 Good morning. So this paper introduces a mythological proposal, some examples about scenic performances, and some points for discussion. So as key elements, we have, for example, musical instruments. Archaeological findings are the main source for the definition of ancient musical instruments. Statues, figurines, reliefs, mosaics, bass or wall paintings provide us a large and valuable detail about illustrate the shape, structure, components of ancient musical instruments. However, these representations, far from having the high definition of a modern photograph, are schematic and often even symbolic. On the other hand, we come to a new problem when we deal with vocal music, considering that singing played the main role, for example, in ancient Greek music. We have no idea about the vocal technique in ancient cultures. Greek and sources are silent on these, too. Our referred aspects entail difficulties in the task of performing ancient music, but leave a fertile soil for sewing. Soundscapes, context, and professionals. Music is nowadays an autonomous activity. But in antiquity, it was not separated from other daily life aspects. It was linked to specific contexts and functions, called funerals, working, athletic training, contest, drama. Many scenes represented on reliefs and painted walls in Egypt show musicians and dancers playing or performing alone or in ensembles. In songs belonging to dignitaries, we find pictures with a symbolic meaning. This iconographical corpus allows reconstructing a whole universe, which includes the various functions of music and dance and the related social or ideological fundamental aspects. Rec-painted pottery reflects a high proportion of musicians playing in private symposia with an audience made up of men or couples sitting on clenine. Another frequent subjects show musical instruments as symbolic elements or attributes linked to mythological characters. In less quantity, we can mention musicians taking part in sacrifice rites before temples or in funerals, or musicians accompanying athletic training, or some picture representing music lessons and contests or symbolic dances, like, for example, military dances, pirihe, or manate and satyr dances. The catalog of professionals involved in music in antiquity include instrument makers, material providers, teachers, composers, instrument players, soloists, singers, choirs, score masters, and managers. But far from this real dimension of music in performance, we have to count on music theorists, who we can presume to be some kind of philosophers well versed in mathematics and astronomy as well. Sources on music theory contain a complex structure made of calculations, conditions, and philosophical concepts that make hard to believe that they could be totally applied by music performers. Another field for research is the inquiry about relationship between ancient music, on the one hand, and space and architecture on the other. Experimentation can help us to make trials and proof hypotheses through performing in real places, in reconstructed buildings, or even using computer systems in digitally reconstructed buildings. This is the example, for example, of the Thimmele in the Epidauter Stolos. About music theory and music scores. We know very little about music theory in ancient Egypt, apart from the curonomic signs represented on some stone relives. On the contrary, for ancient Greece, we know of many preserved words written by Greek music theorists, such as Aristocenos, Ptolemy, Cleonides, and Plutarch, et cetera. We know that ancient Greeks used two systems for writing musical notation, one for vocal music, another one for instrumental music. The ancient Greek-mode-like scales have non-symmetrical intervals that differ from well-tempered Western tones and semitones. Apart from this, they had a complex melodic line called melisma, how to reconstruct this way of playing today. In addition, only a short list of ancient Greek music scores is available that is about 60 musical fragments whose notation and rhythm have been deciphered and collected and published by Weston Perlman in the day DAGM. Oh, sorry. So computer tools help us to extend research possibilities in the reconstruction of ancient music, but we cannot go on on this issue today. So long. So let's go to interpreting ancient music. So as a methodological proposal, we can say that developing research on this field necessarily entails experimentation. And through experimentation, we can prove hypotheses, acquire new knowledge, and transfer results to educational activities and disseminative actions. Archesena projects engage transfer-style teams in both research and creation, but focusing as a result on the accomplishment of an integrated message for the audience in which all performing languages are threaded together. Following fit figures show Archesena's methodology in historical reenactments and its stages, one research to creation-free production. Dealing with ancient Egyptian dance or ancient Greek music, we have to study and make projects with interdisciplinary teams because this involves ancient history, philology, musicology, mathematics, computer science, et cetera, in a continuous line linking researchers and performers. We emphasize historical reconstruction and reenactments to spread, leave history to the public in archaeological sites considered as natural stages where life of past can happen before contemporary eyes. Here, just to show some examples about projects. In this case, about Egyptian dance. Seven movements, Egypt. You can watch internet or video clip about paradance, or ancient Greek music and dance. It holds from the Olympus. A third one is a performance about third fourth century AD about first Christians, and so it includes three Christian hymns in a ceremony, liturgical ceremony, and the play with characters documented in epigraphic sources. So, have no time to visualize this. So, third point, problems and reflections on interpretation. We see a possibly non-coincidence between ancient Greek music performance and Greek mathematical theory of music. Second, we see a non-coincidence between mathematical musical theory and real practice. All the players were craftsmen without the mathematical and theoretical background. Ancient Greek music is above all melody, and more particularly the way a singer used to express the lyrics of a poem. Rhythm is given by the metrical pattern of Greek verse and prosody. In this sense, ancient Greek music is monodic music. No harmony is to be presumed as we intended today, but the technical features and possibilities of musical instruments that accompanied the voice led us to assume some kind of heterophony and maybe harmonic resources. Performers used to improvise on the musical instrument, mainly in preludes and interludes, and while the soloist was singing the melody, the performer played on the instrument following his tempo and song. Maybe by improvising, he tried to achieve heterophony. On the other hand, several soloist players could perform at the same time. For example, a pro-tauless, being the main player in a wind ensemble, could be accompanied by a pith-tauless that is an soloist player playing in a lower pitch. This permits to deduce some kind of heterophony next to harmonic principles, or at least the production of a parallel ornamental music line to the main melody. Images on poetry show us diverse ensemble members. What does each one of those elements ensemble images represent in the sense of heterophonic execution? We have no precise idea. As argued by Carpenter, it's crucial not to forget the necessity of being careful about the questions we ask to images and understand the limits to the answers they can give. In the context of staging today ancient Greek music, a problem arises when we consider the fact that researchers, musicians, and audiences of the 21st century with a near use to the well-tempered tuning and diatonic scales are not familiar with the chromatic and harmonic sound background. This brings with more complexity when it comes to play and restricts the extent of audiences interested in this type of music. So conclusions. In this paper, we introduce technological resources as means that let us understand the sound possibilities of instrument and better communicate ancient Greek music with educational or social cultural purposes. Besides, live reenactments in which ancient situations are dynamically reconstructed are a powerful instrument for experimentation which significantly increases knowledge acquisition in this field. They contribute to better effective understanding of various life scenes of antiquity in which music was performed because this transmission occurs through an emotional experience. Reenactment means putting together archaeological data, written sources, and performing arts according to historical criteria. In our opinion, some kind of creativity is necessary to as far as we aim to make the performance interesting to the audience. How far is possible to reach all these elements as a unified expression? In addition, we have to take into account that available findings related to performing arts in antiquity are limited of fragmentary nature and even of diverse quality. The archaeological materials and the scores we can count on for performing of ancient Greek music entail three obstacles. First, maybe the replicas of instruments we use are not completely adequate for playing all preserved music fragments. Second, we are unaware of certain technical aspects of the musical execution or presumable accessories that got lost from the archaeological track. Those details are not described in written sources and lack in iconography as well. And the third difficulty is that the available fragments of ancient Greek music are in general not at all the masterworks of ancient Greek music. So consequently, what can we play in a concert is in a concert dealing with ancient Greek music is a determined repertoire. We have no choice. Moreover, working on music reconstruction based on archaeological sources and a few manuscripts means always to stay on an experimental stage, a laboratory where results led to new hypotheses to be checked. Thus, every performance, every concept is a work in progress. What's our challenge as 21st century music researchers facing 21st century spectators? Perhaps to cross time boundaries for experiencing past in prison, but in what way? Turning ancient images into live scenes, turning static pictures into dynamic experiments. This way we can approach the reconstruction of movement and sound in a real dimension. Furthermore, in terms of dissemination, what should be our purpose as researchers when we perform our results on the stage? Who are our actresses? Scientists? Students? Public in general? This consideration should be part of our research goals. In other words, what do modern citizens expect from our task? At last point, what about driving research on past reconstruction as a way of furnishing prison art creators with new contents? Revisiting past with contemporary eyes is maybe a path to go. Thank you.