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Ugarit, where the Hurrian songs were found. The complete song is one of about 36 such hymns in cuneiform writing, found on fragments of clay tablets excavated in the 1950s from the Royal Palace at Ugarit (present-day Ras Shamra, Syria), [5] in a stratum dating from the fourteenth century BC, [6] but is the only one surviving in substantially complete form.
The Hurrian myth "The Songs of Ullikummi", preserved among the Hittites, is a parallel to Hesiod's Theogony; the castration of Uranus by Cronus may be derived from the castration of Anu by Kumarbi, while Zeus's overthrow of Cronus and Cronus's regurgitation of the swallowed gods is like the Hurrian myth of Teshub and Kumarbi. [58]
He rejects (Pythagorean) ditonism and heptatonism, as a model for Oriental music and particularly rejects the hypothesis of the use of dichords in the Musicology of the Ancient Near East. Dumbrill offers another interpretation of the Hurrian songs, the oldest music ever written, which was found in northwest Syria at the site of Ugarit.
Raoul Gregory Vitale (12 February 1928 – 29 September 2003) was a Syrian musicologist who introduced the total description of the ancient Babylonian musical scales used in Music of Mesopotamia and Near East, and also a complete interpretation of the musical notation of the Hurrian Hymn 6 discovered in Ugarit which is considered to be the first known complete musical notation.
In the Song of Ullikummi, known from poorly preserved fragments of a Hurrian original and a more complete Hittite translation, the eponymous monster is placed on his right shoulder by Irširra (perhaps to be identified as goddesses of nursing and midwifery [5]), the servants of Kumarbi, to let him grow away from sight of allies of Kumarbi's ...
While older music with notation exists (e.g. the Hurrian songs or the Delphic Hymns), all of it is in fragments; the Seikilos epitaph is unique in that it is a complete, though short, composition. Based on its structure and language, the artifact is generally understood to have been an epitaph (a tombstone inscription) created by a man named ...
Hurrian song refers to a small repertory of mostly fragmentary relics, or to the one nearly complete member of this group (also known as the Hurrian cult hymn, the Hurrian hymn to Nikkal, A Zaluzi to the Gods, or simply h.6), which is the oldest surviving complete work of notated music, dating to approximately 1400 BC.
Šeri and Ḫurri commonly appear in Hurrian religious texts, such as offering lists and oaths. [1] In the former, they are typically followed by Ḫazzi and Namni, two mountain gods also counted among the members of Teššub's entourage. [21] References to songs sung in their honor are also known. [1]