Musical Rituals in Mesopotamia:
Archaeological Finds and Interpretations Automatic translate

The musical culture of ancient Mesopotamia is one of the earliest and most developed musical traditions in human history. Archaeological discoveries of the last century and a half have allowed modern researchers to reconstruct a picture of the complex musical system that existed in the Tigris-Euphrates Valley for more than three millennia. These discoveries demonstrate that music occupied a central place in the religious rituals of the Sumerians, Akkadians, Babylonians and Assyrians.

Early archaeological discoveries

The first systematic excavations of musical artefacts in Mesopotamia began in the 1920s with Sir Leonard Woolley’s expedition to the ancient city of Ur. The royal cemetery of Ur, dating from the Early Dynastic III period (2550-2450 BC), was the site of one of the most significant musical archaeological discoveries. Eleven stringed instruments were found in the tombs, including nine lyres and two harps, constituting the only collection of actual stringed instruments from ancient Sumero-Babylonia.

Woolley’s excavation methods were revolutionary for their time. Since the wooden parts of the instruments had completely decomposed in the soil, the archaeologist filled the cavities left by the missing wood with liquid plaster. This method allowed the instruments to be preserved in shape and reveal their design features, including the arrangement of strings and decorative elements.

The most famous finds were four lyres: the Golden Lyre of Ur (now in the Baghdad Museum), the Royal Lyre, the Silver Lyre (both in the British Museum), and the Bull-Headed Lyre (in the University of Pennsylvania Museum). Each of these lyres is decorated with a bull’s head made of precious materials - gold, silver, lapis lazuli and shells.

Symbolism and design of instruments

The decorative elements of Mesopotamian musical instruments carry a deep symbolic load. The bull heads on the lyres from Ur are not just decoration - they reflect the religious beliefs of the Sumerians about the connection of music with the divine world. The Mesopotamian sun god Utu/Shamash often took the form of a bull, especially at sunrise, and is often described in cuneiform texts as having a beard of lapis lazuli.

The decorative panel on the front of the bull-headed lyre contains four scenes related to Mesopotamian funerary rituals. These images are made using the technique of shell inlay on bitumen and include scenes of people fighting bulls with human heads, as well as images of animals carrying various objects.

The construction of Mesopotamian lyres demonstrates a high level of musical skill. The instruments had nine to eleven strings, tuned with gold pegs. The strings were made from animal sinew and stretched from a crossbar to the base of the sound box through a resonator bridge.

Cuneiform sources and musical theory

Along with the discovery of real instruments, archaeologists have uncovered about a hundred cuneiform tablets containing information on Mesopotamian musical theory. These texts, dating from 1800 BC to 500 BC, come from various Mesopotamian centers: Nippur, Ur, Ashur, and other cities.

Four groups of texts have been most important in deciphering the Mesopotamian musical system. The first group describes the names of the lyre’s strings and the intervals between them. The second contains instructions for tuning the lyre and the names of seven different tunings. The third group includes mathematical texts from Nippur, and the fourth group includes Assyrian tablets from Ashur.

The decipherment of these texts showed that the Mesopotamians used a system of seven diatonic heptachords (seven-sound modes), corresponding to the ancient Greek octave modes. Each mode had its own name in Akkadian: išartum , kitmum , embūbum , pītum , qablītum , titnum and nīš gabari .

Hurrian Hymns and Notation

A special place in the study of Mesopotamian music is occupied by the Hurrian hymns discovered in Ugarit (modern Syria) in the 1950s. The most complete of them, the Hymn to the Goddess Nikkal (h.6), is the oldest notated musical text in the world, dating back to about 1400 BC.

The hymn tablet contains three parts: the Hurrian text of the hymn, double parallel lines, and musical notation in Akkadian. The notation is in the form "interval name + number", indicating a highly developed system of musical notation. The hymn was intended to be performed with the accompaniment of the nine-stringed sammûm lyre.

Tuning theory texts describe how to tune the lyre in different modes by changing the tension of certain pairs of strings. The strings of the lyre had their own names, reflecting their position on the instrument when counted from the edges to the center.

Temple Musicians and Ritual Practice

Archaeological and textual evidence shows that music played a central role in Mesopotamian religious rituals. Temple musicians were divided into several categories, each with specific functions in cult practice.

The most important group were the gala (Sumerian) or kalû (Akkadian) lament priests , who specialized in performing ritual laments. These priests sang lamentations in a special dialect of Sumerian, eme-sal , which was usually used to convey the speech of goddesses. The goddess Inanna herself, according to an Old Babylonian text, created the gala specifically for singing "heart-soothing laments."

The gala lamentations were accompanied by the playing of the balaĝ drum, which was also considered a sacred instrument. The name of the drum gave its name to the entire genre of liturgical lamentations – balaĝ compositions, which formed the basis of church services.

The social status of temple musicians varied considerably. The chief musicians ) nar-gal ) of major temples held influential positions, owned land, and sometimes carried out diplomatic missions. At the same time, many ordinary musicians were on the fringes of society.

Palace Musical Culture

In parallel with the temple tradition, a palace musical culture developed. The musical practices of the palace in Mari (18th century BC) are particularly well documented, with hundreds of administrative documents on the activities of court musicians preserved.

Royal correspondence from Mari shows that musicians accompanied the army on campaigns, that captives were taught to sing in various musical styles, and that orders were issued for the manufacture and delivery of musical instruments. The chief palace musicians Rishiya and Warad-Ilishu supervised musical activities under the kings Yasmah-Addu and Zimri-Lim, respectively.

Female musicians played an important role in the court culture of Mari. They mostly belonged to the royal harem, and some instruments were played exclusively by women. In Mari, there was something like a music school where young performers were trained.

Terracotta images of musicians

A considerable amount of information about Mesopotamian musical culture is provided by terracotta plaques and figurines of musicians found at various archaeological sites. These small baked clay objects were made by stamping in molds, which allowed for the production of numerous copies.

Plaques from the Old Babylonian period (c. 2000–1600 BC) depict musicians playing a variety of string, percussion, and wind instruments. Of particular interest are the depictions of dwarf musicians, who are often shown playing the lute in dancing poses. These figures may have had magical significance and reflected the ambivalent status of musicians in the ancient world.

Some terracotta plaques show musicians together with animals, which has been interpreted as an allegory of "impractical art." Depictions of musicians with monkeys, a motif with a long literary tradition in Mesopotamia, are particularly common.

Cosmological ideas and music

Mesopotamian musical culture was closely linked to cosmological and religious ideas. Musical instruments were viewed not simply as objects for producing sounds, but as sacred objects capable of establishing a connection between the earthly and divine worlds.

Many instruments had their own names and were regarded as minor deities. Deified instruments, especially balaĝ drums, are regularly mentioned in god lists. As researcher Heimpel noted, “most major and many minor gods had one or more balaĝ gods as attendants.”

Sumerian musical theory explained the behavior of the gods using musical logic and musical analogies. Basic musical ratios (octave 1:2, fifth 2:3) were attributed to the highest gods, and all other deities also received numerical designations. This system allowed mythological texts to be interpreted as complex harmonic theories.

Liturgical texts and performance practice

The archaeological excavations of Nippur have yielded a rich collection of liturgical texts showing the organization of temple musical services. Sumerian liturgies were divided into several types: simple songs ) kirugu ), more complex balaĝ compositions, and canonical liturgies combining several elements.

The precanonical liturgies were long sung services composed by stringing together a series of kirugu or songs of worship. These kirugu liturgies served as the basis for the more complex canonical liturgies and surpassed in value all other collections of such texts.

Ritual instructions show that the performance of liturgies required precise observance of established rules. Errors in the pronunciation of sacred Sumerian texts were considered fatal to the effectiveness of the religious rite. Therefore, the hymns were supplied not only with a Semitic translation, but also with special instructions regarding the pronunciation of individual words.

Regional characteristics and chronological development

The musical culture of Mesopotamia was not uniform; different regions and periods exhibited their own characteristics. During the reign of Hammurabi (18th century BC), significant changes occurred in temple and palace musical practice.

Akkadian rulers introduced new genres of religious poetry, including the cryptic irtum (literally "breast" or "womb") compositions, which focused on love and fertility. These short pieces linked the king with the goddess Ishtar and were sung by at least two opposing singers or choruses.

The Middle Assyrian literary catalogue KAR 158 (c. 1200-1100 BC) lists the titles of Sumerian and Akkadian songs and assigns irtum songs to each of the seven diatonic modes. This suggests that the seven-mode system was a feature of musical practice first introduced during the Amurrian migrations.

Impact on neighboring cultures

The Mesopotamian musical tradition exerted a significant influence on the musical cultures of neighboring regions. Hurrian hymns from Ugarit demonstrate the spread of Mesopotamian musical theory in northern Syria. The use of Akkadian terminology for musical intervals in a Hurrian context demonstrates the prestige of the Mesopotamian musical tradition.

Elements of Mesopotamian musical theory can be traced in later Greek sources. The Greek system of seven octave types shows similarities with the Mesopotamian heptachords, which may indicate cultural continuity. However, the direction of influence and the mechanisms of musical knowledge transmission remain the subject of scholarly debate.

Tool manufacturing technologies

Archaeological finds allow us to reconstruct the manufacturing technologies of Mesopotamian musical instruments. Lyres from Ur were made of wood, which was then covered with thin sheets of gold or silver. Decorative elements were made using the inlay technique using lapis lazuli, shells and red limestone, fixed on a bitumen base.

Special care was taken in the manufacture of the bull-head resonator heads. The bull’s head on the Pennsylvania Museum lyre is made of a single piece of gold leaf over a wooden base, with gilded ears and horns attached with small pins. The beard is made of carved lapis lazuli tesserae on a silver backing.

The strings were made from animal sinew and were tuned using a system of pegs. Judging by the remains found, the strings varied in thickness to produce different pitches. The tuning system was based on the tension of the strings rather than their length.

Ritual destruction of instruments

An interesting aspect of Mesopotamian musical culture is the practice of ritual destruction of instruments. Silver trumpets from Ur were found bent and broken, which contrasts sharply with the well-preserved lyres from the same complex.

The researchers suggest that the instruments were deliberately disabled after use in funeral processions. This was done to prevent the spirits residing within the wind instruments from disturbing the living in the future. This practice of ritual destruction is known from various cultural contexts and reflects the idea that musical instruments have their own spiritual power.

Gender aspects of musical practice

Archaeological and textual sources reveal a complex picture of the gender distribution of musical roles in Mesopotamia. In early periods, lamentations and chanting may have been a female profession. Men who filled this role adopted forms of it, including singing in the eme-sal dialect and sometimes adopting female names.

Administrative texts indicate that many gala priests were married men with children, which contrasts with literary texts that present them as figures of indeterminate sexuality. In some cases, gala priests were women.

The palace musicians at Mari belonged to the royal harem and played instruments designed exclusively for female performance, indicating the existence of gender-specific musical traditions in elite circles.

Archaeological methods and problems of preservation

The study of Mesopotamian music faces serious problems of preservation of materials. Most musical instruments were made of organic materials - wood, leather, animal sinew - which do not survive in an archaeological context. The exceptions are metal parts and stone components.

The climate of Mesopotamia was conducive to the decomposition of organic materials, which explains the rarity of finds of fully preserved tools. Woolley’s methods of filling the cavities of decayed wood with plaster became standard practice for restoring the shape of lost wooden objects.

Modern archaeological projects such as the MIAM (Musical Instruments of Ancient Mesopotamia) database combine archaeological, philological, musicological and ethnological methods to comprehensively study the Mesopotamian musical heritage.

Interpretive issues and debates

The interpretation of Mesopotamian musical materials remains the subject of active scholarly debate. The main disagreements concern the direction of scale formation (ascending or descending scales), the tuning system (equal temperament or natural tuning), and the precise sound of ancient music.

The "Kilmer dilemma" problem concerning the direction of Mesopotamian scales has led to different reconstructions of the same musical texts. Some scholars suggest that Mesopotamian theorists used sexagesimal arithmetic to quantify their scales, resulting in a natural rather than Pythagorean scale.

The Hurrian hymns are open to multiple interpretations due to the incompleteness of the notation. The various reconstructions share a melancholy, mournful quality, but the specific melodic contours remain controversial.

Heritage and contemporary significance

The musical traditions of Mesopotamia have had a long-lasting influence on the development of world musical culture. Elements of Mesopotamian musical theory can be traced in ancient Greek music, medieval Gregorian chant, and the musical traditions of the Middle East.

The discovery and decipherment of Mesopotamian musical texts revolutionized ideas about the antiquity of notation and the complexity of ancient musical systems. Hurrian hymns demonstrated the existence of an advanced system of musical notation a thousand years before Greek sources.

Modern attempts to reconstruct and perform Mesopotamian music contribute to a better understanding of ancient cultures and demonstrate the universality of musical language. Projects to create replicas of ancient instruments and record reconstructed melodies allow modern audiences to hear echoes of music that sounded five thousand years ago.

Archaeological finds of musical instruments and cuneiform texts from Mesopotamia offer a unique opportunity to study one of the oldest musical traditions of humanity. These materials demonstrate the complexity and sophistication of Mesopotamian musical culture, its central role in religious and social life, and its influence on subsequent musical traditions. Ongoing research promises further discoveries in this exciting area of ​​intersection between archaeology, philology, and musicology.