Daily Musings

A while back, I decided to work on memorizing more music. I've always kind of slacked in that department (Classical flute training allows this) and I've also always wished I didn't. So I've started keeping a musical journal where I record things I'm trying to play by memory along with some of the daily improvisations I create. Not sure where this will take me but I intend to share bits and pieces as I go.


Improv based on O'Carolan's "Farewell to Music"



"Carolan's Dream"



I'm mixing up the "simpler" folk tunes (some of which aren't that simple!) with Telemann and Troubadour music. The idea is that there will be some songs I learn more easily (which will hopefully encourage me) while I'm struggling with the longer pieces. In time, I hope to share a wider variety of tunes.

Muses, Modes and the Music of the Spheres

This will be a rather odd (and long-ish) post about a picture called "Music of the Spheres" that was published in 1496 in Francinus Gafurius's Practica musice. This picture gives us some interesting insights into how the people of the Renaissance super-imposed Greek myth onto music theory. My views on the musical elements, mythological ideas and metaphysical ideas that can be seen in this picture are influenced by (but not the same as) Joseph Campbell's essay "The Muses Nine" (can be found in The Mythic Dimension: Selected Essays 1959-1987) which I encourage you to read. (Even though he got the names of the two modes that are the same wrong-he was a mythology expert, not a musician.)

"Music of the Spheres" from Francinus Gafurius's Practica musice published in 1496-public domain.
(This picture uses a pre-Copernican order for the planets and is geocentric.) 

What is shown in this picure

-The Latin scroll at the top reads "The Apollonian mind moves the Muses everywhere." 
-Apollo is seated at the top playing a large lute. The little flying monkeys in the corners (I know they are supposed to be angels or cupids but they look like flying monkeys to me) are playing a smaller lute and a viola da gamba. Both lutes and viola da gambas were often used instead of lyres in the Renaissance pictures of mythological characters.

-Three Graces dance next to Apollo.
    1 Euphrosyne "Mirth, Good Cheer"
    2 Aglaia "Splendor, Beauty"
    3 Thalia "Blooming, Abundance"

-Nine Muses are matched up with the nine planetary spheres and the modes/scales. In between each planet is the word tonus (whole-step) or semitonium (half-step) to show the distance between each note. To hear the different modes/scales, you can follow the whole and half steps starting on any note. Or, on a piano, play only the white key between the notes in the parenthesis below.
    1 Urania “Heavenly one”---Stars---Hypermixolydian (A to A; Aeolian or minor) 
    2 Polyhymnia “Many hymns”---Saturn---Mixolydian (G to G)
    3 Euterpe “Giver of joy”---Jupiter---Lydian (F to F)
    4 Erato “Awakener of desire”---Mars---Phrygian (E to E)
    5 Melpomene “The singer”---Sun---Dorian (D to D)
    6 Terpsicore “Enjoys dance”---Venus---Hypolydian (C to C; Ionian or major) 
    7 Caliope “Beautiful voice”---Mercury---Hypophrygian (B to B; Locrian) 
    8 Clio “Giver of fame”---Moon---Hypodorian (A to A; Aeolian or minor) 
    9 Thalia “Festive, blooming”---Earth---no note or mode
    (Note: These are not the current standard spellings for the names of the Muses.)

-The Greek words next to each Muse (Mese, Lychanosme, Meson etc.) are names for notes that mostly indicate the order of notes in a scale. They basically mean 1st, 2nd, 3rd and so on.
-A Three Headed Serpent in the center connects the Grace Thalia (top) to the Muse Thalia (bottom.) There really was both a Grace and a Muse named Thalia in some of the less well known Greek myths. A number of names get reused in Greek myths.
-The Elements-Fire (ignis) Air (aer), and Water (aqua) surround the Earth (terra) and the Muse Thalia.

I have yet to find any explanation of the vase of plants next to Apollo. I say it represents the blossoming of the earth creating spirit. 

Musical Ideas I See in this Picture

As a group, the Graces create the movement and speed of the sound waves; pitch.

The Grace Thalia shapes the type of sound being heard; timbre. I would tentatively give volume and rhythm to the other two Graces.

The Muses are the organization of the different vibrations/pitches; the notes and scales.

Since Muse Thalia (within the Earth) is not given a note or scale, she becomes not only the substance used to create music (air, wood, reed, string, metal) but also the sounding board or the part of the instrument/voice that reverberates and amplifies the sounds just as she amplifies our connection to spirit.

The whole-steps (tonus) and half-steps (semitonium) between each planet form an ascending minor scale from bottom to top though different scales are formed by starting on different notes/planets. The name of a Greek scale or mode is assigned to each Muse and planet. Hypermixolydian and Hypodorian are functionally the same scale pattern according to the picture. (Not, as Campbell says, Hypermixolydian and Dorian.)

A bit of trivia; the picture itself does not actually use Ancient Greek scales. Renaissance authors didn’t know how the Greek scales really worked and assigned the Greek names to their own scales somewhat randomly. (The Greek scales started on different notes, used different intervals between scale steps and often placed the tonic in the middle of the scale.) However, these ARE the scale patterns and mode names as they are paired off today. They just have nothing to do with the older Greek scales, aside from their names.

More Detail and Mythological Ideas

Apollo as the God of harmony helps people live in harmony with the world and spirit. Harmony can be created between different tones, different beings and different realities. In Greek myth, he was sometimes considered the leader of the Muses (after ousting Artemis.) 
The Graces are the first divisions, reflections or reverberations of spirit. They expand the possible ways of perceiving the divine mask, making it easier to approach. In myth, the Graces lived and traveled with the Muses. The Graces were sometimes considered a triad version of Aphrodite, who had ties to the Muses as well. There are several different sets of names for the Graces so don't worry too much if you haven't heard of this set before. Euphrosyne "Mirth, Festivity, Good Cheer" faces away from Apollo representing spirit moving out into the world. Aglaia "Splendor, Beauty, Triumph, Adornment" faces Apollo representing how the world feeds and seeks spirit. Thalia "Blooming, Abundance" faces the viewer creating a full circle.

The serpent descends through the planetary spheres and four elements (Campbell compares it to the Kundalini spirit descending the spinal column) and its three heads are in the earth with the Muse Thalia, connecting spirit with the physical world by linking the two Thalias. Three headed beings turn up in myth a great deal and often represent balancing our right and left energies (creative and analytical, spirit and body). This serpent helps us connect with or wake the Muse spirit within the earth and ourselves. 

The elements, earth, water, air and fire not only make up the world but are different forms of spirit within the world. The more aware we become of the various forms of spirit in the world around us, the more we experience the inspiration of the Muses. 

The Muses and the planets are the expansion of consciousness through the planetary spheres and different harmonies. Getting to know the Muses and their planetary spheres can be seen as the growing awareness that spirit exists in everything. And since all art, music and learning has its Muse, any art, learning or inspiration is a possible path to spirit.

Chakras and the Tree of Life

Campbell links the Muses to the chakras in his essay although he assigns three Muses to the heart chakra to make the numbers work. He describes encountering the different Muses as moving awareness up through the chakras in the body continuing the Kundalini idea.
Crown chakra----Urania/Stars
Brow chakra------Polyhymnia/Saturn
Throat chakra----Euterpe/Jupiter

                             Erato/Mars---Upper Heart, closer to spirit

Heart chakra-----Melpomene/Sun---Center Heart, balances earth and spirit
                             Terpsicore/Venus---Lower Heart, closer to earth
3^rd chakra---------Caliope/Mercury

2^nd chakra---------Clio/Moon

Root chakra------Thalia/Earth

Here is an alternative method of linking the Muses to the chakras that I came up with and think is less confusing. It uses two external chakras that are only present in some chakra systems (there are many.) Again, this is to make the numbers work.

External chakra above our heads----Urania/Stars

Crown chakra----------------------------------Polyhymnia/Saturn

Brow chakra------------------------------------Euterpe/Jupiter

Throat chakra----------------------------------EratoMars

Heart chakra------------------------------------Melpomene/Sun

3^rd chakra----------------------------------------Terpsicore/Venus

2^nd chakra---------------------------------------Caliope/Mercury

Root chakra-------------------------------------Clio/Moon

External chakra below the ground---Thalia/Earth 

This picture can also be used to place the Muses in the Tree of Life pattern. I don't know why Campbell didn't discuss this since the numbers match up better than with the chakras.

1 Kefer Crown/Source------------Apollo 
2 Chokmah Wisdom---------------Urania/Ourania

3 Binah Understanding-----------Polyhymnia

4 Chesed Love------------------------Euterpe

5 Gebunrah Strength--------------Erato

6 Tiphareth Beauty-----------------Melpomene

7 Netzach Victory-------------------Terpsicore/Terpshicore

8 Hod Glory----------------------------Caliope/Kalliope

9 Yesod Foundation----------------Clio/Klieo

10 Malkuth World/Universe-----Thalia

I think Mnemosyne “memory” would works just as well for the first station as Apollo since she is the mother of the Muses.

With that in mind, Lethe “forgetfulness” is a good choice for the 11^th station, Daath, that is both there and not. 
If you would rather stick with images from the original picture, the serpent would be my next pick for the 11th station. It would also be possible to put the Graces here as a group. (For a short, clear and sane intro to the Tree of Life, I suggest Math for Mystic by Renna Shesso-she discusses it in one chapter.)

Qabalah Tree of Life and Muses

Keep in mind that this order of the Muses was created in the Renaissance and has no relation to anything in Greek mythology. You are in fact free to move them around anyway you want.

Summing Up

Connection to spirit comes from perceiving that the spirit is a part of the physical world and understanding that the physical itself creates the spirit. To deny the physical, the body, as holy in hopes of increasing spirit or connecting with divine is similar to looking at a water glass without drinking it when we are thirsty. Drinking the water is much simpler and far more effective. Not to mention more comfortable.
The Muses bring inspiration of all kinds into our lives and harmony to spirit and matter throughout the universe.

For More Muse Stories Click Here

Sirens the Muses of the Underworld

On the ceiling of an early temple for Apollo in Delphi (were the Muses once lived) were the Keledones, the “soothing Goddesses.” They were three living, singing statues of women or wryneck birds or a mix of both who welcomed worshipers with their music.
They had the same skill with song as the Sirens.

Entwining Voices

The Sirens tangled people up with their words and music. They had the wings of birds. Or the legs of birds. Or the bodies of birds. But they always have lovely faces and entrancing voices. They dart about on the edges of reality like fragments of old stories that have escaped their meanings. They were born from the earth. They are sea nymphs. They charm the wind.

They are surrounded by flowers. They turn white as bone. They died when Orpheus helped the Argonauts pass them safely. They died when Odysseus took Circe’s advice to pass them tied to a mast. They sing like the Muses who wear their feathers. Hera introduced them to the Muses. They nest in Hera’s hands. They follow Artemis’s lead. Aphrodite gave them wings. Demeter took their wings. Demeter gave them wings. They serve Persephone. Their music causes obsession. Their music erases fear.

Like the Muses, the Sirens are singing bird women linked to water with changeable names, numbers, instruments and homes. They put secrets and unbreakable charms into song and they gathered flowers with Persephone. Three different Muses are called the Sirens’ mother: Terpsichore the dancing Muse, Melpomene the tragic Muse and Kalliope the epic Muse. The name of another Muse, Achelois, becomes the group title of the Sirens, the Acheloides, when they are daughters of the river God Achelous. One Siren and one Muse even have the same name, Thelxinoe “the enchantress” or “heart’s delight.”

Earth, Water and Air

The Sirens have roots in the sky, the sea and the earth. In older genealogies, they are children of a river and the earth or another river and a sky woman. The story goes that Heracles and Achelous, a shape-shifting river God, once fought each other for days. They were fighting over who would marry Deianeira or for possession of the cornucopia, the horn of plenty that Amaltheia used to feed baby Zeus. Hercules tore off one of Achelous’s horns and the blood of the fish-tailed God fell onto the earth, Gaia. The Sirens sprang up from the blood-soaked ground, mirroring the birth of Aphrodite and the Furies. But others say their father is the Acheron river and their mother is Sterope, a name also used by one of the Pleiades and a daughter of the sun.
Later, they became daughters of the sea God Phorcus/Phorcys, “the hidden dangers of the deep.” They sit on islands named for flowers with rocky shores and rapid waters that rush musically, singing and calling. Sailors say if anyone hears them and survives, the Sirens will turn to stone or die, raising the question of how the sailors knew the Sirens existed in the first place. Others say when the Sirens lost their contest with the Muses, they fell into the sea and became islands of white rock covered in wild flowers.

The Sirens have two more sets of parents. In the sky are Zeus and

Hera, the God of thunder and the Queen of heaven whose mane of hair stretches across the storm clouds. Closer to the ground are Dionysus and Coronis. Dionysus is a hidden earthly version of Zeus. Coronis is a nymph who may disguise Hera when mentioning the old Goddess by name would reveal far too many buried secrets. Hera once coaxed the Sirens into a song contest with the Muses. When the Sirens lost, they turned white, once again mirroring the Furies. The Muses took the Sirens’ wing feathers to weave into crowns; for inspiration perhaps. Yet after all this, Hera still appears holding the Sirens in her hands, honoring her inspiring little song birds.

Names, Names, Names

Single Sirens are unnamed aulos or lyre players. Their solos echo calls to initiation mysteries.

As pairs, the Sirens create harmonies with the aulos and the lyre. Their various names refer to glory or splendor and enchantment; Aglaopheme of the “splendid voice,” Aglaophonos the “glorious sounding,” Thelxiope who is “persuasive,” Thelxiepeia of the “enchanting words” and Thelchtereia the “soothing watcher or enchantress.”
Siren trios play aulos and lyre and sing in a mixed consort of traditions. They are the daughters of the Muse Melpomene and the horned river God Achelous, but there are two different versions of these three. One set of triplets have names that Aphrodite would approve: Peisinoe the “seductive”, Aglaope the “glorious voice” and Thelxinoe the “enchanting voice.” The other three sisters have names that Artemis might claim: Ligeia the “bright voice,” Leucosia the “white Goddess/substance,” and Parthenope the “virginal/maiden voice.”  It cannot be a coincidence that Aphrodite gave the Sirens wings when they said they wanted to be virgins, like Artemis, forever. Parthenope in particular seems to cross the boundary between these two differing Goddesses. At her tomb, torch races were held in her honor every year, a tradition of Artemis and Hecate. And she was a bird Goddess in her own right, sharing Aphrodite’s doves and swans.
The Sirens also gather in flocks, promising to tell all the stories in the world, if you will just stop your life for a moment or two. Some borrow the earlier names and others add yet more names to the list. Peisthoe the “seductive”, Pisinoe who “affects the mind,” Teles who is “perfection,” Raidne who “improves" or "sprinkles water,” Himerope whose “voice creates desire” and Molpe and her “song and dance” all spin round each other like feathers in a breeze.
And Plato tells us that there are eight Sirens, named for the scale tones, who each sing one note in perfect harmony with the spheres of the sky. The star loving Centaurs forgot to eat and starved when they heard these Sirens turning the secrets of the universe into music.

Soothing Sirens

Persephone, the Muses and the Sirens grew up together. When Persephone was carried off by Hades, the Sirens asked Demeter for wings so they could search the world for their friend. But when the Sirens wouldn’t or couldn’t tell Demeter where her daughter had gone, she bound them to the earth Persephone had vanished into.
Yet after all this, the Sirens settled into places of honor in front of Persephone’s throne. They used their music to ease the fear and pain of death and guide underworld travelers through the maze of their own souls. Persephone even sent the Sirens flying back out into the world, their wings fuller than ever, carrying her blessings. And whispers began that their true mother was Chthonia, “the depths of the earth,” bringing us back round to the story of the Sirens springing out of Gaia, the earth itself.

The Sirens are the Muses who inspire Muses. The ones who make the music of the earth, sky and sea. They are the overwhelming, uncontrollable side of inspiration that awes and terrifies us. They created the steps of the scale and accidentals. They are the sweetest possible antidote to loss, sorrow and fear of the unknown.

Nest and Red Buds

see The Muse Contest for more on the Muses.

Sources:
Ovid's Metamorphoses
Hesiod's Theogony
Women of Classical Mythology by Robert E. Bell
The Gods of the Greeks by Kerenyi
Theoi.com

The Muse Contest

Bees were called the birds of the Muses.
Honey was mixed with milk or water or grains of wheat as offerings to the Muses.

The Muses had several musical contests but only one was against another group of Muses. The two sets of Muses in this story were the 9 Olympian Muses and the 7 or 9 Muses of Pieria.

The Olympian Muses are the nine daughters of the Titan Mnemosyne, the Goddess of memory, names and language, and Zeus. They are the most widely known Muses today, but it took them quite some time to become the dominant version in Greek myth. The Romans assigned specific poetry, music and images to them but were not always consistent about it. They were all pictured with a lyre at one time or another.

1) Kalliope/Calliope, “of the beautiful voice,” is the Muse of epic or heroic songs. She leads the other Muses and plays the trumpet. She travels with leaders to inspire justice and thought. She settled the argument between Persephone and Aphrodite over Adonis.

Kalliope/Calliope is sometimes pictured with a scroll (book) and stylus (pen) or holding a laurel crown and the Homeric scrolls. In Renaissance times, she played the harp or lute.

2) Kleio/Cleo, “the giver of fame,” became the Muse of history poems. She spread the use of the alphabet and plays the trumpet. She is my pick for a Muse of brass instruments.

Kleio/Cleo is sometimes pictured with a chest of scrolls/books or a water clock.

3) Thaleia, “the festive or blooming,” can be found at the theater watching a comedy when she isn’t off with her other sisters, the Graces. She teaches geometry, architecture and agriculture. She invented the plectrum, used to strum the lyre.

Thaleia is sometimes pictured with a comedy mask, shepherd’s staff and ivy wreath. In Renaissance times, she played the rebec (early violin) or viol (stringed and bowed instrument that isn’t a violin).

4) Melpomene, “the singer,” prefers tragedies and elegies. She creates chants and plays the hunting horn.

Melpomene is sometimes pictured with a tragedy mask, sword, a wreath of ivy or cypress and wearing actors’ boots. In Renaissance times, she played the bass viol.

5) Euterpe, “the giver of joy,” is the Muse of instrumental music. She plays the aulos, a double-reed instrument. She loves wind instruments, lyric poetry and education.

Euterpe is sometimes pictured with the aulos or surrounded by many instruments. In Renaissance times, she played the flute or other woodwind instruments.

6) Terpsichore, who “enjoys dancing,” plays the lyre and dances. She loves large choruses in plays and education. She is occasionally the Muse of stringed instruments.

Terpsichore is sometimes pictured dancing, wearing a laurel wreath or holding a lyre. In Renaissance times, she played the cittern or large lute.

7) Erato as the “awakener of desire” claimed erotic poetry, wedding music and dances that entice or require pairs. A prophetic priestess of Pan shares her name.

Erato is sometimes pictured wearing a rose wreath or holding a lyre or jingle ring. In Renaissance times, she played the cittern.

8) Polyhymnia/Polymnia, “many hymns,” is best known for her sacred hymns and mimic arts. But through a link with Demeter, she is also the divine prostitute, the one who grants love to all. She makes the rules of grammar and teaches geometry and agriculture.

Polyhymnia/Polymnia was sometimes pictured wearing a veil or cloak. In Renaissance times, she played the organ or clavichord.

9) Ourania, the “heavenly one,” makes predictions by watching the stars and invented astronomy. Aphrodite took Ourania’s name as one of her titles: Aphrodite Ourania “the Heavenly Aphrodite,” the merciful one who dances to the music of the spheres.

Ourania is sometimes pictured with a compass and star globe. In Renaissance times, she kept time on a drum or gong.

At first, every village or kingdom had its own local Muses. Since Pieria is thought to be the place the more organized cult of the Muses began, the seven Muses of Pieria may have been a quite early group. (Confusingly, they are sometimes called the Muses of Lesbos, but Pieria is much more common.) Finding more information about them however, is not easy. Even the meanings of their names have to be pieced together from other myths. Their mother is a nymph named Antiope or Euippe. The name Euippe is closely related to Hera Hippia and Athena Hippia, the horse Goddesses. Their father Pierus is named for the land of Pieria itself. The seven Muses are named Rhodia, Asopo, Neilo, Achelois, Tritone, Heptapora and Tipoplo and their number matches the seven mitochondrial Eves, the genetic mothers of the human race.

1) Rhodia is rose or rose garland or perhaps hibiscus or some other red to pink flower. Two sunny nymphs, Rhodos and Rhode, have very similar names. Some believed Rhodos was the same as Athena Hippia, and Rhode’s mother was sometimes the ocean nymph Polyphe, “of much thought.”

2) Asopo, “never silent,” is a river name. It may also mean “clever in all ways.”

3) Neilo may mean river and/or relate to the river Nile.

4) Achelois, “washes away pain,” is the name of a moon Goddess who was given offerings at the oracle of Dodona.

5) Tritone is three. Tritones are the sea creatures who look like the sea God Triton, the conch shell player. By coincidence, tritone is the name of the most famous interval in modern music theory, the augmented 4^th or diminished 5^th, the mid-point of the octave.

6) Heptapora is another river name, possibly one with seven springs, streams or paths.

7) Tipoplo, very tentatively, may be a bird call.

In later myths, Pierus is a mortal king who had nine daughters, instead of seven. He claimed his daughters sang as well as the more famous Muses, or he named them after the nine daughters of Mnemosyne and Zeus. Whether he did this out of pride or by order of an oracle depends on which story you read. Regardless, his daughters were worshiped as the true Muses of Pieria. Before long, they challenged, or were challenged by, the nine Olympian Muses to a singing contest, which was judged by the nymphs or nature itself. The music of the contest caused the Helicon mountain to rise up into the sky until, finally, Poseidon sent Pegasus to stomp on the mountain. Springs leapt up where the winged-horse’s hooves touched the ground and the Muses were worshiped at these springs. The singing daughters of Pierus, meanwhile, were declared the losers and changed into birds, either magpies or nine different birds: the grebe, the wryneck, the ortolan (or hawk/kestrel), the jay, the green finch, the gold finch, the duck, the woodpecker, and the dracontis pigeon.

About those birds…

The translations of the nine birds are a little uncertain. For the birders out there and for those who just like this kind of puzzle, here are the Greek bird names.

1) Colymbas/Kolymbus means shrub and may be the grebe.

2) Iynx is the wryneck and also means spell or charm.

3) Cenchris is a kind of serpent and may be the hawk, kestrel or ortolan bunting.

4) Cissa/Kissa is the jay. Also a genus of magpies.

5) Chloris means green, may be the green finch and is used for many green birds. It is also the name of the flower Goddess who created the first rose.

6) Acalanthis/Akalanthis may be the gold finch, linnet or warbler.

7) Nessa means descending from above and may be the duck.

8) Pipo is the woodpecker.

9) Draconitis/Drakonitis is some uncertain type of bird.

Of course, anyone who enters a contest with the Gods is transformed. Some stories say it’s a reward; others that it’s a punishment. But there is no doubt that coming face to face with a God and showing exactly what you can do, exactly who you are, will change you deeply and leave you marked by having met Them. In this case, changing singers into birds, who spend their lives singing...well I leave you to decide precisely what that means.
For more on the other groups of Muses (yes, there are more), see Many Muses


Ovid's Metamorphoses
Hesiod's Theogony
Women of Classical Mythology by Robert E. Bell
The Marriage of Cadmus and Harmony by Roberto Calasso
The Gods of the Greeks by Kerenyi
Theoi.com

Of The Muses I Sing

 As with all Greek mythology, the details of the Muses’ story are a little changeable.  They seem to have started out as nymphs associated with springs and fountains that bring inspiration. Since the different regions in Greece each had their own inspiring springs, the Muses had different names and numbers in the various myths.
At times, the Muses almost exist without any family and are named for the music they make. There are three Muses named for three different types of instruments (strings, winds and percussion usually). Other times, they are named for vocal, instrumental and dance music. And I once read that one Muse was born from the movement of water, one from the movement of air and one was embodied in the human voice.

Tame(ish) Fountain

When the Muses' parents are Ouranos (the Sky) and Gaia (the Earth) there are usually 1 (Mnemosyne), 3 (Melete, Mneme and Aoede) or 4 (Arche, Thelxinoe, Aoede and Melete) of them.  
Mnemosyne is sometimes called the first Muse and this is the only name that appears as a solitary Muse figure. She is considered the Goddess of memory and language partly because the first thing she did was to name everything in existence so they could be sung about.
Other times, there are three Muse sisters; Melete “practicing/meditation”, Mneme “remembering” and Aoede “singing.” Under these names, they are living versions of how poets and musicians work. This set is also described as the Titan Muses, the older generation. Mnemosyne was at times considered a fourth Muse of this group.
Another group of four Muses descended from either Gaia or a Nymph named Plusia and Ouranos or Zeus use the names Arche (beginning), Thelxinoe (the heart delighting), Aoede (song), and Melete (more practicing).

When their parents are Zeus and Mnemosyne (Goddess of memory, time and prophecy) there are usually 9 sisters. They were all born at once, were addicted to song and had dancing-grounds on mountains and near fountains and wells. Artemis led them in singing hymns and circle dances. At first, Apollo played the aulos, a double-reed instrument, with the Muses but switched to the lyre after Hermes invented it. They were also companions of Dionysus, the other God of music. The Muses traveled wrapped in clouds and their voices could only be heard at night. They lived with the Graces and are the patrons of poets and musicians.

Other traditions make the three Muses the daughters of Apollo. These three are sometimes named after the lowest, middle and highest strings on the lyre or are called Kephiso "of the river Kephiso", Apollonis "daughter of Apollo" and Borysthenis "strength."
And there are Muses whose names we have lost completely. Polymatheia "much learning/knowledge" is the only surviving name from a set of 3 Muses worshiped at Sicyon.

The House of the Muses Today

The number of Muses steadily increases (the 7 Muse daughters of Pierus are Neilo, Tritone, Asopo, Heptapora, Achelois, Tipoplo, and Rhodia; for more on them see The Muse Contest) until nine is the most accepted number. Eventually, a tradition developed of assigning specific forms of poetry, and the music that went with it, to individual Muses. The precise list of who was linked with which art form changes depending on which writer you are reading.


-Kleio “the giver of fame” took charge of history poems. She played horns and trumpets. Two other Muses in this group play brass instruments.

-Euterpe “the giver of joy” played the aulos, directed all instrumental music and was in charge of lyric poetry. Euterpe is called a flute player so often, it is nearly impossible to convince people otherwise and really, I like having a Muse connected to my particular instrument. But the aulos has no relation to the flute. It was a double-reed instrument with no true modern equivalent. I consider her the Muse of woodwind instruments.

-Thaleia “the festive or blooming” led the music of comedy and comic plays.

-Melpomene “the singer” had charge of music for tragedies and elegies and played horn.

-Terpsichore “enjoys dancing” danced and played the lyre. In some lists, she is in charge of choral songs.

-Erato “awakener of desire” inspired erotic poetry, danced and wedding music. In some lists, she is in charge of mimic imitation.

-Polymnia or Polyhymnia “many hymns” sang story-telling songs. Others say she is in charge of religious hymns and/or mimic arts.

-Ourania “heavenly one” studied astronomy and played a drum or a gong to keep time.

-Kalliope “beautiful voice” was awarded epic or heroic songs and played trumpet.

In the myths, the Muses are most often referred to as the musical accompaniment at celebrations and funerals attended by the Gods. Poets generally praised them at the opening and closing of any song, partly in hopes of performing well. There are stories of false Muses (sometimes nine daughters of a king) challenging the Muses either in a song contest or by setting up their own cult. Like most Greek Gods, the Muses do not take the challenge well. When the true Muses sang, the sky, stars, sea and rivers all stood still and a fountain sprang up on Mount Helicon. They then turned the challengers into birds, either magpies or nine different songbirds. Since the Muses themselves were able to turn into birds, this leaves the question of who the true Muses were open for debate. Sometimes one of the Muses is claimed as the mother of the Sirens, another group of singing bird women. The Sirens are also said to have challenged the Muses. The Muses then stripped their feathers from their wings and wore them as crowns. Nearly every singer, musician or poet in mythology is said to be a child of one of the Muses or at least raised and taught by them. And a shocking number of them are punished by the Muses for various offenses. Blinding is one of their favorite punishments, but considering the tradition of blind poets and musicians, one has to wonder...

Wild Spring

The Muses are worshiped at fountains, springs and wells. They teach the arts of healing and prophecy. They know how to lie and reveal the truth. They sing in consort, dance in rounds and whisper into our dreams. They are Goddesses of art, science and knowledge and they remember everything that has ever happened. They inspire creativity of all kinds and they bring forgetfulness of sorrows and cares. The Orphics worshiped the Muses especially and said there were two springs in the underworld that the dead could drink from, the spring of Mnemosyne “memory” and the spring of Lethe “forgetfulness”.

Reflections

Smile on my little song, Ladies of delight. Bring me foresight, sweet melodies, freedom from sorrows and a good memory.

For more info about the Muses, see my other Muse posts.

Program Notes or What I'm on about in my albums

Digital downloads available in all the usual locations.

Link to buy CDs of Amaltheia... 

Amaltheia's Lullaby-program notes-
In Greek Mythology, Amaltheia is a nymph or a goat who raised Zeus the God of thunder. Pan, half God half Goat, is the God of the wilderness. There are many different stories of Pan’s birth and antics. As the son of Amaltheia’s goat, Pan was raised in a cave with Zeus. Another story says Pan and Arcas were the twin sons of Zeus and Callisto a nymph who was changed into a bear. In yet another story, Pan helped Zeus after his sinews were stolen by the guardian of the sacred oracle at Delphi. Pan often plays a panpipe or a syrinx that can put anyone to sleep. A Labyrinth is a maze with only one path in and out. The version often seen in Crete, where Zeus and Pan were said to have been raised, has seven corridors.
The four notes F G C and E-flat are a call to Pan according to some. All the pieces on this album relate to these notes.

1 Cave Lullaby---alto flute

2 Bear Dance-Cub Steps---flute

3 Bear Dance-Tempo Challenge---flute

4 Transposing Delphi-Lament and Lure---alto flute

5 Transposing Delphi-Mirror Dreams---alto flute

6 Beggars Pan---glass piccolo

7 Labyrinth-1^st Loop-Lulling---flute

8 Labyrinth-2^nd Loop-Memory Game---flute

9 Labyrinth-3^rd Loop-In the Garden---flute

10 Labyrinth-4^th Loop-In and Out---flute

11 Labyrinth-5^th Loop-Weaving---flute

12 Labyrinth-6^th Loop-Turn About---flute

13 Labyrinth-7^th Loop-Rainstorm---flute

14 Rain and Flood Lullaby---flute

 

 

 

Link to buy CDs of Waking...

Waking the Devas-program notes-
A while ago, a friend of mine was telling me about her new garden. It was in the country across the road from a forest. It made her happy just seeing it. It overflowed with life as if little spirits were peeping out around the tomatoes, morning glories and grass. Even the bugs that ate plants down to the ground had a magic to them although that didn’t make them less of a nuisance. The garden became a nursery for nature devas, a safe place for them to gain strength as they step, roll and rush out into the world. This got me thinking about waking the devas, fairies, nature spirits in the world around us. Drawing them into the cracks in our lives and letting them run wild. Messy sometimes but more than worth it for all the joy they bring.

1 Lament’s Balm---glass piccolo in C recorded in a forest clearing

2 Rain Dare---glass picc during a rainstorm with a few cows

3 Thaw Longing (Sun in January)---flute as a wind front built up

4 Wind and Rain (Waking Lullaby)---glass picc in a garden during a break in the rain

5 Flood Drops---flute on a sunny winter day in a greenhouse

6 Drawing Out---glass flute in G on a windy sunny day in a greenhouse

7 Fireflies-Here and There---flute at early night on the edge of the woods with crickets

8 (Enter Chorus) How Hummingbird Sees Time---baroque flute on an afternoon in a forest clearing as the cicadas warmed up

9 (Fireflies) Spying on Starfall---flute at night on a lane in the woods with crickets

10 Chorus in the Elm---baroque flute on an afternoon in a forest clearing with cicadas

11 Fireflies-World’s Rim---flute at night on the edge of the woods with crickets

12 Perseids-Night’s Overflow---flute, rattle at midnight on a lane in the woods

13 Cicada Antiphony---baroque flute on a summer afternoon in a forest clearing

14 Perseids-Some May Yet Sleep---flute on a lane in the woods under meteors

15 Lament’s Balm/Lemon Balm II---flute at night on a wooded lane

16 The Fairies’ Hounds---flute. The hounds in question scrambled across a tile floor (click, clack go the claws) but refrained from howling till the recording was done.

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Link to buy physical CDs.