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84 Michalis Georgiou addressing the exhibition opening. The Greek Ambassador, Mr Dimitris Rallis and his wife. Kathrine L. Nikita from the Evagoras and Kathleen Lanitis Foundation. confesses, "relying solely on various archaeological findings or literary texts. In the passage of time vital information has been lost. Moreover, a significant amount of information is derived from myths: Many drawings of frescoes display scientific imperfections and inaccuracies as well as musical instruments that do not exist; they serve only to enhance aesthetic balance". An artist feels free to fill in any missing element, laying emphasis on the aesthetic aspect of the created object and ignoring the scientific anomalies associated with it. On the other hand the researcher or the scientist will abstain from reaching a final conclusion once he has detected a missing link in the chain of elements of the subject under research. The instruments presented by Michalis Georgiou in the exhibition are the result of many years of personal scientific research as well as the full perception of the myth through consciousness. Artistic creativity is used to fill the void of vanished information. It is the degree of artistic arousal in the individual brought on by the instrument’s resonance that determines how successful the recreation of an instrument is, enabling long forgotten resonances to resurface. The exhibition "Recreation of Ancient Greek Musical Instruments" presented the opportunity for the publication of a catalogue in the series Cypriot Creators entitled "The Quest for the Resonance of the Universe" dedicated to the work of musician, tutor and craftsman, Michalis Georgiou. The bi-lingual (Greek/English), lavishly illustrated catalogue was published by En Tipis publications with the support of the Cultural Services of the Ministry of Education and Culture. Alongside the texts signed by Savvas Kokkinos and Michalis Georgiou concerning the project, there are minute details about the origin and structure of each ancient instrument replica.
If an ancient Greek were to hear today’s music, he would certainly be impressed by the polyfonia, impact and instrumentational strength, because those were not characteristic of ancient music. On the other hand he could consider our melodies to be monotonous, because only two modes are used in our days, (Major and Minor scales), whilst in ancient Greek music there existed seven different ways, each of which had a different character (mixolidios, lidios, frygios, dorios etc). Modes were of special importance to the ancient Greeks and this can be deduced from the fact that Plato dealt with these, as he considered some of them suitable for his Politia and others not. These modes were bequeathed to Byzantine music as the Eight Sounds, while they were being used by the Western Church too. In Eastern music the modes are known as makams. In contemporary music modes reappeared in Jazz with the same term modes with ancient Greek names About Ancient Greek Music Michalis Georgiou (left – right) The Greek Ambassador, Mr Dimitris Rallis, his wife and Michalis Georgiou. (mixolydian, dorian, ionian, aiolian, locrian, etc.) An ancient Greek would also find contemporary music poor in musical intervals, since only the rough intervals of tones and semi-tones are used in contrast to ancient music which used a variety of musical intervals. Apart from the Cleoriki kithara (cradle kithara), 5th century BC. Greek salpinx, trumpet, kochlos, keras. Seven-stringed lyra, 5th century BC. Oxival, clay pots with wooden bases. 85
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Editorial The majestic, awe-inspiri
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The Olive Tree and Olive Oil in the
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Different stages in the production
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Homer called it “golden liquid”
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Ancient old olive tree. (Photo: N.
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1984, 231 no. 771). The olives, whi
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The best Mediterranean diet: vegeta
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the Olives in Antiquity in Cyprus),
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Madonna Francesco da Rimini - Virgi
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Virgin Mary the Merciful (Eleousa),
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22 Subjects that can be seen in ree
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24 Saints John Prodromos and Theolo
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26 a conscious attempt by the artis
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28 In a ceremony held on 24 Novembe
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30 manent Director at the Theatre D
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32 relevant department, the setting
Page 34 and 35: 34 Kypr K Y P R I A K Y P R I A K Y
Page 36 and 37: 36 The Kypria International Festiva
Page 38 and 39: 38 The last programme also featured
Page 40 and 41: 40 human bitterness, pain and suffe
Page 42 and 43: 42 10 PIANOS AND ORCHESTRA The Stei
Page 44 and 45: 44 The annual Paphos Aphrodite Oper
Page 46 and 47: 46 Red polished figurines, clay, La
Page 48 and 49: 48 in this field is greatly due to
Page 50 and 51: 50 Hala Sultan Tekke Restoration A
Page 52 and 53: 52 Cypriote Antiquities in the Muse
Page 54 and 55: 54 Limestone female statue, 6th cen
Page 56 and 57: 56 Anthropomorphic jug of White Pai
Page 58 and 59: 58 WAR and CULTURAL HER The consequ
Page 60 and 61: 60 Modern Greek Studies Yearbook (n
Page 62 and 63: 62 The Minister of Education and Cu
Page 64 and 65: 64 Minister of Education and Cultur
Page 66 and 67: 66 Erato Hadjisavva, Wave. Video in
Page 68 and 69: 68 Savella Michael, untitled. Ink,
Page 70 and 71: 70 Helene Black, Relative Distance,
Page 72 and 73: 72 The Curator’s concept Antonis
Page 74 and 75: 74 Four massive "walls" made of doz
Page 76 and 77: Melita Couta, Objects of Desire, 20
Page 78 and 79: 78 130 years in the same pace, two-
Page 80 and 81: 80 Evgenia Vasiloude, Hymn to Demet
Page 82 and 83: 82 Terpandros Exhibition
Page 86 and 87: 86 The Terpandros Orchestra playing
Page 88 and 89: 88 Greek composer Mikis Theodorakis
Page 90 and 91: 90 Vicenza Numismatica of Vicenza,
Page 92 and 93: 92 until her family was forced to l
Page 94 and 95: 94 Vassos Lyssarides was born in th
Page 96 and 97: 96 Poems by Vassos Lyssarides Nosta
Page 98 and 99: 98 A major programme for the Compos
Page 100 and 101: 100 The International Committee for
Page 102 and 103: The Orpheus Mosaic is the largest s
Page 104 and 105: 104 Annita Santorineou in Sophocles
Page 106 and 107: 106 under the direction of Nicos Sh
Page 108 and 109: 108 The Theatre Organization of Cyp
Page 110 and 111: 110 The "Cyprus Film Days 2006" fes
Page 112: 112 New State Orchestra Conductor S
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