Cis White Male with Extra Privilege

Because of the high volume of videos on this channel, I strongly recommend you go to the playlist page to find what you are looking for more easily - https://odysee.com/@CisWhiteMalewithExtraPrivilege:0?view=playlists Please sub and consider supporting the channel. I voice a number of the books on this channel, such as This Time the World, Hitler's Table Talk, and others - https://cointr.ee/ciswhitemale Finally, check out my series "The Complete Evolution of European Art and Music" here. This is my magnum opus, which took around 1500 hours over the course of 4 years to complete. It will change how you see your race and understand the roots of your ancestors - https://odysee.com/$/playlist/ada01af25de6727203831ac3d7dfdc92dd7c04d3

You can find the entire book here in the playlist section of my channel https://odysee.com/@CisWhiteMalewithExtraPrivilege:0?view=playlists Please sub and consider supporting the channel. I voice a number of the books on this channel, such as This Time the World, Hitler's Table Talk, and others https://cointr.ee/ciswhitemale Finally, check out my series "The Complete Evolution of European Art and Music" here. This is my magnum opus, which took around 1500 hours over the course of 4 years to complete. It will change how you see your race and understand the roots of your ancestors https://odysee.com/$/playlist/ada01af25de6727203831ac3d7dfdc92dd7c04d3

Mein Kampf - The Stalag Edition - Originally published in July 18, 1925 Because of the high volume of videos on this channel, I strongly recommend you go to the playlist page to find what you are looking for more easily - https://odysee.com/@CisWhiteMalewithExtraPrivilege:0?view=playlists Please sub and consider supporting the channel. I voice a number of the books on this channel, such as This Time the World, Hitler's Table Talk, and others - https://cointr.ee/ciswhitemale Finally, check out my series "The Complete Evolution of European Art and Music" here. This is my magnum opus, which took around 1500 hours over the course of 4 years to complete. It will change how you see your race and understand the roots of your ancestors - https://odysee.com/$/playlist/ada01af25de6727203831ac3d7dfdc92dd7c04d3

I would strongly recommend you watch this here - https://odysee.com/$/playlist/ada01af25de6727203831ac3d7dfdc92dd7c04d3 Music timestamps 0:00 - Antonín Dvořák (Czech Austro-Hungarian) - Symphony No. 9 - New World Symphony - The fourth and final movement of this piece. 11:51 - Ludwig van Beethoven (German) - Symphony No. 9 in D minor - The final complete symphony by Ludwig van Beethoven R1a haplogroup migration pattern ---------------------------------------------------------------------------------------------------------------------------- 22,800-18,200 BC - R1a M420 - Modern day south western Russia or Northern Kazakstan - Time to the most recent common ancestor. The exact origin of haplogroup R1a is unknown, but it most likely arose in Central Asia or southern Siberia, but also possibly in northern India, or the Balkan Peninsula in south eastern Europe. Believed to have formed during the The Last Glacial Maximum, At that time, global sea level was more than 400 feet lower than it is today, and glaciers covered approximately 25% of Earth's land area. They lived in arctic climates, with the coldest months averaging -30 degrees Fahrenheit in the winter, and may have hunted mammoths. Their ancestors were Ancient North Eurasians. 18,200 - 15,100 - R1a1 M459 - In Western Ural mountains 18,200-12,300 - R1a2 YP4141 - lower Danube River, Romania, near Black Sea 14,000-8,800 - R1a1a M198 - South Western Russia 12,800-7,200 - R1a1b YP1272 - Went to the Balkan Peninsula 12,300-5,700 - R1a2b YP5018 - Went south to Arabia 8,800-5,400 - R1a1a1 M417 - Upper Don River in Russia 8,800 -3,200 - R1a1a2 YP1051 - Between modern day Germany and Poland 5,400-5,000 - R1a1a1b Z645 - Modern day Poland 5,400-4,600 - R1a1a1a CTS4305 - Ukraine 5,000 - R1a1a1b1 Z283 - North of the Carpathian Mountains 5,000-4,600 - R1a1a1b2 Z93 - South of the Carpathian Mountains 4600-3900 - R1a1a1a1 L664 - Present day Romania 4,500-1,650 - R1a2a YP4131 - East of the Alps, around modern day Austria

Timestamps 0:00 - Various bird songs at a pond in Germany. 1:03 - Sound of fire 3:12 - Beech Forest of Germany in Spring 4:09 - European Robin 4:38 - 1,600,000 BC - English - Stone handaxe 5:08- Common Redstart 5:38 - 400,000 - 200,000 BC - Central Europe - Stone tools found in a neanderthal flint workshop discovered in Poland 6:08 - Sparrowhawk 6:45 - Rock Dove mating call 7:16 - 80,000 - 40,000 BC - French - An Aurignacian blade shown from three angles. Named for the French village of Aurignac, where prehistoric remains were discovered in a cave in 1860, the Aurignacian culture is associated with th 7:46 - Eurasian Collared Dove 8:39 - Male Collared Dove Calling To Female 9:11 - 50,000-60,000 BC - Neanderthal - Divje Babe flute 10:11 - 35,000 - 40,000 BC - German - Venus of Hohle Fels 11:11 - Inhabited 40,000-30,000 BC - Potočka zijalka cave 11:41 - 42,000 - 43,000 BC - German cave - Flutes made of mammoth tusks. 12:41 - 42,000 - 43,000 BC - German cave - Flute made of bird bone. 13:41 - 35,000 - 40,000 BC - German - Bird bone flute - The oldest known human flute, from Hohle Fels Cave in Germany. A thin bird-bone flute carved from a Griffon Vulture 14:11 - Inhabited 40,000 BC - German - Hohle Fels Cave, entrance 14:41 - Inhabited 40,000 BC - German - Hohle Fels Cave, interior 15:11 - Eurasian Teal 15:48 - 35,000 - 40,000 BC - German - Lion-Human of Hohlenstein-Stadel 16:18 - Greylag Goose 16:52 - 35,000 - 40,000 BC - German - Adorant from the Geißenklösterle cave 17:22 - Inhabited 30,000 - 12,000 BC - Brillenhöhle cave - More of the path leading to the cave 17:52 - Inhabited 30,000 - 12,000 BC - Brillenhöhle cave - Path leading to the cave 18:22 - Common cuckoo 18:57 - Inhabited 30,000 - 12,000 BC - Brillenhöhle cave - Entrance of the cave. 19:27 - Barn swallow 19:57 - Inhabited 30,000 - 12,000 BC - Brillenhöhle cave 20:27 - Green woodpecker 20:50 - Inhabited 30,000 - 12,000 BC - Germany - Path from Brillenhöhle to Geißenklösterle - The 'Kissing Sow' rock formation in the top left 21:20 - Red Back Shrike 21:50 - Inhabited 30,000 - 12,000 BC - Germany - Path from Brillenhöhle to Geißenklösterle 22:20 - Cicada orni 22:48 - Inhabited 30,000 - 12,000 BC - Germany - Geißenklösterle cave entrance. 23:18 - Common frog 23:55 - 35,000-11,000 BC - Spain - Cave of Altamira painting - Bison 24:25 - Mole cricket 24:55 - 35,000-11,000 BC - Spain - Cave of Altamira painting Bison on the roof of the pit 25:25 - Black forest thunderstorm 25:55 - Fireflies, also called Lightning bugs 27:40 - Fireflies, also called Lightning bugs 28:10 - Tawny owl 28:46 - 32,000 BC - French - Cave Hyena - Found in the Chauvet cave. 29:16 - Black Forest of Germany in Autum with mist 29:50 - Black Forest of Germany in Autum with mist 30:57 - Lightning over nothern Italy 33:25 - Rainbow in German alps 33:55 - Rainbow in Val Camonica, Italy. 34:25 - 20,000 BC - French - Lascaux Cave paintings - Horses 34:55 - A walk through the Black Forest of Germany in autum 36:54 - 20,000 BC - French - Lascaux Cave paintings - more horses 37:24 - A walk through the Black Forest of Germany in autum 37:55 - 20,000 BC - French - Lascaux Cave paintings - Hall of the Bulls 38:25 - 20,000 BC - French - Lascaux Cave paintings - aurochs (extinct species of large wild cattle) 38:55 - Blizzard in the Netherlands 39:55 - 20,000 BC - French - Lascaux Cave paintings - a man with a bird head and a bison 40:25 - A walk through the Black Forest of Germany in winter 40:56 - 20,000 BC - French - Lascaux Cave paintings - A dun horse 41:26 - Grey Wolves in Germany (domesticated 33,000-15,000 BC) 41:56 - 20,000 BC - French - Lascaux Cave paintings - Megaloceros with line of dots 42:26 - A walk through the Black Forest of Germany in winter 43:00 - A walk through the Black Forest of Germany in winter 43:17 - Aurora Borealis in Norway (footage not sped up) 44:16 - Blue Tit 44:45 - 15,000-13,000 BC - French - Bison Licking Insect Bite 45:15 - Great Tit 45:45 - 12,500 BC - Russian - Kapova Cave Paintings - Red-Ochre Painting of Mammoths 46:15 - European Starling 46:46 - 12,000 BC - Central Europe - Jadeite axe 47:16 - European Goldfinch 47:47 - 17,000 - 11,000 BC - Western Europe - Bone tools 48:17 - Winter's survivors emerge in the spring to pass themselves into the future through their children.

Music timestamps 0:00 - Flute from Geißenklösterle cave in Germany 2:33 - Improvisation on a mammoth-ivory flute, recorded close to the mouth of the Geissenklösterle cave in Germany, in the spring 3:50 - Mammoth ivory and bird bone flutes of Germany - The world's oldest musical instruments 4:05 - Bone flute 4:30 - Reed instrument - Made by an archaeologist adding a reed of birchbark to a discovered bone flute (the same as played just before this piece), as an estimation of how some of the bone flutes may have actually been played 4:49 - Drum - Made of leather, stretched around a circular frame 7:17 - Conch - From Marsoulas a cave in Southwestern France, notable for its archaeological wealth 9:00 - Blowing horn - Large horn from an ox 9:10 - Cow horn 9:48 - Bullroarer - Simply an oval shaped piece of wood attached to a string, in this case, echoing through the forest. Swung overhead at high speeds. Used as an ancient ritual musical instrument and a device for communicating over great distances

Music 0:00 - Double Pan Flute 2:16 - Hellenistic Aulos 4:20 - Bronze Age Irish Music 8:40 - The Fipple Pipes - Irish - Bronze Age Musical Scale 9:44 - Irish horn 10:15 - Hurrian Hymn no.6 - 1400 BC - Syrian - The oldest known melody - While not European, as the oldest extant melody can offer some guess as to what ancient music would have sounded like. 14:48 - Bronze Age Lyre 17:11 - Nordic lur - The earliest references to an instrument called the lur come from Icelandic sagas, where they are described as war instruments, used to marshal troops and frighten the enemy. 19:44 - 1300-700 - Late bronze age Irish horns 20:36 - 1700-500 - Nordic Bronze Age lures

Music 0:00 - Circa 9th century BC - Phorminx - One of the oldest of the Ancient Greek stringed musical instruments, in the yoke lutes family, intermediate between the lyre and the kithara. 2:13 - Circa 9th century BC - Phorminx - Most probably originated from Mesopotamia. While it seems to have been common in Homer's day, accompanying the rhapsodes, it was supplanted in historical times by the seven-stringed kithara. 3:51 - Circa 9th century BC - Phorminx - Santoorinio-style playing. Santorini is an island in the Aegean Sea off the coast of Greece 8:19 - Circa 9th century BC - Phorminx and aulos - The Phorminx probably originated from Mesopotamia

Music 0:00 - Circa 10th century BC - Lyre of Har Megiddo - Played by King David (Jewish) - Improvised instrumental played on a replica of the ancient lyre. The “Lyre of Har Megiddo” is an instrument etched onto an ivory plaque that was discovered in the excavations of a royal palace in the ancient city of Megiddo (aka Armageddon) in Israel, and said to be the same played by King David himself. 2:23 - Circa 10th century BC - Psalms 23 in Hebrew - King David (Jewish) - According to tradition, of the 150 psalms in the Old Testament Book of Psalms, 73 are said to have been written by David himself. Of these, Psalm 23 is one of the most well known. Based on the lyre of Har Megiddo. Psalm 23 1 The Lord is my shepherd; I shall not want. 2 He maketh me to lie down in green pastures: he leadeth me beside the still waters. 3 He restoreth my soul: he leadeth me in the paths of righteousness for his name's sake. 4 Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me. 5 Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over. 6 Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord for ever. A note from Peter Pringle, who performed this piece. "No one has any idea what the psalms might have sounded like sung by David but we do know he was a singer and an instrumentalist. No music has survived, and the texts were not written down until several hundred years after David’s death. I can make no claims to authenticity in this rendition, since we do not even know how David tuned his lyre. For this video, I have tuned to an F minor harmonic scale, and I sang in a gentle, lyric, style, which seems appropriate for the content. All I can say for sure is that it would have been possible for David to play this on his 10-string “kinnor”." 6:30 - Circa 10th century BC - Zemer Atik (Jewish) - Performance of the traditional Hebrew song "Zemer Atik" or "Ancient Melody". Performed on a replica of a surviving ancient Egyptian lyre (circa 1300 BC) from just before the traditional Biblical time period of King David (10th century BC). Performed by Micheal Levy with the aim of replicating what a lyre form the time of King David would have sounded like. 10:03 - Circa 10th century BC - Kinnor (Jewish) - Performance on a 10-string Biblical lyre of the Shabbat melody composed by Rabbi Israel Goldfarb, "Shalom Aleichem", a spoken greeting in Hebrew, meaning "peace be upon you". Micheal Levy's attempt to evoke the feeling of the music of ancient Israel/Judea, with arrangements of both traditional Jewish sacred and instrumental Klezmer music, uniquely arranged for my evocation of the 10-string Biblical lyre known in Hebrew as the "Kinnor", which is vividly described both throughout the Biblical text and also in the writings of the first century Jewish historian, Flavius Josephus, who actually witnessed the Levites play their Kinnors in the Temple of Jerusalem.

Music timestamps 0:00 - Micheal Levy - Ancient Greek Musical Fragment 0:33 - Micheal Levy - Procession of the Olympians 1:11 - Micheal Levy - Spirit of the Kithara 1:50 - Micheal Levy - Paean (a song of praise or triumph) 2:35 - Micheal Levy - New Music for Ancient Lyre - Inspired by Homer 5:57 - Late 8th Century - Homer (Greek) - Ancient Greek Music - Fragment by Homer 7:29 - Late 8th Century - Homer (Greek) - The Iliad - Reading in ancient Greek 9:30 - Late 8th Century - Homer (Greek) - The Odyssey - Reading in ancient Greek Important note - Micheal Levy is a modern composer who recreates approximates of ancient lyre music. The first five pieces are not compositions from the 8th century BC.

Music timestamps 0:00 - 7th century BC - Olympos Pentatonic scale - Introduced to Greece sometime in the 7th century BC by the aulos player, "Olympos". Olympus (or Olympos, Greek: Ὄλυμπος) is the name of two ancient Greek musicians, one mythical who lived before the Trojan war, and one apparently real, who lived in the 7th century BC. Both musicians were connected with the auletic music, which had its origin in Phrygia. It is possible that the elder and mythical Olympus was invented through some mistake respecting the younger and historical Olympus. Instrumental music was apparently introduced into Greece by Olympus" 3:10 - 650 BC - Ekleipsis (disappearance or abandonment) - Lyrics by Archilocos - A Greek lyric poet of the Archaic period from the island of Paros. He is celebrated for his versatile and innovative use of poetic meters, and is the earliest known Greek author to compose almost entirely on the theme of his own emotions and experiences. 8:02 - 7th century BC - Etude (Study) in the Olympos Pentatonic Scale - The word "pentatonic" comes from the Greek word pente meaning five and tonic meaning tone. Simply put, the pentatonic scale consists of five notes within one octave, which is why it is also sometimes referred to as a five-tone scale or five-note scale. 10:48 - Late 7th century BC - Alcaeus (Greek) - Tenge pleúmonas oino - Lyrics by Alcaeus - A lyric poet from the Greek island of Lesbos who is credited with inventing the Alcaic stanza. He was included in the canonical list of nine lyric poets by the scholars of Hellenistic Alexandria. He was a contemporary of Sappho, with whom he may have exchanged poems. He was born into the aristocratic governing class of Mytilene, the main city of Lesbos, where he was involved in political disputes and feuds.

Music timestamps 0:00 - 6th century BC - Sappho (Greek) - Sappho's Ode to Aphrodite Aphrodite, subtle of soul and deathless, Daughter of God, weaver of wiles, I pray thee Neither with care, dread Mistress, nor with anguish, Slay thou my spirit! But in pity hasten, come now if ever From afar of old when my voice implored thee, Thou hast deigned to listen, leaving the golden House of thy father With thy chariot yoked; and with doves that drew thee, Fair and fleet around the dark earth from heaven, Dipping vibrant wings down he azure distance, Through the mid-ether; Very swift they came; and thou, gracious Vision, Leaned with face that smiled in immortal beauty, Leaned to me and asked, "What misfortune threatened? Why I had called thee?" "What my frenzied heart craved in utter yearning, Whom its wild desire would persuade to passion? What disdainful charms, madly worshipped, slight thee? Who wrongs thee, Sappho?" "She that fain would fly, she shall quickly follow, She that now rejects, yet with gifts shall woo thee, She that heeds thee not, soon shall love to madness, Love thee, the loth one!" Come to me now thus, Goddess, and release me From distress and pain; and all my distracted Heart would seek, do thou, once again fulfilling, Still be my ally! 3:27 - 6th century BC - Sappho (Greek) - Fragment 44 (A Wedding at Troy) set to music - Surviving fragment of Sappho's work, "A Wedding at Troy". The tune that it is performed to is the tune that would have accompanied the poem when it was sung in ancient Greece. Sappho's poem is a prequel to the Trojan War, recalling the time that Trojan Prince Hector arrived home with his new wife, Andromache. 7:03 - 6th century BC - Sappho (Greek) - Sappho's Wedding Hymn (Epithalamion) Oh the roof on high, sing hymnaios, raise up, craftsmen, sing hymnaios. The bridegroom comes just like Ares, a man much bigger than a big man. Sing hymnaios. 8:19 - 6th century BC - Sappho (Greek) - Songs of Sappho, Painetai He seems a god, that man who sits beside you listens to your sweet voice your laughter I desire it shakes the heart tin my breast so when i glance at you i cannot speak my tongue breaks my body burns i cannot see my ears ring sweat pours from me, I shake i am greener than grass close to death 10:20 - 6th century BC - The Ancient Barbitos Lyre of Sappho (improvisation by Micheal Levy) - The music from this instrument was also said to be the lyre for drinking parties and is considered an invention of Terpander. The Barbitos, an ancient Greek bass register lyre, was associated with the poet Sappho. It is also closely associated with the poet Alcaeus and the island of Lesbos, the birthplace of Sappho. 11:48 - 6th century BC - Anacreon (Greek) - Music Anacreon's To The Lyre I, too, wish to sing of heroic deeds (about the Atreides, and about Kadmus), but the lyre's strings can only produce sounds of love. Recently, I changed the strings, and then the lyre itself, and tried to sing of the feats of Hercules, but still the lyre kept singing songs of love. So, fare well, you heroes! because my lyre sings only songs of love. 14:00 - 6th century BC - Sappho (Greek) - Sappho's Ode to a Loved One, sung in ancient Greek (Fragment 31) - Sung in a different style than the previous version. in this series. The singer has attempted to bring out the vowel-lengths and pitch-accents, and to make phrases and ideas as intelligible as possible by separating them with pauses. 17:04 - 6th century BC - Ibycus (Greek) - Praise of Ibycus Euryalus, offshoot of the blue-eyed Graces, darling of the lovely-hair, cared for by Cyprian while the soft-lidded Persuasion nurses you among rose-blossoms 18:19 - 6th century BC - Anacreon (Greek) - Mélomai (lyrics by Anacreon) - Features an aulos, soprano, barbitos, altus, kymbala, tympanon, krotala, and salpinx. For I am minded to sing graceful Eros luxuriating in garlands rich in flowers. He is both the master of gods 20:42 - 6th century BC - Anacreon (Greek) - Gaia (lyrics in the style of Anacreon)

Music timestamps 0:00 - 470 BC - Pindar (Greek) - First Pythic Ode - A victory poem (epinicion) praising Hiero of Syracuse for a victory in the Pythian Games. The poem's occasion is Hiero's victory in the chariot race of 470 BC, corresponding to the foundation of the city of Aetna which is also praised by the poet. 3:25 - The Kithara of Ancient Greece - Composed by Michael Levy, a modern composer for Lyre 6:46 - Echoes of Ancient Greece - Composed by Michael Levy, a modern composer for Lyre 8:48 - 408 BC - Euripides (Greek) - Katolophyromai - "Katolophyromai" is the headword in a musical fragment from the first stasimon of Orestes. One of the earliest surviving fragments of ancient Greek music is from this play. Composed by Euripides, it follows the events of Orestes after he had murdered his mother. The lyrics translate as - "I cry, I cry, your mother’s blood that drives you mad, great happiness in mortals never lasting, but like a sail of a swift ship, which a god shook up and plunged it with terrible troubles into the greedy and deadly waves of sea." 11:40 - 405 BC - Euripides (Greek) - Fragment of the tragedy 'Iphigenia in Aulis' - The last of the existing works by the playwright Euripides. The play revolves around Agamemnon, the leader of the Greek coalition before and during the Trojan War, and his decision to sacrifice his daughter, Iphigenia, to appease the goddess Artemis and allow his troops to set sail from Aulis to preserve their honour in battle against Troy. The conflict between Agamemnon and Achilles over the fate of the young woman foreshadows a similar conflict between the two at the beginning of the Iliad.

Music timestamps 0:00 - Ode to Athena 2:49 - Ode to Ancient Athens 5:13 - Ode to Aphrodite 8:57 - Cogitatio (Reflections) 11:47 - Ode to Aphrodite (lyre) 14:21 - Hymn to Aphrodite 16:31 - Ancient Greek Music Ensemble Melpomen Important note - These compositions are not from this time (I could find no compositions from this century) but the instruments are all those that would have been used during this time. These all come from a man named Michael Levy who has worked for years to reconstruct ancient Roman music. These works are his original compositions based on his own ideas of these times. The instruments are all made to be as close to possible as the ancient models. The last song is the Ensemble Melpomen, which is dedicated to the musical exploration of Ancient Classic Greece.

Music Timestamps 0:00 - Circa 3rd Century BC - Ctesibius of Alexandria (Greek) - Hydraulus - Invented circa 3rd century BC. The world's first keyboard instrument and was the predecessor of the modern church organ. 1:31 - Circa 3rd Century BC - Ctesibius of Alexandria (Greek) - Hydraulus - The ancient hydraulis was played by hand, not automatically by the water-flow; the keys were balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian (late 4th century), who uses this very phrase (magna levi detrudens murmura tactu . . . intonet, “let him thunder forth as he presses out mighty roarings with a light touch”) 3:07 - Circa 3rd Century BC - Ctesibius of Alexandria (Greek) - Hydraulus - Operated by converting the dynamic energy of water into air pressure to drive the pipes. Required one person to contionouy press the pumps, and another to play the keys. On this particular hydraulus you can hear the operator starting the pumps before and after playing. 4:51 - Aulos or tibia (Latin) was an ancient Greek wind instrument that would have been popular during this time. 7:32 - Aulos - In myth, Marsyas the satyr was supposed to have invented the aulos, or else picked it up after Athena had thrown it away because it caused her cheeks to puff out and ruined her beauty. 9:39 - Aulos - Marsyas the satyr challenged Apollo to a musical contest, where the winner would be able to "do whatever he wanted" to the loser—Marsyas's expectation, typical of a satyr, was that this would be sexual in nature. But Apollo and his lyre beat Marsyas and his aulos. And since the pure lord of Delphi's mind worked in different ways from Marsyas's, he celebrated his victory by stringing his opponent up from a tree and flaying him alive.

Music timestamps (only two this time, spread out in replies) 0:00 - 133 BC - Athenios son of Athenios (Greek) - The First Delphic Hymn To Apollo In the first verse verse the singers call on the Muses (goddesses of music and dance) to leave their home on Mount Helicon and to join in the song in honour of Apollo. This part has been translated by Armand D'Angour as follows: "Hark, you whose domain is deep-forested Helicon, loud-thundering Zeus’ fair-armed daughters: come with songs to celebrate your brother Phoebus of the golden hair, who over the twin peaks of this mountain, Parnassus, accompanied by the far-famed Delphic maidens, comes to the streams of the flowing Castalian spring as he visits his mountain oracle." The second verse describes the presence of the delegation from Attica and the sacrifice of Arabian incense and young bulls that they are making. It also mentions the sound of the pipes (auloi) and the lyre (cithara) accompanying the sacrifice. "Behold, Attica with its great city (Athens) is at prayer, dwellers on the unconquered land of the armed Tritonian goddess (Athena); and on the holy altars Hephaistos (i.e. fire) consumes the thighs of bull-calves; and together with the smoke, Arabian incense rises to the heavens. And the shrill, blaring aulos weaves a melody with fluttering notes, and the golden, sweet-voiced kithara blends with the song of praise." The third verse is rather fragmentary, with several gaps in the words and music, but enough survives to make sense of it. In this verse the singers address Apollo directly, and describe how he took over the prophetic tripod at Delphi after killing the snake that guarded it, and how once he thwarted an army of invading Gauls 5:00 - 128 BC - Limenios son of Thoinos (Greek) - Second Delphic Hymn to Apollo The first verse - "Come ye to this twin-peaked slope of Parnassos with distant views, [where dancers are welcome], and [lead me in my songs], Pierian Goddesses who dwell on the snow-swept crags of Helikon. Sing in honour of Pythian Phoebus, golden-haired, skilled archer and musician, whom blessed Leto bore beside the celebrated marsh, grasping with her hands a sturdy branch of the grey-green olive tree in her time of travail." The hymn goes on to describe how the sky and sea rejoiced at Apollo's birth on the island of Delos, and how Apollo, after his birth, visited Attica; ever since which time the people of Attica have addressed Apollo as "Paian" The final part of the work is the prosodion, or processional hymn, with the metre changing from cretic. In this part, the singers beg Apollo and his sister Artemis ("mistress of Cretan bows") to protect Athens as well as Delphi, and they close with a prayer for the continued dominion of the victorious Roman empire. Both Delphic Hymns were addressed to Apollo, and were found inscribed on stone fragments from the south outer wall of the Athenian Treasury at Delphi (Greece).

Timestamps 0:00 - First Century BC - Roman Lyre An instrument popular in Greek and Roman times 3:11 - First Century BC - Tortoise Shell Lyre A custom made tortoise shell lyres, with a Greek tortoise shell foraged from the forests near Thessaloniki (a Greek port city) and unpolished gut strings, using small intestines. 6:35 - First Century BC - Tympanum Very similar to a tambourine consisting of a wooden frame that was covered on one side by animal skin. This drum had a special connection to Dionysus, so it is often depicted in scenes and art dedicated to the god. This also suggests it would be used at parties and any ceremony that included drinks, as Dionysus was the goddess of wine and fertility. 8:34 - First Century BC - Syrinx (Pan Flute) One of the most popular wind instruments in Rome. Easily made and accessible, meaning that it was also found outside of major cities. It may have even been a household instrument. 11:32 - 17 BC - Horace (Roman) - Carmen Saeculare (Latin for Secular Hymn or Song of the Ages) A hymn in Sapphic meter written by the Roman poet Horace. It was commissioned by the Roman emperor Augustus. The hymn was sung by a chorus of twenty-seven maidens and the same number of youths on the occasion of the Ludi Saeculares (Secular Games), which celebrated the end of one saeculum (typically 110 years in length) and the beginning of another. Bonus - Here is a link to where you can take a virtual tour of the Ara Pacis - https://tourvirtuale.arapacis.it/ Here is a link to a further explanation of the first collection of paintings, of which all ten are apart of the same fresco - http://www.art-and-archaeology.com/timelines/rome/empire/vm/villaofthemysteries.html

Timestamps 0:00 - Circa 1st Century - Unknown (Greek) - Seikilos epitaph - The oldest surviving complete musical composition, including musical notation, from anywhere in the world. "While you live, shine have no grief at all life exists only for a short while and Time demands his due" 4:33 - Cornu - A large circular horn, players by a cornicen, a junior officer in the Roman army. The cornicen's job was to signal salutes to officers and sound orders to the legions. 5:58 - Lyra - One of the most popular instruments during Greek and Roman times. Considered to be an ancestor of most European bowed instruments. 7:30 - Kithara - Whereas the basic lyra was widely used as a teaching instrument in boys’ schools, the cithara was a virtuoso's instrument, generally known as requiring a great deal of skill. 10:08 - Kithara - The kithara is said to have been the invention of Apollo, the god of music. Apollo is often depicted playing a cithara instead of a lyre, often dressed in a kitharode’s formal robes. Kitharoidos, or Citharoedus is an epithet given to Apollo, which means "lyre-singer" or "one who sings to the lyre".

Music timestamps 0:00 - Circa 100s - Mesomedes (Greek) - Hymn to Nemesis - Goddess of retribution, who enacts retribution against those who succumb to hubris, arrogance before the gods. Nemesis, winged tilter of scales and lives, Justice-spawned Goddess with steel-blue eyes! You bridle vain men who roil in vain Against Your adamantine rein. Great hater of hubris and megalomania, Obliterator of black resentment, By Your trackless, churning, wracking wheel Man's glinting fortunes turn on earth. You come in oblivion's cloak to bend The grandeur-deluded rebel neck, With forearm measuring out lifetimes, With brow frowning into the heart of man And the yoke raised sovereign in Your hand. Hail in the highest, O justice-queen Nemesis, winged tilter of scales and lives, Immortal Judge! I sing Your song, Almighty Triumph on proud-spread wings, Lieutenant of fairness, Requiter of wrongs. Despise the lordly with all Your art And lay them low in the Netherdark. 1:33 - Circa 100s - Mesomedes (Greek) - Hymn to Nemesis (instrumental) - Played on other instruments that would have been popular during this time. 3:14 - Circa 100s and prior - Kithara-style lyre (instrumental) - This piece is an improvisation in the ancient Dorian mode, demonstrating a variety of ancient lyre-playing techniques. 5:39 - Early 100s - Mesomedes of Crete (Greek) - Hymn to the Sun - Mesomedes was a freedman of the Emperor Hadrian. Freedmen had many of the freedoms of Roman citizens, except for the ability to run for office. Their children however would be full Roman citizens. Father of the Dawn with her snow-white eyelids, you who follow in your rose-pink chariot the track of your flying steeds, exulting in the gold of your hair, twining your darting rays across the boundless vault of sky, whirling around the whole earth the thread of your all-seeing beams, while flowing rivers of your deathless fire beget the lovely day. For you the peaceful chorus of stars dance their measure across Olympos their lord, forever singing their leisured song, rejoicing in the music of Apollo’s lyre; and leading them the silvery-grey Moon marshals the months and seasons, drawn by her team of milk-white heifers. And your benevolent mind rejoices as it whirls around the manifold raiment of the universe . 7:42 - Early 100s - Mesomedes of Crete (Greek) - Hymn to Calliope and Apollo - Calliope is the Muse who presides over eloquence and epic poetry Wise Calliope, leader of the delight-making Muses, and skilful initiator into the mysteries, son of Leto, Delian Paean, favor me with your presence. 11:00 - Circa 130 - Mesomedes of Crete (Greek) - Hymn To The Muse - Muses are the inspirational goddesses of literature, science, and the arts. Considered the source of the knowledge embodied in the poetry, lyric songs, and myths that were related orally for centuries in ancient Greek.

Music Timestamps 0:00 - Circa 200s and prior - Ancient Roman music - No specific song or author here, just the performance of various instruments popular in Roman culture. Performed by "Musica Romana", a well-known, internationally-acclaimed music ensemble dedicated to recreating the Ancient Roman music. This is an approximation of what various Roman instruments would have sounded like. 4:32 - Circa 200s - Unknown (Greek) - Hymn to the Trinity 6:07 - Early 200s - St. Clement of Alexandria (Greek) - Shepherd of Tender Youth 9:00 - Circa 200s - Unknown (Greek) - Byzantine Rite Catholic Chanting - Hymn for the Protection of the Mother of God 11:13 - Circa late 200s to early 300s - Unknown (Greek origin, possibly St. Basil the Great) - Hail Gladdening Light, Φώς Ιλαρόν (Phos Hilaron ) - One of the earliest Christian Greek hymns. 14:29 - Late 200s - Unknown (Greek) - Oxyrhynchus Hymn - (Earliest known Christian Theme) - The papyrus on which the hymn was written dates from around the end of the 3rd century AD.

Music Timestamps 0:00 - 300s - Ambrose of Milan (Italian) - Veni Redemptor gentium (I have come as the Redeemer of the nations) 3:20 - 300s - Ambrose of Milan (Italian) - Deus Creator Omnium (God the Creator of all things) 6:40 - 300s - Ambrose of Milan (Italian) - Aeterne rerum conditor (Eternal creator of things) 10:16 - 300s - Ambrose of Milan (Italian) - Jam surgit hora tertia (He gets up at three o'clock) 12:59 - 348 – 413 - Aurelius Prudentius Clemens (Roman) - Of The Father's Love Begotten 18:32 - 300s - Unknown (Greek) - Melchite Sacred Chant - Axion esti (It is Truly Meet) - It is truly right to bless thee, O Theotokos, the ever blessed, and most pure, and the Mother of our God. 23:09 - 310-367 - St. Hilary of Poitiers (French) - Jesus Refulsit Omnium (Jesus, Light of All the Nations) 25:27 - 390 - Ambrose of Milan (Italian) - O Splendor of God's Glory Bright

Music timestamps 0:00 - 300s - Ambrose of Milan (Italian) - Veni Redemptor gentium (I have come as the Redeemer of the nations) 3:20 - 300s - Ambrose of Milan (Italian) - Deus Creator Omnium (God the Creator of all things) 6:40 - 300s - Ambrose of Milan (Italian) - Aeterne rerum conditor (Eternal creator of things) 10:16 - 300s - Ambrose of Milan (Italian) - Jam surgit hora tertia (He gets up at three o'clock) 12:59 - 348 – 413 - Aurelius Prudentius Clemens (Roman) - Of The Father's Love Begotten 18:32 - 300s - Unknown (Greek) - Melchite Sacred Chant - Axion esti (It is Truly Meet) - It is truly right to bless thee, O Theotokos, the ever blessed, and most pure, and the Mother of our God. 23:09 - 310-367 - St. Hilary of Poitiers (French) - Jesus Refulsit Omnium (Jesus, Light of All the Nations) 25:27 - 390 - Ambrose of Milan (Italian) - O Splendor of God's Glory Bright

Music timestamps 0:00 - 500 - Unknown (Greek) - Kyrie Eleyson (Lord have Mercy) 6:47 - 500-600s - Da Pacem, Domine (Give peace, Lord) 14:04 - Circa 500s - Unknown (probably Italian) - Dominus dixit ad me (The Lord said to me) - Old Roman chant 18:31 - 500s - Unknown - (probably Italian) - Alleluia , V. O Kyrios Evasileosen , V. Ke Gar Estereosen - Chanted as vespers for Easter Sunday. Vespers is a service of evening prayer. Vespers is Latin for evening prayers. 24:06 - Circa 580 - Trossingen Saxon Lyre - Uncovered in a 6th century gravesite in modern day Germany, represents the most complete Anglo-Saxon lyre found to date. Found in a aristocratic tomb of a wealthy man.

Timestamps 0:00 - 600s - Unknown (probably Italian) - Mass for the Easter Day 1:30 - 600s - St. Romanos the Melodist (Syrio-Greek) - Hymn of the Nativity of Christ (Kontakion) - A kontakion is a poetic sermon with numerous stanzas that was in common use in the Byzantine rite between the 6th and 8th centuries. 4:32 - 600s - Unknown (Irish) - Sancti Venite (Come all ye holy) - Composed at Bangor Abbey (Ireland) in the 7th century AD, making it the oldest known Eucharistic hymn. 7:12 - 600-700s - Unknown (probably Italian) - Psalm 21 Old Roman Song - The last verse reads - "Be thou exalted, Lord, in thine own strength: so will we sing and praise thy power." 9:06 - 658-680 - Cædmon (English) - Cædmon's Hymn - Possibly the oldest surviving English poem. Performed on the Anglo-Saxon lyre, and sung in Old English. 11:33 - 600s - Unknown (probably Italian) - The Adoration of the Cross

Timestamps 0:00 - 700s - Benedictine Monks (English) - Christmas Gradual Viderunt Omens (based on Pslam 98) - Mass for Christmas Day 4:18 - 700s - Unknown (Spanish) - Sacrificium Vox clamantis - A Mozarabic chant. Mozarabic refers to the medieval Romance varieties spoken in the Iberian Peninsula in territories controlled by the Islamic rulers 9:06 - 700s - Unknown (Irish) - Be Thou My Vision - A traditional Irish Catholic hymn written in Gaelic and later translated to English 11:32 - 700s - Unknown (English) - Beowulf - In the poem, Beowulf's last words are - 'After they burn my body, tell my warriors to build a great burial mound on the cliffs that stick out into the sea. The sailors steering their ships on the gloomy waters will see it and call it Beowulf's barrow, and my people will remember me. '700s - Unknown (Irish) - Be Thou My Vision - A traditional Irish Catholic hymn written in Gaelic and later translated to English 13:34 - Late 700s - Paulinus II of Aquileia (Italian) - Versus de Herico Duce - From the Carolingian era of music, which was produced from the second half of the 8th century until the second half of the 9th century. Carolingian ruler, Charlemagne, was a great patron of church music.