Chinese music: * see Endnote <A>

music of the Han Chinese, of the Chinese Culture, of mainland China using traditional Chinese instruments & language.  Archaeological artefacts provide evidence of a well-developed musical culture as early as the Zhou Dynasty (1122 - 256 BC).  These further developed into various forms of music through succeeding dynasties, producing the rich heritage of music.

 

marching music:

a piece of music with a strong regular rhythm, originally written for marching to & frequently performed by a military band; can be written in any time signature but commonly use 4:4 & 2:2; the tempo matches the pace of soldiers walking in step.  Each section typically consists of 16 or 32 measures, which may repeat.  Most importantly, a march consists of a strong & steady percussive beat reminiscent of military field drums.  Marches weren't notated until the late 16th century; until then, time was generally kept by percussion alone, often with improvised fife embellishment. With the extensive development of brass instruments in the 19th century, marches became widely popular & often elaborately orchestrated.  Composers such as Mozart, Beethoven (Eroica Symphony) & Mahler wrote marches, often incorporating them into their operas, sonatas, or symphonies.  In mood, they range from the moving death march of Wagner's Götterdämmerung to the brisk military marches of John Philip Sousa..  

 

the rhythmic dynamic: * see Endnote <B>

Spengler characterizes Faustian music which reflects great energy in its rhythmic patterns.  Rhythm is the element of time in music (when you tap your foot to the music, you are "keeping the beat" or following the structural rhythmic pulse of the music).  In this instance Spengler is using dynamics as an adjective, meaning: pertaining to or characterized by energy or effective action; vigorously active or forceful; energetic.

 

accent less Tao: * see Endnote<C>

Spengler is referring to a quality of Chinese music, which is characterized by the Tao.  He means speaking without accent, without distinctive features or qualities.  Thus Chinese music (in the tradition of the Tao reflecting the Chinese Soul) is without salient features, is monophonic, lacking dynamics.

 

directional energy: * see EndNote <D>

Another reference by Spengler to Faustian characteristics, this case, architecture, ancient & modern.

​

Arabian music:

Here Spengler refers to the music of the Magian Culture as a whole  & not just Islamic Civilization.

 

Pseudomorphosis:

See Chapter VI pages 187, 209, 214, 216

 

Byzantine hymns :

Various types of hymns were prominent in Byzantine music, among these were the:

• Troparion

• Kontakion

• Kanōn. 

The troparion (short hymn or stanza) were sung in Greek Orthodox religious services.  Initially known as a stichēron (probably from stichos, “verse”) the word troparion derives from Greek tropos (something repeated, as a refrain).  Since the 5th century, it has also has designated brief phrases inserted after psalm verses.  They vary in length from 1 or 2 verses to long poems.  The kontakion, used as early as the 6th century, was the first important Byzantine poetic form & was significant in early Byzantine liturgical music.  The form is of Syrian origin, having much in common with Syriac poetic forms.  In its Byzantine form it is a chanted poetic sermon, consisting of 18 to 30 stanzas.  All stanzas follow the structural pattern set by the first stanza, with a refrain linking them together. A soloist sang the main stanzas, a choir responded by singing the refrain.  The Kanōn (Greek: “canon”) is 1 of the main Byzantine liturgical offices, consisting of 9 odes, based on the 9 biblical canticles of the Eastern Christian Church.  It may have originated in Jerusalem in the 7th or 8th century to replace the biblical canticles in the morning office

 

Jewish  psalmody:

After the Babylonian exile, most Jews lived in the Dispersion (outside of Palestine) and could not participate in temple worship.  The Psalms continued to be sung in the synagogue and other portions of the Scriptures as well as prayers were chanted according to a developing system of "modes."  Worship music was both vocal & instrumental; the sanctuary orchestra contributed to the celebration of Israel's covenant with the Lord.  Its instruments (percussion, winds -pipes & strings- horns, trumpets, cymbals, harps & lyres were used when the ark was brought to Mount Zion, the Psalms reflect  their continued use).  These were not solo instruments, but sounded simultaneously to call the assembly to worship.  Strings & pipes, when used, probably played the modalities (tune elements) in the psalm being sung, with perhaps distinctive patterns of ornamentation. Horns, trumpets and cymbals added to the festive joy by creating a larger sound. The selah of the Psalms called for the "lifting up" of sound by both singers & instrumentalists.

 

antiphons:

short chant in Christian ritual, sung as a refrain; groups of performers answer one another in statement and response, using the Psalms for text.  St Ambrose favoured their form.  They feature prominently in both Ambrosian and Gregorian chants..  They may be used during Mass, for the Introit, the Offertory or the Communion. They may also be used in the Liturgy of the Hours, typically for Lauds or Vespers.

 

responsorial:

any psalm, canticle, or other sacred musical work sung responsorially, that is, with a cantor or small group singing verses while the whole choir or congregation respond with a refrain.  In the Roman Rite & rites influenced by it (eg pre-reformation English rite, the monastic rite of the Rule of St. Benedict), these chants ordinarily follow readings at services of the Divine Office (also called the Liturgy of the Hours); they have also been used as processional chants.

 

psalmody:

the use of the biblical psalms in worship, as distinguished from hymnody (the creation and use of extra-biblical poetic and musical compositions in worship).  In the Western church, the psalms found more regular usage within the "offices" or daily periodic worship of the monastic communities.  The Catholic heritage of the Gregorian chant), includes the use of the psalms sung to standard "tones" or melodies according to conventional rules.  This music was performed by choirs of clergy or members of monastic orders, who had developed the necessary skills.  Originally the psalms were sung "plain chant." (monophonically,  with one un-harmonized melody); in the later Middle Ages additional voices were introduced, with such devices as counterpoint (a different simultaneous melody) or organum (a sustained tone over which others sang the melody).  Early psalmody was exclusively vocal & the exclusion of instrumental accompaniment has persisted thru the centuries.

 

Ambrosian chants:

aka Milanese chant, is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church, related to but distinct from Gregorian chant.  Primarily associated with the Archdiocese of Milan, named after St. Ambrose(as Gregorian chant is named after Gregory the Great); the only surviving plainchant tradition besides the Gregorian to maintain the official sanction of the Roman Catholic Church.

 

Edessa (west of) :

Spengler identified this geographic region with the Pseudomorphosis, the synthesis of Magian & dead Apollonian Cultures

 

the syncretic cults:

religious syncretism is a blending of 2 or more religious belief systems into a new system, or the incorporation into a religious tradition of beliefs from unrelated traditions.  It was a promienent feature of Hellenistic Greek religion (though only outside Greece).  After Alexander the Great Hellenic culture began blending of Mesopotamian, Persian, Anatolian, Egyptian (and eventually Etruscan–Roman) elements within an Hellenic formula. The Egyptian god Amun becamethe  Hellenized Zeus Ammon after Alexander the Great went into the desert to seek out his oracle at Siwa.  During the Roman Empire syncretic gods of the Hellenistic period also found wide favor: Serapis, Isis and Mithras, for example. Cybele as worshipped in Rome essentially represented a syncretic East Mediterranean goddess.

 

Syrian sun worship: * see Endnote<E>

Reference to the hugely popular syncretic Cult of Sol Invictus ("Unconquered Sun"), the official sun god of the later Roman Empire and a patron of soldiers; favoured by emperors after Aurelian and appeared on their coins until Constantine I.  The last inscription to Sol Invictus is dated as late as 387 AD.  It remained so popular in the 5th century that Augustine (354- 430) felt compelled to preach against it.

 

the Gnostics:

see Chapter I, pages 18, 20 and Chapter VI page 214

 

the Mandaeans:

see Chapter II page 72

 

Edessa (east of):

the geographic location for the Magian Culture independent of the dead Apollonian Culture

 

Mazdaists:

See Chapter VI pages 209, 211, 216

 

Manichreans:

See Chapter II page 72, Chapter VI, pages 214, 209, 183, 211, 215

 

Mithraists

See Chapter I page 36 III page 108; Chapter VI pages p209, 213 and 216

 

 the synagogues of Irak: * see Endndote<F>

Iraqi Jews constitute one of the world's oldest and most historically significant Jewish communities.  Their activity is documented from the time of the Babylonian captivity (586 BC).  The Jewish community of Babylon included Ezra the scribe, whose return to Judea in the late 6th century BC is associated with significant changes in Jewish ritual observance and the rebuilding of the Temple in Jerusalem. The Talmud was compiled in Babylonia, identified with modern Iraq.  From the Babylonian period to the rise of the Islamic caliphate, the Jewish community of Babylon thrived as the center of Jewish learning.  However the Mongol invasion & Islamic discrimination in the Middle Ages led to its decline.

 

Nestorian Christians:

See Chapter VI pages 209 and 211

 

South Arabian: (secular music): * see Endnote<G>

Historically, Yemen in the far south of the Arabian peninsula, has been the most populous region of Arabia & an important seat of culture.  Geographically, it is the highest & broadest end of the Hijaz, facing Ethiopia across the Red Sea, maintaining sea contact with India & Indonesia. The central plateau, at over 6000 feet, supports a rich & conservative culture.  The most significant individual style of art music in Yemen is based closely on poetry, including both classical Arabic poetry & Yemeni poets from the past.  Performance style consists of a solo singer with accompaniment (typically 'ud). Along with the basic combination of voice & 'ud, there can be percussion instruments to highlight the rhythms in subtly expressive ways. Many variants on this style exist & as a historical form, it was this musical style which first made a world impact during the early Islamic Empire. The styles in Yemen are especially fluid in rhythm, with a wide variety of metrical patterns derived from poetic language, and articulated without strong rhythmic accents.

 

Sassanid chivalry (music of): * see Endnote<H>

The Sasanian knights were a class of nobility formed in Parthian times & later adopted by the Sasanian state.  They accompanied the king in war, displayed great courage & discipline & were clearly the first "Knights" of later history.  Believing themselves descended from ancient Aryan conquers they formed a minor aristocracy of lower-ranking administrators, mostly living on their small estates.  Most prestigious among them were the heavy armoured cavalry, known as Cataphracts.  They cataphracts consisted of noblemen who underwent extensive exercises in warfare & military manoeuvres & normally decided the outcome of a battle.  During the Sasanian dynasty (224- 651 AD ) Persian music bloomed..  Dance & chanson were prevalent in court banquets.

 

Moorish style (music): * see Endnote<I>

aka Andalusian classical music, a style of Arabic music found in different styles across the Maghreb (Algeria, Morocco, Tunisia, and to a lesser degree in Libya in the form of the Ma'luf style) and the Levant; originated out of the music of Al-Andalus (Muslim Iberia) between the 9th & 15th centuries. Some of its poems were found to be composed by authors such as Al-Shushtari, Ibn al-Khatib and Al-Mu'tamid ibn Abbad.

 

Hucbald:

840-930, Frankish music theorist, composer, teacher, writer, hagiographer & Benedictine monk.  Deeply influenced by Boethius' De Institutione Musica, he is credited with writing the first systematic work on western music theory, aiming at reconciling through many notated examples of ancient Greek music theory and the contemporary practice of Gregorian chants.  Born in N France, he studied at Saint-Amand Abbey, where his uncle Milo was chief master of studies.  An excellent student he made rapid progress including practical music; at an early age he composed a hymn in honour of St Andrew.  Its success excited the jealousy of his uncle & he was compelled to leave and to seek protection from the bishop of Nevers.  A successful teacher & scholar, eventually returning to Saint-Amand as headmaster.  Initially attributed to Hucbald was the Musica enchiriadis, a musical treatise of the 9th century. It is the first surviving attempt to set up a system of rules for polyphony in western art music.

 

Guido .d'Arezzo:

991-1033 AD, Italian music theorist, considered the inventor of modern musical staff notation that replaced neumatic notation; a Benedictine monk from the Italian city-state of Arezzo. His early career was spent at the monastery of Pomposa (Adriatic coast near Ferrara).  Here he noted the difficulty that singers had in remembering Gregorian chants. He came up with a method for teaching the chants in a short time & soon became famous throughout N. Italy.  His fame attracted the hostility of the other monks at the abbey & he moved to Arezzo, a town which had no abbey, but which did have a large group of cathedral singers, whose training Bishop Tedald invited him to conduct.  His text, the Micrologus (1025 AD), was the second most widely distributed treatise on music in the Middle Ages (after the writings of Boethius).

 

Melodic accent:

an increased prominence associated with some note or chord.  A number of different forms of accent - including dynamic accent (due to increased loudness) and agogic accent (due to increased duration).  In this case, as Spengler is referencing it regarding a march, It refers to increased loudness.

 

polyphony:

a type of musical texture (the way that melodic, rhythmic & harmonic aspects of a musical composition are combined to shape the overall sound and quality of the work. In particular, polyphony consists of 2 or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice (monophony), or a texture with 1 dominant melodic voice accompanied by chords (homophony).  In the context of Western music, the usually refers to music of the late Middle Ages & Renaissance (Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal).

 

duality of development:

reference to the imitative & ornamental sides of music; see below