------|-5------

Note the fingering in the D E bar: D is played with thumb and a half-barre, E with middle, ring, and little fingers.

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autodidact-adventures · 7 years ago

Text

Music History (Part 1): Ancient Greece

Many ancient cultures believed that music had magic powers – that it could heal sickness, purify the body & mind, and work miracles. In the Old Testament of the Bible, David cures Saul's madness by playing the harp (1 Samuel 16:14-23); shouting and trumpet-blasts bring down the walls of Jericho (Joshua 6:12-20). In the Greek Dark Age (c.1100-800 BC), bards sang long poems in praise of heroes.

The Greeks believed music to have been invented by gods & demigods, who were also the earliest musicians – for example Apollo, Amphion (twin brother of Zethus) and Orpheus. Music was an essential part of religious ceremonies.

The main instrument for the cult of Apollo was the lyre; for the cult of Dionysus it was the aulos. Both of these instruments probably came from Asia Minor. The lyre and kithara (a bigger lyre) had 5-7 strings, and this later increased to 11. They were played solo, and to accompany epic poems (which could be sung or recited).

The aulos is sometimes incorrected translated as “flute”. It was a single-reeded instrument (sometimes double-reeded), with twin pipes. Its usage in the worship of Dionysus was to accompany the singing of dithyrambs, poems which were the predecessors of the Greek drama. In the classical age, the great tragedies of writers such as Aeschylus, Euripides and Sophocles had choruses (and other musical sections) that were accompanied by the aulos, or had alternating singing/aulos sections.

Psalteria were string instruments that were plucked with the hand, as opposed to with a plectrum. (The lyre & kithara used plectrums.) There was also a wide variety of percussion instruments.

The lyre and aulos were played independently as solo instruments from the 500's BC onwards (or perhaps earlier). Sakadas of Argos won a musical competition at the Pythian Games in 582 BC. He played Nomos Pythicos, an aulos composition that portrayed the battle between Apollo and the serpent Python.

After the 400's BC, kithara and aulos competitions became more & more popular, and so did festivals of instrumental and vocal music. As instrumental music became more independent, the number of virtuosi increased, and thus the music became more & more complex and show-offy.

Audiences of thousands would gather whenever famous musicians appeared. Kitharodes (singers who accompanied themselves on the kithara) gave concert tours and got very rich from them, especially after they'd become famous from winning competitions.

There were also famous women musicians – they were banned from competing in the games, but special decrees were written to allow the best to perform outside of the contests. However, they could only play string instruments, as the aulos was considered to be suitable only for slaves, courtesans and entertainers.

Sons of elite citizens were taught to play the aulos or kithara, and some of them aimed to reach the level of a virtuoso. (In Roman times, Nero managed this.) But Aristotle didn't approve of this, believing that music education shouldn't focus on show and flash:

The right measure will be attained if students of music stop short of the arts which are practised in professional contests, and do not seek to acquire those fantastic marvels of execution which are now the fashion in such contests, and from these have passed into education. Let the young practise even such music as we have prescribed, only until they are able to feel delight in noble melodies and rhythms, and not merely in that common part of music in which every slave or child and even some animals find pleasure.

Little survives of Greek music – about 45 pieces & fragments, from about the 200's BC – 300's AD. Some of them were written during the period of Roman dominance, but with Greek texts. All used a system of Greek notation. The most well-known are:

Euripides' Orestes – fragment of a chorus (lines 338-344), from a papyrus c.200 BC. The music may have been written by Euripides.

Euripides' Iphigenia in Aulis (lines 783-793).

Two Delphic hymns to Apollo, which are mostly complete. The second one is from 128-127 BC.

Epitaph of Seikilos – a tombstone epigraph probably from the 00's AD.

Hymn to Nemesis, Hymn to the Sun, and Hymn to the Muse Calliope, written by Mesomedes of Crete (100's AD).

Orestes fragment.

youtube

From these pieces & fragments, and from Greek writings on music, we know that it was mostly monophonic. Some was heterophonic – with instruments playing the melody along with a singer/ensemble, and embellishing it.

Greek music was not polyphonic. The melody & rhythm of music was tied up with that of poetry. There is no evidence that Greek music practice was continued by the early Christians.

Greek Theory

The legendary founder of Greek music theory was Pythagoras (c.500 BC), and its last important writer was Aristides Quintilianus (300's AD). Greek writings on music can be divided into two categories: a) about the nature of music, its place in the cosmos, its effects, and its place in human society (i.e. philosophy); and b) descriptions of musical composition. Western music in the medieval era was greatly influenced by Greek musical theory.

For the Greeks, the word music had a much wider meaning, being tied up with maths, poetry, and astronomy (sometimes). Music and maths were intertwined and inseparable, and it was believed that numbers were the key to the entire universe (both in the physical & spiritual sense). Therefore, music corresponded to the harmony of the cosmos, and was a microcosm of it.

Plato explained this belief in Timaeus, which was the most well-known of his dialogues during the Middle Ages, and also in his Republic. His views on the nature & uses of music affected medieval & Renaissance ideas about music, and its place in education.

Some Greek philosophers saw music as being connected with astronomy as well. Claudius Ptolemy (100's AD) was the most systematic music theorist of antiquity, and he was also the leading astronomer of those times. People like him believed that mathematic laws ordered both the celestial bodies and music intervals. Certain modes (and certain notes) corresponded with certain planets, the distances between them, and their movements.

Plato wrote about the “music of the spheres” in the Republic. This was the (inaudible) music that the planets' revolution produced. This idea was taken up by people writing about music in the Middle Ages and later (including Shakespeare & Milton).

The Greeks saw music & poetry as almost the same thing. Plato defined melos (song) as a mixture of speech, rhythm and harmony. Lyric poetry was poetry that was sung to the accompaniment of the lyre (hence the term “lyrics”). The Greek word for “tragedy” has the word ōdē (“the art of singing”) in it. Many of the Greek words for different kinds of poetry were musical terms, such as hymn.

Aristotle's Poetics states that language, melody and rhythm are the elements of poetry, and that “There is another art which imitates by means of language alone, and that either in prose or verse...but this has hitherto been without a name.” I.e., there was spoken poetry, with no music involved, but there was no word for it.

The Doctrine of Ethos

Greek writers believed that music had moral qualities (although they disagreed on which ones worked in which ways), and that it could influence or change a person's character or behaviour. This worked with the Pythagorean belief that music's pitch & rhythm was governed by those same mathematical laws that governed the physical & spiritual world. Numerical relationships kept the soul in harmony. Therefore, because music followed this numerical system, and could penetrate the soul, it could change a person, whether for better or for worse.

The belief that the legendary musicians of mythology could perform miracles was related to this, as well.

Aristotle wrote about how music could influence a person's behaviour. Music imitated the passions or states of the soul, he wrote, and a piece of music that imitated courage (for example) could make a person feel courageous. But listening to music that aroused the wrong kinds of passions (such as indolence) would distort a person's character in the long run (and vice versa).

Both Plato and Aristotle believed that a person's character could be molded the right way through a system of public education, with gymnastics to discipline the body, and music to discipline the mind.

In his Republic (c.380), Plato wrote that too much music would make a man effeminate or neurotic, but too much gymnastics would make him ignorant, uncivilized, and violent. “He who mingles music with gymnastics in the fairest proportions, and best accommodates them to the soul, may be rightly called the true musician.”

Plato was quite strict on what sort of music was suitable to listen to. Men who were being trained to govern shouldn't listen to melodies that expressed softness or indolence. In fact, they should only listen to music in Dorian and Phrygian modes, because they expressed temperance and courage. Other modes were not appropriate.

He criticized the current style of music, which used many notes & complex scales, and mixed incompatible genres, rhythms and instruments. Musical conventions should be stuck to once established, he believed, because lawlessness in art & education would lead to the same thing in society.

The saying “Let me make the songs of a nation and I care not who makes its laws” was a pun on the Greek word nomos, which meant “custom/law” and also the melodic scheme of a piece of music.

Aristotle wasn't as strict as Plato when it came to suitable modes & rhythms, and he wrote about that in his Politics (c.330 BC). He believed that music could be listened to for enjoyment as well as education. Also, he believed that emotions such as pity & fear could be “purged” by using music & drama to induce them in people.

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roleplay-central · 4 years ago

Text

Feral Beginnings; Part 7

Kolina hadn't eaten. She hadn't slept. Not for a long time. It didn't even occur to her those were priorities. She only had one thing on her mind. Stay on guard. Watch her back. Protect the Heart. Protect the Garou. They were fast healers, naturally. But sometimes there was poison. Sometimes there was just exhaustion. If they needed light and energy, she would give it all.

The days were welded together since the attack on the Sept. She has no idea where that small group ran off to with Hemlata. And she hadn't seen them since. Nadya. Alle. Lumi. The others. Edmond's stupid brilliant face.

Her chest tightened.

Even that young annoying Shadow Lord went with them. She didn't miss that one so much. But wherever they were, she hoped they were okay.

As she sat and studied different healing herbs she collected recently, a little hand appeared and pointed at her chest. Ransom didn't speak much around her, thankfully. They solely relied on body language and eye contact. Or lack thereof. He never looked at her face.

He pointed again at her apparent scar. All she could sense was the curiosity.

She thought about it. And realized she hadn't thought about it in a long time. Not since Wilhelm asked her how she got it.

"You want know. How got scar?"

He nodded.

Kolina sat up straight and stared at nothing but air, trying to recall what Homids called a memory...

"Are you ready, Forepaw? All your training has led to several moments from here on out. But your battle alongside them, hinges on this one thing. From pup to woman. If the spirit accepts you, you will be one of them. Another vengeful sister. They will embrace you with open arms. Of course, it will probably be the hardest thing you've ever done. I've seen it before. It's not pretty. And if you fail? If the spirit is not pleased with you. Will you leave? Go in shame? I hear a Theurge is supposed to be good with spirits. That would be embarrassing. In front of your mentor too....huh."

"You. Talking. Too much."

Calliaope laughed, muffling it with a hand over her mouth.

Forepaw didn't miss the grimace of discomfort that came with it, despite Callie's best efforts to hide it. The Lupus would not say a thing, however. She knew how her friend relished her pride.

"And they call me the Ragabash. You got jokes, Forepaw."

"Am...not. To be. Joke." She looked at her friend. And the girl smiled, cracking the dry black plates of her broken skin. A little bit of blood welled up, but the Metis quickly wiped it away as if it was just some drop of water from the skies.

"Hey. Maybe we'll die here instead. Wouldn't that be fun."

Forepaw opened her mouth to respond, having no idea why the Metis would think dying anywhere outside of battle would be fun, but firm hands suddenly came down on their shoulders.

They were no longer alone.

Three women stood around them.

Alexis Mavros. Carries-the-Full-Moon. Alpha and Philodox of the Red Water pack. Raised within the Amazons of Diana circle.

Vita Maren. Charges Under Fire. Mighty Beta and viscous Ahroun. An adopted Amazon sister from the Fenrir tribe.

And Martina Hope. Walks-with-Light. Master healer. A mystical Theurge and a former nun of the Order of Our Merciful Mother.

All this was too much for the poor Lupus to ever say aloud. But she knew in the purity of her wolf heart. This was her pack. These were her people. Her sisters.

And she was soon to join them.

Martina passed them and without a word...slipped past the gauntlet, quickly joined by Alexis and Vita as they entered the Umbral realm.The two pups hesitated, then dutifully followed. As they stood side by side, they side stepped out of reality. Coming face to face with a wild massive bonfire that took on a life of its own in spirit world.

From the coils of multi-colored flames, a woman stepped forward. She wore a flowing white Grecian gown that spread out like wings as if she was drifting through water. She had three faces. Sometimes two. Sometimes one. But three distinct features that constantly switched back and forth. A young maiden. A concerned mother. And the wise wrinkled face of a crone.

Her hair was long, wild, short, smooth, black, golden, grey and silver. Her arms were two, then four, then six, then two again.

The powerfully mystical Triptich spirit of Pegasus’ brood. Also known as the Trune Goddesses. Her presence made Forepaw’s heart thump with anticipation. Beneath the gaze of the spirit, the cubs would be judged. To be one with the Red River pack. Or unworthy. It was the Goddesses decision.

Martina, off to the side, took one step forward. She instructed them to strip themselves of any material items. Once they did, she took a ceramic bowl from Alexis and began to draw symbols on their bodies with light blue paint.

The raw mineral of the substance tickled Forepaw's sense of smell. But she remained still.

"You passed your tests. You both have proven yourselves despite many stumbles. You are selfless, and you defend the weak. And aid women of all species. As Pegasus demands. You are avengers. Tenacious like vines of the Wyld. You have a duty to more than just yourself. Your pack. Your Sept. Your Tribe. Your Nation. Will you cast aside the weakness of selfish desires and take up the Labrys against corruption? Will you fight our enemies? Will you join your sisters and turn the water red with your victories?"

Both Forepaw and Calliope grunted, their Rage and Amazon pride welling within them, threatening to burn the edges of their patience. They nodded, the air thickening with promise and spiritual prowess.

"If you are ready. Then step forth and present your flesh to Pegasus and the Triune Goddesses."

Martina stepped away as she spoke, done with painting her runes on the young Furies. Forepaw felt the heat of the fire washing over her, feeding the dance of her wild soul. She snarled and transformed, allowing her limbs to grow. Her body strengthened. Her teeth sharpened. And her Homid nails turned into claws. She took on the half-beast, half-human form of Glabro and roared at at the flames. She didn't have to look over to know Callie was doing the same.

This time. The spirit spoke directly to them. In a thousand voices. A chorus of every Black Fury that ever sought her aid. "You must never flee a battlefield in unprepared, craven fear. You must always be the last ones on the battle field in retreat." The fire grew, fanned by a sudden breeze. "You must focus your Willpower at all times. Never lose yourself to mindless thoughts. And you will undergo quests to seek wisdom and insight into your fates. Remember....the future is always unclear, but never out of your reach."

Forepaw and Callie raised their claws, goosebumps crawling across their skin. A sign they understood.

"You must embrace sacrifice. To be a Black Fury is to know what Gaia gives to her children. To be in this pack is to understand the roles of maiden, mother, and crone. Innocent warrior. Experienced defender. Wise leader.” Her voice and face changed appropriately to match every phrase she slowly spoke. “All of them decided upon the one thing man cannot ever claim to know. The blessing woman carries. The creation of life. Both a painful journey, and an experience that transcends material love. Place your claw to your right breast."

Forepaw, buzzing with anxiety and anticipation, slipped her claws beneath the soft swell of her flesh. She refused to look down. Staring into the heart of the fire.

"However, you two have yet to fully comprehend what it is to be a mother. You appreciate the idea of it now. You respect the rank it entails. Perhaps you even covet it. A Lupus that prays for the day she will take a mate and birth her own. And the Metis that dreams about a sense of motherhood that will never come. For you, Calliope, the sacrifice you make tonight does not carry the same weight. But it is still a gesture the spirits acknowledge."

The fluid spirit looked them both in the eye. "Do you commit?"

With affirmative snarls, guttural and deep within them, they acted.

Forepaw tore into her breast. Her skin tore like nothing. There was no resistance. From her ribs to her collar bone, she dissected herself mercilessly. She did not hold back. She ran red with her own blood. The excess tissue of her chest spilled to her feet. She fell to one knee and shredded the extra skin. Like strips of useless meat, she had no more need for it. Except as an offering to prove to the spirits that she was willing to give up half of one future and dedicate it to the fight against Gaia's enemies.

She would be more than maiden or mother. She would be an Amazon.

Forepaw roared again as her body worked to mend itself. The magic of Martina's ritual and runes kept the wound from completely healing, leaving a curved scar where her breast used to be.

The fire crackled. And the spirit was gone.

Something within the flames popped and a shower of light embers floated into the dark Umbral night sky where the moon hung heavy. Heavier than it ever wold in the Tellurian.

A firm warmth washed over Forepaw. Some foreign sense of acceptance. A shift within herself, yet given from without. She didn't completely understand. But she didn't have to. She closed her eyes and just embraced it.

The night filled their life with the sound of the spiritual forest around them.

Finally, Forepaw looked over and saw Callie had completed the ritual as well, adding another scar to her already ruined skin. Callie looked to Alexis, but her Alpha did not reciprocate whatever longing glance the Metis gave. Instead, she nodded in appropriate approval of their actions.

Martina came close, ending the rite with a hand upon Forepaw's head. "Stand. You are no longer Niece, but Sister. You are no longer just Forepaw the Lupus, but Kolina the Amazon."

When Kolina returned to what the Homids called present time, interrupting her own meditative dream state, she caught Ransom staring at her with his arms full of herbs. Had she collected all of those while telling her story? She wondered if he even understood her tale. The Common tongue of Homids was not her strongest attribute.

"Sacrifice sounds easy." Ransom chirped.

Kolina nodded, taking some of the bundle from the small Metis. "Yes. Is not so easy for to giving the sacrifice. Must be selfless. Must be strong. In different way. You will know."

"We don't need help."

As usual, Kolina felt a moment of hesitation while her Lupus brain tried to translate Ransom's odd way of speaking in opposites. Yet another language barrier. "Yes. Am needing help here. Is good. But feeling stuck." The longer the pond sat, the more it stagnated.

Kolina stood and headed back to the base of operations and main defense line Reya had set up near the Heart. She ignored her fatigue, replacing it with a new determination. She had to find a way to reach their friends on the outside. Some sort of message perhaps. Or a sign. Anything to let them know they were still alive and fighting within the mist. To let them know not all was lost. Yet....

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thesinglesjukebox · 5 years ago

Video

youtube

FIONA APPLE - SHAMEIKA

[7.20]

Fetch the sidebar...

Tobi Tella: Fetch The Bolt Cutters was ascended to classic status by The Discourse as soon as it was released, and it doesn't surprise me that so many people find value, because Fiona's writing always functions on eight different layers of aware. What I connect with most about this is the self-awareness that Shameika probably truly could give less of a fuck about this petty middle school drama now, but the comment was so internalized that a whole song has stemmed from it decades later. Everyone has moments that are insignificant to everyone else that have informed your entire life and flare up constantly. The fact that the statement is encouraging makes it even sadder; negative comments feel designed to stick in your brain, but pumping yourself up with backhanded compliments given to your 12-year-old self is pathetic in a way most artists would never share with their listeners. [8]

Alex Clifton: A whirling hurricane of a piano line combined with doses of humour and emotion, jazzy and inventive and just plain fun to experience. We all have our own Shameika experience, buried deep -- some comment from another kid that definitely does not remember you now, as an adult, but the words stick forever. There's a really lovely tenderness in the way Apple recounts this memory, the fact that Shameika was never a friend, but bolstered her confidence in a way few others ever could. Small acts of kindness can go a long way, and that's a lovely nugget to remember these days. [10]

Katherine St Asaph: The Fiona Apple Discourse has arrived, maybe belatedly but inevitably, and as increasingly common my stance isn't any of the usual Am I The Asshole voting options. My stance: The Idler Wheel is Fiona Apple's masterpiece, the genius coronation should have happened then, and in happening belatedly it happened for an album that, while good, is lesser. It's not that nothing sounds like Fetch the Bolt Cutters, it's that people forget the stuff that sounds like it exists. (The artist most obviously musically influenced by Fiona Apple is Amanda Palmer, but the culture isn't ready for that conversation. Mostly.) "Shameika" is experimental perhaps, but more than that it's theatrical, like a dramatic monologue. Apple writes another runaway-calliope piano line, kin to "Left Alone" or "Fast As You Can," and structures musical cues and lyrical asides written as vaudeville -- on lines like "that just made the bullies worse," you can practically hear the spotlight and the phantom ba-dum-tish. She vamps, gives herself a Greek chorus, toward the end almost raps; there's the sense that she's just barely keeping up with the tempo and the clatter, a straightforward metaphor for the tempo and clatter inside her mind. Normally I love all these things and wouldn't mind millions more, so why does "Shameika" feel slightly lesser? Some of it is subjective -- I'm a cat person, so "my dog and my man and my music is my holy trinity" hits roughly the same way as "heckin' doggo." But some of it may not just be me. As Apple as a composer and vocalist has grown more freewheeling, less predictable, Apple as a lyricist has grown more didactic, not always for the better. This is most apparent on "Under the Table," but the bridge here does it, too, as does the titular Shameika, here to dispense affirmation. It's one thing for Apple to write about specific but anonymous men (see "this guy, what a guy") and something else when it's a named, likely black kid from middle school whom she barely remembered beyond a blessing that doesn't entirely sound like a compliment. Apple doesn't idealize her ("Shameika wasn't gentle and she wasn't my friend") or turn her into a reaction GIF (the memes, though...), but for an artist whose writing is usually hyper-meticulously examined, this feels a bit un-examined. One senses, palpably, another side to the story. [6]

Edward Okulicz: It's the Fiona Apple origin story! Well, it's a Fiona Apple origin story, as good a place as any to come to know this iteration of Fiona Apple. Her piano is, in isolation, a bit of a rollicking good time, and in context, like a rimshot trailing behind every word picture. They're good pictures too -- crunching leaves, the sound of a riding crop on her leg -- making "Shameika" a crisp, well-paced vignette. Google reports a 500 per cent increase in searches for "is the piano a percussion instrument or a stringed instrument" in the last month. [8]

Jacob Sujin Kuppermann: Fiona Apple's songwriting most commonly focuses solely on her own self-- or at most, her self and some invisible, off-stage figure of longing or derangement. So the strangeness of "Shameika" is in the way it hinges so much of its emotional weight on more coherent others-- the title character, who is defined solely in the context of Apple's reaction to her, but also Tony and Sebastian and her dog and her man. It's a strangeness that's not entirely productive. The way the track slows down and clangs around whenever Shameika gets brought up feels weighty and unproductive, especially given the chaotic grace with which Apple navigates the rest of the song. And at the end of it all, "Shameika" feels like a tokenized figure, not allowed to exist outside of Apple's grand cosmos of the self. It's still thrilling, but there's a certain hollowness at its center. [6]

Alfred Soto: To what degree listeners will accept -- never mind forgive -- the Magical Negro Dictum at work depends on how compelling they find Fiona Apple and Amy Aileen Wood's talent for playing drums as if it were a piano and how the chorus piano line hints at a cha-cha. If taken at face value, which I don't, "Shameika" depicts a teenage woman confronted by sundry opinions about her self-presentation. Everyone mentioned she assimilated as every artist must.Whatever else, Shameika or whoever was right about Apple's potential. [8]

Juana Giaimo: I listened to Fiona Apple's album only once. It was alright; I didn't not enjoy it, but neither did I love it. Listening to "Shameika" on its own is a whole different experience: it sounds unique, while on the tracklist it is just like another song. The changes of speed, her trembling voice and the sudden piano arrangements construct an organized mess in which every element is in a designated place. The surface is captivating, but I wish I could hear more than just that. [7]

Leah Isobel: Fiona constructs a rattling, screaming subway car of a song around a single moment of warm clarity. It's a little better as a meme than it is as a hook, but it works regardless. [8]

Ramzi Awn: The world might be ready for Fiona Apple to don her best Frank Zappa. Still, Apple's goofy composition falls short of exuberant. Her commitment to the off-kilter is welcome, but it is unclear what emotions the single aims to inspire. At times, it brings to mind Liz Phair's latter-day stabs at eccentricity. Music has no responsibility to be beautiful, but at its best, it connects the human dots of experience. I'm not sure what Fiona Apple has been experiencing, and I don't know if she is either. [3]

Jackie Powell: After the first drum roll, chaos ensues on "Shameika." Chaos and jitters are synonymous with a middle school experience, a time when young women become hormonal and just so damn difficult to deal with. I imagine Apple skipping and walking to school to only be thrust into the social hierarchy. It's degrading. I was also the kid "not chosen." Apple knows her audience and she portrays a moment in time that's felt deeply by only half of the characters involved. People enter our lives, impart simple yet profound wisdom, and then they disappear. The memories, depending on their delivery and timing, can stick like an epoxy. Apple accepts Shameika's rejection or indifference to friendship with the repeated line: "She got through to me and I'll never see her again." But when you are young, that idea of never seeing someone again sounds pessimistic. Both Apple and I refused to accept that reality in the moment. The last 20 seconds of the track, the bluesy bassline, and the saw-like distorted crackling illustrate how that one-sided moment felt inside. So thankful, but confused and empty. Does potential come with emptiness? When I first heard her album Fetch the Bolt Cutters, I immediately envisioned it as easily adaptable into a one-woman show on or off Broadway (whenever live performance comes back). "Shameika" is a monologue sung. [8]

[Read, comment and vote on The Singles Jukebox]

#Fiona Apple #pop #music #music review

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