Scan 139
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
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1but later turned to musicology and has become an authority on the history of Slovene music. His studies of the life and works of Jakob Handl (Gallus), Gabriel Plautzias, Johannes Baptist Dolar and several other composers of Slovene origin show conscientious and wide-ranging research. His books organize successfully the detailed information on individual figures and institutions given in his numerous articles into a systematic music history of Slovenia, which is presented in the context of its cultural and political history. He believes that in order to understand fully the development of European musical culture it is necessary to follow not only its mainstream, but also its course in peripheral centres. Accordingly he has studied the contribution of eastern central Europe to the musical life of the Renaissance and Baroque, it is largely because of his efforts that the music history of Slovenia and its relationship with the powerful musical cultures of neighbouring Austria and northern Italy are now so well documented. With Andreis he was the founder of the modern school of musicology in Yugoslavia
3WRITINGS
4Problem občega muzikalnega vzgojanja ter izobraževanja [The problem of general music education] (diss. U of Ljubljana, 1938, extracts Ljubljana, 1938)
5Risto Savin osebnost in delo [Savin personality and work] (Ljubljana, 1949. Serbo-Croat trans., 1958)
6Davorn Jenko in njegovo doba [Jenko and his times] (Belgrade, 1952. Slovene trans., 1955)
7'The Problem of National Style in South Slavonic Music', Slavonic Review, xxxiv (1955), 1
8'J B Novak, ein slowenischer Anhänger Mozarts', Kongressbericht Wien Mozartjahr 1956, 103
9'Mozarts Einfluss auf die slowenische Tonkunst zur Zeit der Klassik', Mjh 1956, 200
10The Renaissance in Slovene Music', Slavonic Review, xxxvi (1957), 27
11Zgodovina glasbene umetnosti na Slovenskem [A history of music in Slovenia] (Ljubljana, 1958 60)
12'Les formes et les résultats des efforts musicologiques yougoslaves', Ac M, xxxi (1959), 50
13Academia philharmonicorum labacensis (Ljubljana, 1962)
14'Muzička kultura u Sloveniji', J Andreis, D Cvetko and S Duric-Klajn
15Historijski razvoj muzičke kulture u Jugoslaviji (Zagreb, 1962)
16Jacobus Gallus Carniolus (Ljubljana, 1965)
17"'Il Tamerlano" di Giuseppe Clemente Bonomi', Fsvvs Presented to Egon Wellesz (Oxford, 1966), 108
18'La musique slovène du XVIe au XVIIIe siècle', Musica antiqua Europae orientalis I Bydgoszcz 1966, 164 200
19Histoire de la musique slovène (Maribor, 1967)
20'South Slav Music in the History of European Music', IMSCR, x Ljubljana 1967, 26
21Beethovens Beziehungen zu der Laibacher Philharmonischen Gesellschaft', G/MKB Bonn 1970, 132
22Jacobus Gallus sein Leben und Werk (Munich, 1972)
23'Aus H Scherchens und K A Hartmanns Korrespondenz an S Ostere', Musicae scientiae collectanea Festschrift Karl Gustav Fellerer (Cologne, 1973), 70
24'Zum Problem der Wertung der neuen Musik', IRASM, iv (1973), 5
25Musikgeschichte der Sudslawen (Kassel and Maribor, 1975)
26Further articles on Slovene music in Festschriften for Boetticher (1974) and Senn (1975), and IRASM
28EDITIONS
29Skladatelji Gallus, Plautzias, Dolar in njihovo delo [Composers Gallus, Plautzias, Dolar and their works] (Ljubljana, 1963)
30J Handl Harmoniae morales (Ljubljana, 1966), Moralia (Ljubljana, 1968)
32BIBLIOGRAPHY
33J Sivec 'Priznanje uglednem jugoslovenskom muzikologu prof dr Dragotinu Cvetku' [Recognition for the distinguished Yugoslav musicologist D Cvetko], Zvuk (1972), no. 121-3, p 87
35Cybele [Kybēlē, Kybella, Kybelē, Kybēbē (Lydian); Lat. Cybele, Cybebe, Cybela]. Ancient Phrygian deity, often called the Great Mother by both Greeks and Romans. She was linked with many other female divinities, especially Rhea and Artemis. By the time her cult reached Greece (5th century BC) it had become fused with the liturgy of DIONYSUS, reflecting the cult of divine mother and son in Asia and Crete. The male figure worshipped in specific conjunction with Cybele was, however, her youthful consort Attis. His cult, which became important only in Rome under Claudius (emperor AD 41-54), included the use of the syrinx; he was originally a shepherd god.
37An extensive fragment of a dithyramb, or choral hymn to Dionysus, by Pindar, from the first half of the 5th century BC, mentions tympana and krotala (clappers or rattles, usually in pairs like castanets) sounding in honour of 'the august Great Mother' (frag 61, ed. Bowra, ll 6-8). A Homeric hymn which must date from approximately the same period refers to these two instruments as well as the aulos (xiv, To the Mother of the Gods, 13). In the Bacchae, produced about 405 BC, Euripides gave particular prominence to the tympanum as the invention of Dionysus and Rhea (i.e. Cybele ll.59, 120-34), linking it with the use of Phrygian aulos, (ll 127 8, 159-61) and describing its deep, booming tone (1156, harvbromōn) Cult statues or paintings of the goddess usually showed her with the tympanum (for illustration see TYMPANUM) The Athenian minor tragic poet Diogenes described the Phrygian women worshipers of Cybele as using rhomboi in addition to the usual tympana and cymbals (frag.1, ed Nauck, p.776, ll.3-4. = Athenaeus, xiv, p.636a). According to Menander, the begging priests of Cybele's cult used cymbals to summon her (frag.245, ed. Kock), Firmicus Maternus (4th century AD) described a similar use of the tibia.
39Ovid described the introduction of Cybele's rites to Rome in 204 BC and listed the instruments regularly used, including the Phrygian double aulos with one recurved bell-shaped mouth (Fasti, iv, 1181). Apuleius (2nd century) described the music used by followers of the 'Syrian goddess' Atargatis, whose cult resembled that of Cybele and was characterized by the presence of eunuch priests, and hence of castrato singing. He also mentioned a choraula (in this context a cornu player), dancing in triple rhythm, the tibia and various percussion instruments (Metamorphoses, viii, chaps.26-7, p 198, ed. Helm, ll 2-4, 19-20) The scene depicted on a Roman terracotta suggests that a long-handled spherical rattle (the Greek platagē, identical with the sistrum of the cult of Isis) was used in the rites of Cybele.
41Only members of her priesthood and trained instrumentalists performed the rites; and since the hymns were required to be sung in Greek (Servius on Virgil, Georgics, ii, l.394), they were performed by professional singers called hymnologi
43Clement of Alexandria in his Protrepticus quoted a ritual formula recited by those being initiated into the mysteries of Cybele. 'I ate from the tympanum; I drank from the cymbal' (chap 2, §14), where the round tympanum is an image of the earth as primal element, while the concave cymbal is a chalice.
45See also AULOS; GREECE, §1. ROME, §1
47BIBLIOGRAPHY
48C Sachs Geist und Werden der Musikinstrumente (Berlin, 1929/R1965)
49W K C Guthrie The Greeks and their Gods (London and Boston, 1950, 4/1956), 31, 59, 151
50G Wille Musica romana (Amsterdam, 1967), 56ff, 393f
51J Devreker 'Un instrument méroaquae de plus dans le culte de Cybèle', Hommages à Marcel Renard, Collection Latomus, ci-ciii (Brussels, 1969), ii, 214
52W. Fauth 'Cybele'. Der kleine Pauly, iii (Stuttgart, 1969), 383
53WARREN ANDERSON
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