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www.lyre-of-ur.com
Andy Lowings


Tel: +44 (0) 1733 253068
info@lyre-of-ur.com

 
 

Presentations &
Performances

 

Mary Ann Kennedy
G
OLD LYRE OF UR

http://www.bbc.co.uk/programmes/p02kmxk8



World on 3 Mary Ann Kennedy with new tracks from across the globe,
plus a session featuring a reconstructed
Gold Lyre of Ur.

Singer and musicologist Stef Conner has collaborated with harp maker and player
Andy Lowings to create songs based on ancient Sumerian texts,
accompanied by a reconstruction of the Gold Lyre of Ur.

Three gold lyres were discovered in Iraq in 1929, and are thought to date back to 2500 BC.
The reconstruction was made entirely from materials and techniques available at the time.

Stef Conner also introduced a Heritage Track - music which has been a big influence on her.

Listen to the broadcast:
http://www.bbc.co.uk/programmes/p02kmxk8

 

13th November 2014
Florence

Lorenzo de Medici Institute, Florence.

Lecture by Andy Lowings to postgraduate students:

The Silver Lyre of Ur: from tomb to museum to public spectacle

 

April 2014
Florence

SILVER LYRE OF UR
AT THE LORENZO DE' MEDICI INSTITUTE, FLORENCE

We are delighted to announce that with the collaboration of the Lorenzo de Medici Institute, Florence, Italy, we are about to attach the silver to the lyre. The wooden frame, made by Jonathan Letcher, has been transported to Florence, together with the sheets of fine silver, a generous donation: the tutors and students of the Restoration Department at the Institute will now work on applying the silver in an authentic manner. This is a very exciting development and we are most grateful for the support from the Medici Institute and their co-operation under the guidance of Carlotta Fuhs and Lorenzo Casamenti..

           


          

 

                     

19th - 22nd February 2014
Florence

MUSIC IN MUSEUMS
INTERNATIONAL CONFERENCE AT THE LORENZO DE' MEDICI INSTITUTE, FLORENCE

Where better to hold a conference than Florence, home to over 70 museums? The Lorenzo de' Medici Institute invited 24 international delegates to present papers relating to Music in Museums. This proved to be a challenging and fascinating topic, absorbing the attentive audience over three days, from 20-22 February 2014.

Andy Lowings presented a paper describing the experiences of his own group's performances in a variety of museums, both in the UK and elsewhere. In his experience, when negotiating with a museum for a performance, it has proved to be vitally important to ascertain exactly what is expected. For instance, who is the target audience; children, adults, students of archaeology, general public on a Sunday afternoon? What precisely is the venue; a dedicated auditorium with lighting and sound system, a promenade performance in an exhibition area, possibly in front of a relevant object such as a cuneiform tablet? Consideration should also be given to whether there are other performances at the same time: Andy Lowings related an experience where the Gold Lyre was totally drowned out by the over-amplification of a modern music group. A strong hand of management is necessary. But in general, the majority of museum performances have been very successful, with the audience having a pre-disposed interest in the contents of the museum, and finding a performance with the Gold Lyre an unusual and enlivening experience.

 

 

 

 

19th - 22nd February 2014
Malta

Archaeoacoustics:
the Archaeology of Sound conference
http://www.otsf.org/Conference2014.htm

"The Score of Babylon A Methodology for Reconstructing Ancient Songs"

The Lyre of Ur Project was represented at the First International Multidisciplinary Conference on Archaeoacoustics, hosted by the Old Temples Study Foundation in Malta, in February 2014.

Stef Conner sang an arrangement of Ishtar's Descent to the Netherworld, from the forthcoming Lyre of Ur album at the opening ceremony, before presenting a paper on the reconstruction of Babylonian song.

We don't know what ancient Mesopotamian music sounded like, even though we have been able to rebuild some of its incredible instruments, but Stef believes that the key to understanding the music could be the comparative study of music in the present. Her ideas will be explained in full in the conference publication, which is coming soon.

 

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