Ludi and munera were accompanied by music, played as interludes, or building to a "frenzied crescendo" during combats, perhaps to heighten the suspense during a gladiator's appeal; blows may have been accompanied by trumpet-blasts.The gravestones of several musicians and gladiators mention such modulations; see Fagan, pp. 225–226, and footnotes. The Zliten mosaic in Libya (circa 80–100 AD) shows musicians playing an accompaniment to provincial games (with gladiators, bestiarii, or venatores and prisoners attacked by beasts). Their instruments are a long straight trumpet (tubicen), a large curved horn (Cornu) and a water organ (hydraulis).. Similar representations (musicians, gladiators and bestiari) are found on a tomb relief in Pompeii.. Wiedemann is citing Kraus and von Matt's Pompei and Herculaneum, New York, 1975, Fig. 53.
Ludi and munera were accompanied by music, played as interludes, or building to a "frenzied crescendo" during combats, perhaps to heighten the suspense during a gladiator's appeal; blows may have been accompanied by trumpet-blasts.The gravestones of several musicians and gladiators mention such modulations; see Fagan, pp. 225–226, and footnotes. The Zliten mosaic in Libya (circa 80–100 AD) shows musicians playing an accompaniment to provincial games (with gladiators, bestiarii, or venatores and prisoners attacked by beasts). Their instruments are a long straight trumpet (tubicen), a large curved horn (Cornu) and a water organ (hydraulis).. Similar representations (musicians, gladiators and bestiari) are found on a tomb relief in Pompeii.. Wiedemann is citing Kraus and von Matt's Pompei and Herculaneum, New York, 1975, Fig. 53.