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1 The Musical Score from Ugarit ABSTRACT This paper deals with RS (H. 6) excavated in Ras Shamra, from a cultural historical point of view. We can see that the Hurrianized Akkadian terms,together with the numerals of H. 6 are related to a type of musical instruction. We know many terms for musical instructions in ancient Near Eastern texts for example, in the Convers Tablet and in the headings of the Book of Pslam. We have also identified the cheironomy in the reliefs of ancient Egypt. The musical instruction of H. 6 is very unique, because it is the letter notation whichshows how to sing a song in detail. The terms and the writing system of H. 6 indicate that the notation of this text was influenced by Mesopotamian culture. This notation might have been brought from Mesopotamia to Ugarit by the Hurrians. And it is characteristic that this Hurrian system of musical notation was used in the kingdom of Ugarit. We can identify the designation for the genre of the song (nid qabli) in the colophon of the H. 6 text. This term is related to a type of mode. The mode of H. 6 can be interpreted by means of the Babylonian tuning text (U. 7/80). This tuning text may indicate that the ancient Babylonians had a heptatonic system in making use of the fourth and fifth. This heptatonic system of using the fourth and fifth is well known in Greek musical theory. We can see that the nid qabli mode in the H. 6 text is related to the Lydian one. Therefore, the musical life of Ugarit suggests a linkage between Babylonian and Greek musical life.

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8 1) Stichzeile und Titel 2) balag denlil (50) ul qati ana zi-mir-su 3) mni-din-tu4-dani lukalu da-nim mdru sa mitti-ani-nuhsu (HE. NUN) mdr2 msin-leqe-unninni Urukki-u(41)

9 45.23 irati (GABA MES) sa akkadu (URI-ki) irati (GABA MES) sa ki-it-me irati (GABA MES) sa eb-bu-bi irati (GABA MES) sa pi-it-te 49. [ ] irati (GABA MES) sa ni-id qabli (MURUB4) 50. [ ] irati (GABA MES) sa ni-*is qab-ri 51. [ irati (GABA MES) s]a qablitu (MURUB4-te)

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14 (2) Anne Draffkorn Kilmer, gthe Strings of Musical Instruments: Their Names, Numbers, and Significance," in Studies in Honor of Beno Landsberger (Assyriological Studies 16) (Chicago, 1965), pp (5) David Wulstan, gthe Earliest Musical Notation," Music and Letters 52 (1971), pp (6) Anne Draffkorn Kilmer, gthe Cult Song with Music from Ancient Ugarit : Another Interpretation," RA 68 (1974), pp (7) Marcelle Duchesne-Guillemin, gles problemesde la notation hourrite," RA 69 (1975), pp ; Marcelle Duchesne-Guillemin, A Hurrian Musical Score from Ugarit : The Discovery of Mesopotamian Music. Malibu, (8) Raoul Vitale, gla musique sumero-accadienne: Gamme et notation musicale," UF 14 (1982), pp (9) M. K. Cerny, gprobleme der Musikaufzeichnung aus Ugarit: Versuch einer neuen Interpretation des ehymnus h 6'," in Suhnu: Papers on the Ancient Near East Presented at the International Conference of Socialist Countries Prague, Sep. 30-Oct., 3, 1986 (Prague, 1988), pp (10) M. L. West, gthe Babylonian Musical Notation and the Hurrian Melodic Texts," Music and Letters 75 (1994), pp (11) Hans J. Thiel, gder Text und die Notenfolgen des Musiktextes aus Ugarit," SMEA 18 (1977), pp (14) W. G. Lambert, gthe Converse Tablet: A Litany with Musical Instructions," in H. Goedicke (ed.), Near Eastern Studies in Honor of William Foxwell Albright (Baltimore, 1971), p (15) Ibid., pp (16) Ibid., pp (17) Ibid., p (18) Ibid., pp. 339, 344.

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