Tag Archives: Frogs and Toads

Cymbals and symbols in ancient Greece

 

The Metropolitan Museum of Art houses an astonishing bronze figurine, perhaps unearthed in Cyprus: a nude woman playing a pair of cymbals, standing on a frog (inv. no. 74.51.5680). It was probably the handle of a mirror, and the craftmanship is typical of ancient Laconia.

Scholars have never explained the relationships between all the represented elements, but the figurine is obviously related to ancient Spartan music, or at least to its soundscape.

We may wonder whether there is a link between the frog and the cymbals in terms of sound. Did ancient Greeks perceive the croaking as a percussive sound? In Greek antiquity, frogs seem to be associated with several types of instruments.

Since the figurine might come from Cyprus and it depicts a nude woman, it is usually interpreted as Aphrodite. However, if it is a Laconian piece of art, it seems more relevant to recognize here one of the main goddesses of Sparta, Artemis Orthia. She stands on a frog, because her sanctuary was located in the marshlands of Sparta, a place appropriate for batrachia. This place had a specific soundscape of croaking frogs and water sounds. Further, there are remains of feline paws on her shoulders; the archaic Artemis is the mistress of wild beasts.

In the sanctuary, archaeologists found cymbals and auloi dedicated to the goddess for apotropaic purposes. It may be opportune to compare this piece with Asian drums decorated with frogs, which were used to ask for rain fertility: perhaps the cymbals associated with croaking had the same function in ancient Spartan marshlands.

This according to “Croaking and clapping: A new look at an ancient Greek bronze figurine (from Sparta)” by Sylvain Perrot (Music in art XLIII/1–2 [2018] pp. 175–83)

Below, an illicit visit to the sanctuary.

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Frogs and films

frogs

Spontaneously recorded music and natural noise, once they are chosen and ordered in a film’s soundtrack, acquire a dignity that was at first unexpected, entering into harmony, rivalry, and sometimes even conflict with the score composed for the film.

Between fake bad music created by a competent composer and real bad music appropriated in its raw state from the popular muse, between an impressionist nocturne for large orchestra and the authentic concerto of crickets and frogs, the artificial music does not necessarily win out over the natural kind.

This according to “La musique prise dans le sujet, élement materiel du film et la musique composée pour le film, élément formel de l’œuvre d’art” by Roland Alexis Manuel Lévy, an essay included in Atti del secondo Congresso internazionale di musica (Firenze: Le Monniere, 1940, pp. 253–256). You may wish to compare the two short films below to test Lévy’s hypothesis.

Related article: Cowshed soundscaping

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