Music of ancient Greece

Music was almost universally present in ancient Greek society, from marriages, funerals, and religious ceremonies to theatre, folk music, and the ballad-like reciting of epic poetry. This played an integral role in the lives of ancient Greeks. There are some fragments of actual Greek musical notation, many literary references, depictions on ceramics and relevant archaeological remains, such that some things can be known—or reasonably surmised—about what the music sounded like, the general role of music in society, the economics of music, the importance of a professional caste of musicians, etc.

The word music comes from the Muses, the daughters of Zeus and patron goddesses of creative and intellectual endeavours.

Concerning the origin of music and musical instruments: the history of music in ancient Greece is so closely interwoven with Greek mythology and legend that it is often difficult to surmise what is historically true and what is myth. The music and music theory of ancient Greece laid the foundation for western music and western music theory, as it would go on to influence the ancient Romans, the early Christian church and the medieval composers.^: x Our understanding of ancient Greek music theory, musical systems, and musical ethos comes almost entirely from the surviving teachings of the Pythagoreans, Plato, Aristoxenus, Philodemus, Ptolemy, and Aristides.

Some ancient Greek philosophers discussed the study of music in ancient Greece. Pythagoras in particular believed that music was subject to the same mathematical laws of harmony as the mechanics of the cosmos, evolving into an idea known as the music of the spheres.^{: 130–131} The Pythagoreans focused on the mathematics and the acoustical science of sound and music. They developed tuning systems and harmonic principles that focused on simple integers and ratios, laying a foundation for acoustic science.^: 132 It can be demonstrated that all surviving music written in ancient instrumental notation can be played with pure intervals of this type. Aristoxenus, who wrote a number of musicological treatises, was one of multiple theorists who studied music connecting theory and empiricism. Aristoxenus believed that intervals should be both judged by ear and described with mathematical ratios; he was influenced by Pythagoras and used mathematics terminology and measurements in his research. However, playful engagement with musical intervals is documented in music written in vocal notation, which goes beyond the limitations of harmonics.