Hostname: page-component-8448b6f56d-c4f8m Total loading time: 0 Render date: 2024-04-19T08:53:37.576Z Has data issue: false hasContentIssue false

A Music Tablet from Sippar(?): BM 65217 + 66616*

Published online by Cambridge University Press:  07 August 2014

Extract

It will be recalled that, since 1960, four cuneiform tablets containing valuable information regarding ancient music theory have been brought to light. One could almost say that it has been uncanny how each text, as it was discovered or recognized, has elucidated the other. Before BM 65217 + 66616 is examined, it is in order to review these texts briefly.

Text 1. CBS 10996, NB, Nippur. The (incomplete) first column of this mathematical text (a list of coefficients) deals with the strings of musical instruments. The string names are given, together with pairs of numbers; these are equated with special Akkadian terms that refer to intervals on the musical scale. Fourteen separate and distinct intervals are now recognized on the basis of this text: seven “primary” intervals of fifths and fourths, and seven “secondary” intervals of thirds and sixths. This text (see Fig. 1 where the “primary” intervals are listed as 1–7, the “secondary” intervals as a–g) hinted at a heptatonic scale.

Text 2. U 3011 (UET 7, no. 126) = Nabnītu 32, NB, Ur. This lexical text is a musical treatise whose (incomplete) obverse (see Fig. 2) column i presents the Sumerian and Akkadian names of nine musical strings as well as several of the terms known from Text 1 to be intervals on a scale. This second text provided the key to the understanding of Text 1 because it explains that the nine strings were numbered as: first, second, third, fourth, fifth, fourth behind, third behind, second behind, behind, i.e. 123456789 = 123454321. For an OB (MB?) parallel to this text, identified by Prof. Aaron Shaffer in November of 1977 in the University Museum, Philadelphia, see Iraq 43 (1981), 79–83; and below, pp. 81–85.

Type
Research Article
Copyright
Copyright © The British Institute for the Study of Iraq 1984

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

*

A preliminary version of this paper was prepared for presentation to the First International Congress of Cuneiformists of Socialist Countries, Budapest, 23–25 April 1974; an abstract of it was presented there by W. J. Heimpel. This tablet is published here with the kind permission of the Trustees of the British Museum.

References

Selected Bibliography

Bielitz, M., 1970. “Melismen und ungewöhnliche Vokal- und Silbenwiederholung, bzw. Alternanz in sumerischen Kulttexten der Seleukidenzeit.” Orientalia 39: 152–6.Google Scholar
Crocker, R. L., 1978. “Remarks on the Tuning Text UET VII 74 (U. 7/80). ” Orientalia 47: 99104.Google Scholar
Dietrich, M. and Loretz, O., 1975. “Kollationen zum Musiktext aus Ugarit.” Ugarit-Forschungen 7: 521–2.Google Scholar
Duchesne-Guillemin, M., 1963. “Découverte d'une Gamme babylonienne.” Revue de Musicologie 49: 317.CrossRefGoogle Scholar
Duchesne-Guillemin, M., 1965. “Note complémentaire sur la Découverte de la Gamme babylonienne.” Studies in Honor of Benno Landsberger. Publications of the Oriental Institute of the University of Chicago, Assyriological Studies no. 16 (Chicago): 268–72.Google Scholar
Duchesne-Guillemin, , 1966. “A l'Aube de la Théorie Musicale: Concordance de trois tablettes babyloniennes.” Revue de Musicologie 52: 147–62.CrossRefGoogle Scholar
Duchesne-Guillemin, M., 1969. “La Théorie babylonienne des Métaboles musicales.” Revue de Musicologie 55: 311.CrossRefGoogle Scholar
Duchesne-Guillemin, M., 1975. “Les Problèmes de la Notation Hourrite.” Revue d'Assyriologie 69: 159–73.Google Scholar
Gurney, O. R., 1968. “An Old Babylonian Treatise on the Tuning of the Harp.” Iraq 30: 229–33.CrossRefGoogle Scholar
Güterbock, H. G., 1970. “Musical Notation in Ugarit.” Revue d'Assyrologie 64: 4552.Google Scholar
Kilmer, A. D., 1960. “Two New Lists of Key Numbers for Mathematical Operations.” Orientalia 29: 273308.Google Scholar
Kilmer, A. D., 1965. “The Strings of Musical Instruments: their Names, Numbers and Significance.” Studies … Landsberger: 261–8.Google Scholar
Kilmer, A. D., 1971. “The Discovery of an Ancient Mesopotamian Theory of Music.” Proceedings of the American Philosophical Society 115: 131–49.Google Scholar
Kilmer, A. D., 1974. “The Cult Song with Music from Ancient Ugarit: Another Interpretation.” Revue d'Assyriologie 68: 6982.Google Scholar
Kilmer, A. D., 1976. “Music.” The Interpreter's Dictionary of the Bible. Supplementary Volume (Abingdon Press): 610–12.Google Scholar
Kilmer, A. D., Crocker, R. L. and Brown, R. R., 1976. Sounds from Silence: Recent Discoveries in Ancient Near Eastern Music. (Bit Enki Publications, Berkeley; 25 pp. booklet and a 12″ stereo disc.)Google Scholar
Krecher, J., 1968. “Die sumerischen Texte in ‘syllabischer Orthographie’: E. Sekundärvokale als Glossen.” Welt des Orients 4: 277.Google Scholar
Kümmel, H. M., 1970. “Zur Stimmung der babylonischen Harfe.” Orientalia 39: 252–63.Google Scholar
Lambert, W. G., 1971. “The Converse Tablet: A Litany with Musical Instructions.” Near Eastern Studies in Honor of William Foxwell Albright, ed. Goedicke, H. (Baltimore): 335–53.Google Scholar
Laroche, E., 1968. “Documents en langue hourrite provenant de Ras Shamra II. Textes hourrites en cunéiformes syllabiques.” Ugaritica V (Paris): 462–96.Google Scholar
Laroche, E., 1973. “Etudes hourrites: Notation Musicale.” Revue d'Assyriologie 67: 124–9.Google Scholar
Shaffer, A., 1981. “A New Musical Term in Ancient Mesopotamian Music.” Iraq 73: 7983.CrossRefGoogle Scholar
Stauder, W., 1967. “Ein Musiktraktat aus dem zweiten vorchristlichen Jahrtausend.” Festschrift Walter Wiora (Kassel): 157–63.Google Scholar
Thiel, H.-J., 1977. “Der Text und Die Notenfolgen des Musiktextes aus Ugarit.” Studi Micenei ed Egeo-Anatolici 18: 109–36.Google Scholar
Vitale, R., 1982. “La Musique suméro-accadienne — gamme et notation musicale.” Ugarit-Forschungen 14: 241–63.Google Scholar
Wulstan, D., 1968. “The Tuning of the Babylonian Harp.” Iraq 30: 215–28.CrossRefGoogle Scholar
Wulstan, D., 1971. “The Earliest Musical Notation.” Music and Letters 52: 365–82.CrossRefGoogle Scholar
Wulstan, D., 1974. “Music from Ancient Ugarit.” Revue d'Assyriologie 68: 125–8.Google Scholar