Ancient Greek music in the context of "Greek music"

Nicomachus of Gerasa (Ancient Greek: Νικόμαχος; c. 60 – c. 120 AD) was an Ancient Greek Neopythagorean philosopher from Gerasa, in the Roman province of Syria (now Jerash, Jordan). Like many Pythagoreans, Nicomachus wrote about the mystical properties of numbers, best known for his works Introduction to Arithmetic and Manual of Harmonics, which are an important resource on Ancient Greek mathematics and Ancient Greek music in the Roman period. Nicomachus' work on arithmetic became a standard text for Neoplatonic education in Late antiquity, with philosophers such as Iamblichus and John Philoponus writing commentaries on it. A Latin paraphrase by Boethius of Nicomachus's works on arithmetic and music became standard textbooks in medieval education.

Music has been integral to Egyptian culture since antiquity. Egyptian music had a substantial influence on the development of ancient Greek music and, via the Greeks, was important to early European music well into the Middle Ages.

Due to the millennia of Egypt's dominance over its neighbors, Egyptian culture, including music and musical instruments, was very influential in the surrounding regions; for instance, the instruments described in the Bible as having been played by the ancient Hebrews were all Egyptian instruments, as established by Egyptian archaeology.

Hucbald (c. 840 or 850 – 20 June 930; also Hucbaldus or Hubaldus) was a Benedictine monk active as a music theorist, poet, composer, teacher, and hagiographer. He was long associated with Saint-Amand Abbey, so is often known as Hucbald of St Amand. Deeply influenced by Boethius' De Institutione Musica, Hucbald's (De) Musica, formerly known as De harmonica institutione, aims to reconcile ancient Greek music theory and the contemporary practice of Gregorian chant with the use of many notated examples. Among the leading music theorists of the Carolingian era, he was likely a near contemporary of Aurelian of Réôme, the unknown author of the Musica enchiriadis, and the anonymous authors of other music theory texts Commemoratio brevis, Alia musica, and De modis.

The Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek harmoniai (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself.