Through the Eras

Musickhener could also be the “overseer of all the entertainmentsof the secrets of the palace,” or the “overseer ofall the fine entertainments of the king,” or the “overseerof the singing of the palace.” Some singers of the khenerare even described as those whose singing “rejoice theheart of the king with beautiful songs and fulfill everywish of the king by their beautiful singing.” The kheneralso played for religious ceremonies. It is depicted in funeralprocessions and performing in front of the tombduring funerals. Specific kheners were also attached totemples of Hathor, Bat, Wepwawet, and Horus Iunmutef.Nevertheless, this does not mean that the khenerwas exclusively religious.SOURCESLisa Manniche, Music and Musicians in Ancient Egypt (London:British Museum Press, 1991).Emily Teeter, “Female Musicians in Pharaonic Egypt,” inRediscovering the Muses in Women’s Musical Traditions.Ed. Kimberly Marshall (Boston: Northeastern UniversityPress, 1993): 68–91.SEE ALSO Dance: The Dancers010cmDrawing of a musical scene with musicians and dancers, fromthe tomb of Nefer. CREATED BY GGS INFORMATION SERVICES.GALE.had a khener, including the royal palace, the funeraryestates that supported a king’s cult after he died, and thetemples of the goddesses Bat and Hathor, and the godsWepwawet and Horus-Iunmutef. Many titles found intombs show that women were usually the supervisors ofthe khener, which is one indication of the degree of freedomenjoyed by women in ancient Egypt. Because thetitles change in Egyptian according to whether the officeholder was male or female, it is clear that the Overseerof the Khener and the Inspector of the Khener werewomen in most cases. There is also an example of a maleOverseer of the King’s Khener. The evidence for thekhener comes almost entirely from scenes on the wallsof tombs and temples. Thus it is not clear if all the possibleperformance venues for the khener are representedin the evidence. The khener is often depicted entertainingthe deceased in a tomb while he eats from the offeringtable. This could imply that the khenerentertained at meals during life on earth. Other evidencethat the khener entertained at secular functions includessome titles held by khener members. A member of theBANQUET MUSIC DURING THENEW KINGDOMSTANDARD ENSEMBLE. In the New Kingdom(1539–1075 B.C.E.) a standard ensemble developed forplaying at banquets. These banquets are depicted ontomb walls and are a frequent component of tomb decoration,especially during the Eighteenth Dynasty(1539–1292 B.C.E.). Though the depictions in the tombsare connected with the tomb’s function of providing thenecessities for the deceased to be reborn into the nextworld, still the banquet scenes also represent real banquetsheld in this world. Music was always included atthese banquets. The standard ensemble included a harp,a lute, a double oboe, and sometimes a lyre. These instrumentswere played by both men and women eitherin mixed groups or in all-women bands. These bandsseem to replace the Old Kingdom entertainers whoplayed a single harp.NEW LIVELINESS. The depictions of musicians atbanquets during the New Kingdom are considerablylivelier than depictions carved during the Old Kingdom.It is possible to attribute part of this change to developmentsin art style that allowed New Kingdom artistsmore freedom in depicting people. Yet even the posesof the musicians have changed. In the Old Kingdom,166 Arts and Humanities Through the Eras: Ancient Egypt (2675 B.C.E.–332 B.C.E.)