INTRODUCTION The Kelsey Museum has a unique collection of excavated musical instruments from its work on Roman period sites in Egypt, as well as a complement of artifacts both excavated and purchased that relate to musical instruments and the people who played them. We are also fortunate in the generous loan of papyri from the University Library that include actual musical notation, as well as documents of the lives of musicians in Roman Egypt. Supplemented with material on display in the permanent displays, this exhibition provides insight into an important aspect of ancient life. MUSIC IN ANCIENT EGYPT Although music existed in pre­historic Egypt, the evidence for it becomes secure only in the historical (or ³dynastic² or ³pharaonic²) period‹after 3100 BCE. Music formed an important part of Egyptian life, and musicians occupied a variety of positions in Egyptian society. Music found its way into many contexts in Egypt: temples, palaces, workshops, farms, battlefields and the tomb. Music was an integral part of religious worship in ancient Egypt, so it is not surprising that there were gods specifically associated with music, such as Hathor and Bes (both were also associated with dance, fertility and childbirth). All the major categories of musical instruments (percussion, wind, stringed) were represented in pharaonic Egypt. Percussion instru­ments included hand-held drums, rattles, castanets, bells, and the sistrum‹a highly important rattle used in religious worship. Hand clapping too was used as a rhythmic accompaniment. Wind instruments included flutes (double and single, with reeds and without) and trum­pets. Stringed instruments included harps, lyres, and lutes‹plucked rather than bowed. Instruments were frequently inscribed with the name of the owner and decorated with representations of the goddess (Hathor) or god (Bes) of music. Both male and female voices were also frequently used in Egyptian music. Professional musicians existed on a number of social levels in ancient Egypt. Perhaps the highest status belonged to temple musicians; the office of ³musician² (shemayet) to a particular god or goddess was a position of high status frequently held by women. Musicians connected with the royal household were held in high esteem, as were certain gifted singers and harp players. Somewhat lower on the social scale were musicians who acted as entertainers for parties and festivals, frequently accompanied by dancers. Informal singing is suggested by scenes of workers in action; captions to many of these pictures have been interpreted as words of songs. Otherwise there is little evidence for the amateur musician in pharaonic Egypt, and it is unlikely that musical achievement was seen as a desirable goal for individuals who were not professionals. The ancient Egyptians did not notate their music before the Graeco-Roman period, so attempts to reconstruct pharaonic music remain speculative. Representational evidence can give a general idea of the sound of Egyptian music. Ritual temple music was largely a matter of the rattling of the sistrum, accom­panied by voice, sometimes with harp and/or percussion. Party/festival scenes show ensembles of instruments (lyres, lutes, double and single reed flutes, clappers, drums) and the presence (or absence) of singers in a variety of situations. MUSIC IN THE GREEK AND ROMAN WORLD From before the time of Homer, music was an integral part of Greek culture. Festivals, rituals, parties, work, games, theater, and war were all accompanied by music. Greek literature extolled music and was linked with it: much of the Greek poetry and drama known today was originally sung or musically accom­panied. Professional musicians were valued members of society whose merits were judged in public competitions. In addition, musical education was an important part of the training of elites, and amateur accomplishments in music were regarded as a sign of culture and taste. Greek music was known throughout the Mediterranean world, influencing and being influenced by the other musical traditions it encountered. By contrast, in the Roman Republic music was not so highly esteemed. Music was not considered part of the essential education of the elites and amateur performance of music was not encouraged; profes­sional musicians were held in low regard. This situation gradually changed, due in large part to the influences of Greek music: in the imperial period, music became more respectable both in professional and amateur contexts. Although still often decried by some Roman authors as signs of decadence, musical performances were common and skilled musicians highly valued. Music held great importance in certain religious contexts through­out the Roman world. Theoretical treatises on music in Greek preserve much of the complex system of modes and scales then in use while also addressing such issues as the moral and ethical impact of music on society. Moreover, Greek systems of musical notation per­mitted the recording of ancient music‹some fifty or so compositions are known from such sources (most very fragmentary). The instruments available to Greek and Roman musicians covered a broad range. Stringed instruments included harps, lyres, kithara, and barbitoi; the lute came later on (perhaps from Egypt or the Near East). Of the wind instruments, the aulos‹a reed flute often played in pairs‹was the most common, while various other reeded and nonreeded flutes and whistles were known. The panpipe was a collection of pipes of descending length bound together, very common in certain contexts. Horns and trumpets of various kinds are known, often used for hunting and in military contexts. Percussion instruments included drums, tambourines, cymbals, and castanets. The majority of music for which we have surviving notation was vocal, and singing was probably the most common form of musical activity. EGYPTIAN TRADITIONS Throughout the Greek and Roman periods, earlier Egyptian musical traditions persisted. This is especially true for religious music, which had a long tradition in Egypt. Temple musicians, who were fre­quently elite women, performed music to accompany ritual activities. Musicians were also often the center of ritual themselves, as in the duets sung by women disguised as the Egyptian goddesses Isis and Nephthys. The rattle known as the ³sistrum² was a quintessentially Egyptian instrument for worship; its use spread throughout the Roman world along with the cult of the Egyptian goddess Isis. MUSICIANS IN ACTION Much of what we know of the lives of musicians in Roman Egypt comes from the evidence of documentary papyri‹the texts of daily life that involve musicians in some way. Contracts engaging musicians to perform at festivals survive and show the kinds of wages earned by performers as well as the duties expected of them. Representations of musicians, such as the figurines of women playing the tympanum (drum) and the military trumpeter, supplement the evidence of surviving instruments and give further insight into how musicians performed. The players of stringed instruments are poorly represented in the artifactual record, but papyri (such as the rules for a musical contest involving the kithara‹a harplike instrument) and representations of the playing of such instruments from other cultures help flesh out our understanding of them. BELLS Bells are found throughout the ancient world. Most are made of bronze, but they vary widely in shape and size, and the uses of these bells were equally varied. Bells could be used for religious rituals and for festival music. Most ancient bells, however, were probably used in everyday life for the less musical purposes of summoning or warning. Note, for example, the dog figurine with the bell around its neck. THE RHYTHM SECTION Percussion instruments in Roman Egypt included drums, tambourines, castanets, clappers, and cymbals and were used to provide rhythmic accompaniment to music and dancers. Examples of drums and tambourines rarely survive, although representations of these instruments being played are common. A wide variety of castanets‹pairs of L-shaped wooden objects held in the hand and struck together‹were found at Karanis. Pairs of cymbals made of bronze were played by striking them together, either with the hands or in a wooden frame. Wooden clappers, consisting of handles with smaller pieces attached by cord, were shaken to produce sound. THE AULOS The aulos, or reed flute, was a wind instrument that sounded more like the modern oboe than the modern flute. The body of the flute, made of metal or wood, had finger holes and sometimes had keys. The mouthpiece, which rarely survives, could hold one or two reeds, which would vibrate when played, producing the distinct tone of the instrument. The aulos was commonly played in pairs, as seen in the reconstruction of the funerary stele of the flautist. TOYS AND NOISE Even in the ancient world, children liked to make noise, so it is not surprising that many of their toys produced sounds. Some of these toys are merely scaled down versions of common musical instruments, such as the miniature clappers and the whistle, but in the hands of children the sounds these toys produced were probably anything but scaled down. Basketry rattles intended for babies were made out of palm fibers and filled with clay pellets or even shards of glass to make a sound when shaken. Many of these toys show similarities with modern counterparts; even the buzzers, although not recognizable, are similar to what a child might construct today with a button and string. MUSICAN NOTATION One of the most significant changes in music in Egypt in the Graeco-Roman period was the introduction of Greek-style musical notation. Separate systems of nota­tion indicated instrumental and vocal pitches, while various markings and implicit signals showed rhythm in both systems. It is from Greek papyri from Egypt that most ex­amples of Greek musical notation are known. These papyri preserve passages from Greek literary texts with vocal notation (such as the famous Michigan musical papyrus), as well as instrumental passages, possibly also from theatrical perfor­mances. The music thus notated follows Greek tradition; there are, as far as we know, no pieces of indi­genous music notated in the Greek style. MUSICIANS FROM SELEUCIA Representations of musicians such as these terracotta figurines from Seleucia provide a tangible image of both the musicians and the instruments they played. These figures also give important clues as to how specific instruments were played. Like the Egyptian represen­tations of musicians, these Seleucia terracottas are the product of a mixture of Graeco-Roman and Near Eastern styles, especially evident in the costumes of the figures. The figurines here show a broad as­sortment of musical instruments, including several stringed instru­ments of which few actual examples survive. ROMAN EGYPT Egypt in the Roman period was a combination of Egyptian, Greek, and Roman traditions: Indigenous Egyp­tian culture and language existed alongside the Hellenistic traditions and Greek language of the Ptolemies (323-30 BCE) and the customs and language of subsequent Roman rule, along with influences from else­where in the Mediterranean world. With all of the multicultural inter­action in Roman Egypt, it is not surprising that the music of the period reflected a diverse set of influences. Egyptian traditions of ritual and festival music with typically Egyptian musical instruments com­bined with Hellenistic and Roman traditions of theatrical performance of music, Greek systems of musical notation, and new varieties of musical instruments. The music of Egypt in the Roman period seems to have been a lively amalgam of these diverse cultural influences. KARANIS One of the best-preserved town sites from Roman Egypt, Karanis was excavated by the University of Michigan from 1924 to1935, and arti­facts from Karanis form a large part of the Kelsey Museum¹s holdings. Karanis was an agricultural town in the region known as the Fayum‹a rich farming area developed in the Ptolemaic period (332-30 BCE) and heavily settled in the Roman and Byzantine periods (30 BCE-641 CE). The unusually extensive and well-preserved remains of the town, taken with the thousands of docu­ments on papyrus to survive from the site, form a thorough record of the lives of the inhabitants of Karanis. The artifacts from Karanis relating to music in the present exhibition provide unique insight into the nature of music and the lives of musicians in Roman Egypt. ARCHAEOLOGICAL CONTEXT The Kelsey Museum¹s collection of musical instruments from Roman Egypt is unique in part because the instruments come from a controlled excavation and thus have a known archaeological context. An artifact with known archaeological context can provide unique information about the relationships between the artifact and the environment in which it was produced and used. The musical instruments from Karanis in this exhibition were found in a variety of domestic contexts, in con­junction with a number of typical objects of daily life‹pottery, glass, coins, and papyri‹that can tell much about the date of the instruments and the ways in which they were used. A large number of the cas­tanets in the collection were found in the same house. SELEUCIA ON THE TIGRIS Eighteen miles south of modern Baghdad in Iraq lies the site of Seleucia on the Tigris, which rose, flourished, and dwindled away between 307 BCE and 215 CE‹roughly contemporary with Karanis in Egypt. Seleucia¹s foundation was part of the Hellenizing of the Near East, the ultimate result of Alexander¹s campaigns. Lying at the confluence of the Tigris River and a major canal from the Euphrates, Seleucia was a vital trading center and presided over the exchange of goods from Central Asia, India, Persia, and Africa. Excavations were begun at Seleucia December 29, 1927, by Professor Leroy Water­man of the University of Michigan and continued for six seasons until 1937. Seleucia¹s architecture, according to Dr. Waterman, represents a ³missing link² between Hellenistic and Sassanian styles that shows the results of blending Greek with Eastern elements. ACKNOWLEDGEMENTS Exhibitions at the Kelsey Museum involve the efforts of many people‹Kelsey staff, student workers, and volunteers. I would like to thank the following for their hard work: Kelsey Museum Curator of Conservation Geoffrey Brown and his assistants Thyra Throop and Brittany Mullins did a wonderful job of conservation on the objects in the exhibition. The results of conservation work are often invisible to the museum visitor, but in the case of such objects as the bronze flutes in the present exhibition, the efforts involved in conservation are often enormous. Kelsey Museum Preparator Dana Buck translated what were often very vague ideas of mine into practical designs and lent his expertise to creating the visual layout of the exhibition. Dana and his assistant David Huppert devoted much time and hard work to the appearance and construction of the exhibition, and as always I appreciate their efforts. Kelsey Museum Registrar and Curator of Slides and Photographs Robin Meador-Woodruff and her assistants Stephanie Pulaski and Jennifer Blohm performed the intricate feat of managing and tracking the objects used in this exhibition (as well as the many pieces that did not make the final cut). In addition, Robin supervised the extensive photography undertaken in preparation for the exhibition by Kelsey Museum photographer Nathan Garcia, for which I am very grateful. Kelsey Museum head of security and public relations Todd Gerring has supervised the public events, publicity, and security arrangements for the exhibition. In addition, Todd provided one of his inimitable drawings for the display‹a rendering of an extremely faint and barely legible representation of a flute player. Kelsey Museum Editor Peg Lourie supervised the production of the text in the exhibition, which has benefited greatly from her careful editorial eye. In addition, I would like to thank Traianos Gagos, Archivist of the University of Michigan Library¹s Papyrology Collection, and his assistant Paul Heilporn, who have provided essential help with the papyri in this exhibition. I would also like to thank the University Library for the generous loan of these papyri and for their support of events connected with the exhibition. The idea for this exhibition began with a student project from my Winter 1996 First Year Seminar ³The Archaeology of Roman Egypt,² and I¹d like to thank a student from that seminar, Jared Lampe, for getting me interested in researching the Karanis musical instruments. Finally, I would like to thank my student assistant for this exhibition Adam Hyatt and my student volunteer Amy Bennett for their work and contributions to ³Music in Roman Egypt.² In addition to the display cases they designed and the text they wrote, the exhibition has benefited greatly from their general input and effort, and I have enjoyed working with them very much. Terry Wilfong Exhibition Curator FOR FURTHER READING [[TO BE WRITTEN]] OBJECT LABELS SISTRUM Bronze Roman Period (1st-2nd centuries CE) Italy Gift of Van Deman, 1938 KM 6671 BASTET PLAYING SISTRUM Bronze Ptolemaic Period (332-30 BCE) Fayum, Egypt Askren Purchase, 1925 KM 21641 SISTRUM AMULET Faience Late-Ptolemaic periods (525-30 BCE) Egypt Bay View Coll. Purchase, 1971 KM 71.2.94 TWO CARTONNAGE FRAGMENTS WITH ISIS AND NEPHTHYS Cartonnage Roman Period, 100-200 CE Egypt Gift of Dr. Goudsmit, 1981 KM 81.4.31 COFFIN FRAGMENT OF FEMALE MUSICIAN Painted Wood 21st Dynasty (1070-950 BCE) Western Thebes, Egypt Gift of Dr. Goudsmit, 1981 KM 81.4.5 BOOK OF THE DEAD OF DJED-MUT, FEMALE MUSICIAN IN THE TEMPLE OF AMUN Paint and Ink on Papyrus 21st Dynasty (1070-950 BCE) Western Thebes, Egypt Loan of Papyrology Collection, University Library P.Mich. inv. 3524 CASE 2 AMPHORA WITH CASTANET PLAYER Clay 4th quarter of 6th century BCE Greece Marburg Collection; purchased 1923 KM 2599 KYLIX WITH KITHARIST Pottery Ca. 430 BCE Greece Marburg Collection, purchased 1923 KM 2601 WOMAN PLAYING TYMPANUM (DRUM) Terracotta Roman Period (2nd-4th centuries CE) Fayum, Egypt Askren Purchase, 1925 KM 3229 FLASK: BOY WITH TRUMPET AND SHIELD Terracotta (2nd-3rd centuries CE) Roman Period Fayum, Egypt Askren Purchase, 1925 KM 4959 WOMAN PLAYING CASTANETS Terracotta Roman Period (2nd-3rd centuries CE) Karanis, Egypt Karanis Excavation, 1935 KM 6491 WOMAN PLAYING TYMPANUM (DRUM) Terracotta (2nd-4th centuries CE) Roman Period Fayum?, Egypt Gift of P. Ruthven, 1935 KM 6588 TERRACOTTA HORN Terracotta Roman Period (2nd-4th centuries CE) Fayum, Egypt Askren Purchase, 1935 KM 9907 PAIR OF CASTANETS Wood Roman Period (2nd-3rd centuries CE) Soknopaiou Nesos, Egypt Soknopaiou Nesos Excavation, 1931 KM 26360, 26361 RULES FOR A MUSICAL CONTEST INVOLVING STRINGED INSTRUMENTS AND FLUTES Ink on Papyrus Roman Period (2nd-3rd centuries CE) Karanis, Egypt Karanis Excavation, 1926 Loan of Papyrology Collection, University Library P.Mich. inv. 4682 CONTRACT FOR CASTANET DANCERS Ink on Papyrus 206 CE Philadelphia, Egypt Loan of Papyrology Collection, University Library P.Corn. II 96 CASE 3 DOG WITH BELL AROUND NECK Terracotta Roman Period (2nd-3rd centuries CE) Karanis, Egypt Karanis Excavation, 1935 KM 6908 BELL Bronze Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1927 KM 10729 BELL Bronze Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavations, 1931, 1935 KM 10735, 8489 BELL INSIDE OF A LARGER BELL Bronze Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1935 KM 10736, 10737 BELL WITH ATTACHED ROPE Bronze, Palm Fiber Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1935 KM 10738 BELL Bronze (2nd-4th centuries CE) Roman Period Karanis, Egypt Karanis Excavation, 1935 KM 10893 BELL Bronze Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1935 KM 10895 MINIATURE BELLS Bronze Graeco-Roman Period (332 BCE-100 CE) Fayum, Egypt Askren Purchase, 1925 KM 21599, 3123 CASE 4 CLAPPERS Wood Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavations, 1927 KM 3532, 26369 10235, 3530, 3534 CASTANET HALVES Wood Roman Period (1st-4th centuries CE) Karanis, Egypt Karanis Excavations, 1927-35 KM 10768, 26356, 26372, 26354 10767, 10769, 3843, 26351, 7620 26353, 26362, 26352. 26359, 26357, 26355 CYMBALS Bronze Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavations, 1924-35 KM 21432-21436 CONE-SHAPED CASTANET HALF Wood Roman Period (4th-5th centuries CE) Karanis, Egypt Karanis Excavation, 1935 KM 26358 CLAPPER HANDLES Wood Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1927, 1935 KM 26376 3531, 26378 CASE 5 BELL KRATER WITH FLAUTIST Pottery 440-430 BCE Early Lucanian, Italy Marburg Collection, purchased 1923 KM 2610 FLUTE Wood Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1927 KM 3568 FLUTE Wood Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1927 KM 3569 AULOS (REED FLUTE) Bronze Roman Period (1st-3rd centuries CE) Karanis, Egypt Karanis Excavation, 1929 KM 7100 OSTRACON: LIST OF TAXPAYERS (INCLUDING TWO FLAUTISTS) Pottery 3rd century CE Fayum, Egypt Purchase KM 9134 FUNERARY STELE WITH FLAUTIST (Drawing by Todd Gerring) Limestone Late 3rd ­ early 4th centuries CE Terenouthis, Egypt UM Excavation, 1935 KM 21183 AULOS (REED FLUTE) Bronze Roman Period (1st-3rd centuries CE) Karanis, Egypt Karanis Excavation, 1935 KM 21405 AULOS (REED FLUTE) Wood Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1935 KM 26997 BELL KRATER WITH FLAUTIST Clay 4th century BCE Campania, Italy Gift of Mrs. F. W. Kelsey, 1935 KM 28808 CASE 6 WOVEN RATTLE Palm Fiber, Clay Pellets? Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1926 KM 3362 MINIATURE CLAPPERS Wood Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1929-30 KM 3852, 7535 WHISTLE Bone Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1931 KM 8504 WOVEN RATTLE Palm Fiber, Clay Pellets? Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1931 KM 8511 WOVEN RATTLE CONTAINING GLASS Palm Fiber, Colored Glass Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1926 KM 10075 MINIATURE BELL Bronze Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavation, 1927 KM 10892 TOY BUZZERS Pottery Roman Period (2nd-4th centuries CE) Karanis, Egypt Karanis Excavations, 1924-35 KM 25759, 26384, 10104, 10108 26387, 7568, 26386, 26385 CASE 7 TRAGIC DRAMA WITH MUSICAL NOTATION Ink on Papyrus Roman Period (2nd century CE) Karanis, Egypt Karanis Excavation, 19?? Loan of Papyrology Collection, University Library P.Mich. inv. 2958 CASE 8 BANDS OF FLAUTISTS AND DRUMMERS Terracotta 150 BCE­200 CE Seleucia, Iraq UM Excavation, 1929-32 KM 14006, 15193 NUDE FEMALE FLAUTIST Terracotta 150 BCE­200 CE Seleucia, Iraq UM Excavation, 1929-32 KM 15175 NUDE MALE FLAUTIST Terracotta 150 BCE­200 CE Seleucia, Iraq UM Excavation, 1929-32 KM 15179 DRAPED MALE KITHARIST Terracotta 150 BCE­200 CE Seleucia, Iraq UM Excavation, 1929-32 KM 16298, 15185 DRAPED FEMALE TAMBOURINE PLAYER Terracotta 150 BCE­200 CE Seleucia, Iraq UM Excavation, 1929-32 KM 15188 DRAPED FEMALE HARPISTS Terracotta 150 BCE­200 CE Seleucia, Iraq UM Excavation, 1929-32 KM 14013, 15217, 16496 DRAPED MALE LUTE PLAYER Terracotta 150 BCE­200 CE Seleucia, Iraq UM Excavation, 1933 KM 16298 OTHER TEXT TRANSLATION: CONTRACT FOR CASTANET DANCERS To Isidora, castanet dancer, from Artemisia of the village of Philadelphia. I request that you, assisted by another castanet dancer‹total two‹undertake to perform at the festival at my house for six days beginning with the 24th of the month Payni according to the old calendar. You two will receive as pay 36 drachmas for each day, and we will furnish in addition 4 measures of barley and 24 pairs of bread loaves. Further, if garments or gold ornaments are brought down, we will guard these safely, and we will furnish you with two donkeys when you come down to us and a like number when you go back to the city. Year 14 of Lucius Septimius Severus Pius Pertinax and Marcus Aurelius Antoninus Parthicus, Augusti, and Publius Septimius Geta Caesar Augustus, Payni 16. TRANSLATION: RULES FOR A MUSICAL COMPETITION . . . part of the melodies to have been completed. Song of the aulos player Let the aulos player play the song. But if . . . he omit a part, he is disqualified. And if he introduce . . . or come in by the wrong entrance . . .or bring in . . . for the actor . . . he is disqualified. And it shall be permitted in the (final part) for him who wishes to bring in with himself kitharists (lute players) and actors, not fewer than three, of whom two must be comic . . . in order to . . . And on as many counts as apply to the others, the Pythian aulos player is disqualified and let him be the chorus leader himself . . . bringing in . . . Song of the kitharist (lyre player) Let the kitharist, with costume, entrances, and exits, perform on the same terms as the aulos players. And on the same terms he will also be disqualified. But if . . . the one in charge of the kithara for the Pythian kitharists . . . , let him also be in charge of the other kitharists. . . . Let it be permitted for him to have also two accompanying kitharists . . . and in the final part comic . . . CENTAURS PLAYING A DOUBLE AULOS (REED FLUTE) AND KITHARA From: Sarcophagus with a Bacchic Triumph and Revel White Marble Roman Period (2nd century CE) KM 81.3.1 NOTE: This object is on display in the Greek, Roman, and Etruscan Gallery MAENAD PLAYING A TYMPANUM (DRUM) From: Sarcophagus with a Bacchic Triumph and Revel White Marble Roman Period (2nd century CE) KM 81.3.1 NOTE: This object is on display in the Greek, Roman, and Etruscan Gallery DANCING MAN PLAYING A TYMPANUM (DRUM) From: Sarcophagus with a Bacchic Triumph and Revel White Marble Roman Period (2nd century CE) KM 81.3.1 NOTE: This object is on display in the Greek, Roman, and Etruscan Gallery EGYPTIAN MUSICIAN-DANCERS From the tomb of Djeserkara-soneb, Western Thebes 18th Dynasty (1570-1293 BCE) (Facsimile from Davies and Gardiner, Ancient Egyptian Painting) EGYPTIAN MUSICIAN AND DANCERS AT A BANQUET From an unidentified tomb, Western Thebes 18th Dynasty (1570-1293 BCE) (Facsimile from Davies and Gardiner, Ancient Egyptian Painting) EGYPTIAN MUSICIAN-DANCERS, A SERVANT AND A BANQUET GUEST From the tomb of Wah, Western Thebes 18th Dynasty (1570-1293 BCE) (Facsimile from Davies and Gardiner, Ancient Egyptian Painting) PAPYRUS WITH MUSICAL NOTATION University of Michigan Library Roman Period (2nd century CE) NOTE: This artifact is on display in the exhibition ³Music in Roman Egypt²