Pub Date : 2024-04-03DOI: 10.1163/22129758-bja10080
Francesco Buè
The spheres of Eleusinian mystery cults and of the Panhellenic games have numerous points of contact, from a lexical point of view, as well as on the level of imagery, more particularly with reference to their respective soundscapes. The familiarity that Pindar and his audiences share with these two contexts seems to emerge throughout the epinician odes. Focusing on the Pindaric corpus, this article highlights the similarities and analogies that could have led the poet to put together (and to draw inspiration from) the Eleusinian mysteries with their jargon on the one hand, and the lexicon and imagery of eulogy embedded in the reality and representation of the Panhellenic games on the other. My double objective is to analyze this common repertoire of terminology and images, evoked by Pindar and recognizable to his audiences, and to shed fresh light on Pindar’s engagement with Eleusinian mysteries through a textual approach. More generally, what I attempt to demonstrate in this paper is that the Eleusinian world resonates in Pindaric epinician poetry.
{"title":"Echoing the Eleusinian World: Eleusinian Topoi and Sounds in Pindaric Epinician Poetry","authors":"Francesco Buè","doi":"10.1163/22129758-bja10080","DOIUrl":"https://doi.org/10.1163/22129758-bja10080","url":null,"abstract":"\u0000The spheres of Eleusinian mystery cults and of the Panhellenic games have numerous points of contact, from a lexical point of view, as well as on the level of imagery, more particularly with reference to their respective soundscapes. The familiarity that Pindar and his audiences share with these two contexts seems to emerge throughout the epinician odes. Focusing on the Pindaric corpus, this article highlights the similarities and analogies that could have led the poet to put together (and to draw inspiration from) the Eleusinian mysteries with their jargon on the one hand, and the lexicon and imagery of eulogy embedded in the reality and representation of the Panhellenic games on the other. My double objective is to analyze this common repertoire of terminology and images, evoked by Pindar and recognizable to his audiences, and to shed fresh light on Pindar’s engagement with Eleusinian mysteries through a textual approach. More generally, what I attempt to demonstrate in this paper is that the Eleusinian world resonates in Pindaric epinician poetry.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"59 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140748657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-03DOI: 10.1163/22129758-bja10077
D. Najock
In Byzantine sources, both literary and iconographic, the harp occurs surprisingly seldom. Harpa as a term for a musical instrument is first encountered in Venantius Fortunatus. It is usually translated as ‘harp’, but at that time it most likely meant a lyre. Since the Carolingian Renaissance – when in the West often the harp, in Byzantium the psaltery gradually took the place of the lyre – the old name apparently passed to the new instrument, as similarly in the cases of cithara and ψαλτήριον. The name harpa was apparently adopted into Greek only at the end of the 14th century under Italian influence. Πλινθίον probably referred to the rectangular psaltery in Byzantium. Ἀχιλλιακόν may have meant a rare instrument in Byzantium, probably due to a misunderstanding of our Fortunatus passage.
{"title":"Greek and Latin Texts on the Harp and Similar Instruments in Byzantine Times","authors":"D. Najock","doi":"10.1163/22129758-bja10077","DOIUrl":"https://doi.org/10.1163/22129758-bja10077","url":null,"abstract":"\u0000In Byzantine sources, both literary and iconographic, the harp occurs surprisingly seldom. Harpa as a term for a musical instrument is first encountered in Venantius Fortunatus. It is usually translated as ‘harp’, but at that time it most likely meant a lyre. Since the Carolingian Renaissance – when in the West often the harp, in Byzantium the psaltery gradually took the place of the lyre – the old name apparently passed to the new instrument, as similarly in the cases of cithara and ψαλτήριον. The name harpa was apparently adopted into Greek only at the end of the 14th century under Italian influence. Πλινθίον probably referred to the rectangular psaltery in Byzantium. Ἀχιλλιακόν may have meant a rare instrument in Byzantium, probably due to a misunderstanding of our Fortunatus passage.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140747294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-16DOI: 10.1163/22129758-bja10079
Sheramy D. Bundrick
An Athenian black-figure amphora from the Etruscan site of Orvieto juxtaposes a scene of Zeus, Athena, and Herakles battling Giants with three kitharōidoi in procession. Attributed to the Painter of Berlin 1686, the amphora shares much with the painter’s name vase, also featuring musicians but in a sacrificial procession to Athena. The Gigantomachy composition, meanwhile, echoes a group of vases by different painters dedicated on the Athenian Akropolis. I propose that the Orvieto amphora was inspired by the Greater Panathenaia, combining the Gigantomachy as a central myth of the festival with kitharōidoi from its grand pompē. Foregrounding the multilayered concept of poikilia, I further suggest the painter evoked the Panathenaia’s multisensory experience through the amphora’s materiality and aesthetics. Together, the amphora’s paired scenes encourage contemplation of harmony (harmonia) and divine order (kosmos).
{"title":"Pompē, Peplos, Poikilia: Picturing the Panathenaia on an Athenian Amphora","authors":"Sheramy D. Bundrick","doi":"10.1163/22129758-bja10079","DOIUrl":"https://doi.org/10.1163/22129758-bja10079","url":null,"abstract":"\u0000An Athenian black-figure amphora from the Etruscan site of Orvieto juxtaposes a scene of Zeus, Athena, and Herakles battling Giants with three kitharōidoi in procession. Attributed to the Painter of Berlin 1686, the amphora shares much with the painter’s name vase, also featuring musicians but in a sacrificial procession to Athena. The Gigantomachy composition, meanwhile, echoes a group of vases by different painters dedicated on the Athenian Akropolis. I propose that the Orvieto amphora was inspired by the Greater Panathenaia, combining the Gigantomachy as a central myth of the festival with kitharōidoi from its grand pompē. Foregrounding the multilayered concept of poikilia, I further suggest the painter evoked the Panathenaia’s multisensory experience through the amphora’s materiality and aesthetics. Together, the amphora’s paired scenes encourage contemplation of harmony (harmonia) and divine order (kosmos).","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"289 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140453949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-16DOI: 10.1163/22129758-bja10078
Tom Sapsford
{"title":"Aspects of Roman Dance Culture. Religious Cults, Theatrical Entertainments, Metaphorical Appropriations, edited by Schlapbach, K.","authors":"Tom Sapsford","doi":"10.1163/22129758-bja10078","DOIUrl":"https://doi.org/10.1163/22129758-bja10078","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"628 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140454137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-31DOI: 10.1163/22129758-12341393
Zoa Alonso Fernández
The international symposium Imprints of Ancient Greek and Roman Dance: Texts, Bodies, Images, Movement took place in Madrid in September 2022. As the final component of a research project funded by the Spanish Society of Classical Studies and the BBVA Foundation, this event aimed to scrutinize a series of concepts that have proven significant to the transhistorical and transcultural study of dance. The eight scholars tasked with examining these concepts presented interesting case studies of ancient Greek and Roman dancing between the Archaic period and late Antiquity, drawing upon a variety of media and sources.
{"title":"Texts, Bodies, Images, Movement","authors":"Zoa Alonso Fernández","doi":"10.1163/22129758-12341393","DOIUrl":"https://doi.org/10.1163/22129758-12341393","url":null,"abstract":"\u0000The international symposium Imprints of Ancient Greek and Roman Dance: Texts, Bodies, Images, Movement took place in Madrid in September 2022. As the final component of a research project funded by the Spanish Society of Classical Studies and the BBVA Foundation, this event aimed to scrutinize a series of concepts that have proven significant to the transhistorical and transcultural study of dance. The eight scholars tasked with examining these concepts presented interesting case studies of ancient Greek and Roman dancing between the Archaic period and late Antiquity, drawing upon a variety of media and sources.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"55 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140477702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-21DOI: 10.1163/22129758-bja10073
Tosca A.C. Lynch
Building upon Lynch 2022a and 2022b, this article offers the first account of the historical evolution of the Greek harmonic system and notation keys (tónoi) that bridges the gap between Classical and Imperial music. This new solution allows us to reconstruct, for the first time, a continuous, if evolving, tradition that stretches from Euripides’ Orestes to late antiquity, reconciling key theoretical insights provided by Ptolemy, Porphyry and others with documentary evidence that illustrates the structure of the Imperial harmonic system and its use in the Imperial musical documents (dDAGM). This approach also enables us to trace the gradual expansion of the Greek notation system from an initial set of symbols (–) to the full array recorded by Aristides and Alypius, mapping its development onto key historical milestones including the revolutionary innovations of the New Musicians and Damon of Oa’s inclusion of the Lydian mode into the Greek modulation system.
{"title":"Unlocking the Riddles of Imperial Greek Melodies: The ‘Lydian’ Metamorphosis of the Classical Harmonic System","authors":"Tosca A.C. Lynch","doi":"10.1163/22129758-bja10073","DOIUrl":"https://doi.org/10.1163/22129758-bja10073","url":null,"abstract":"Building upon Lynch 2022a and 2022b, this article offers the first account of the historical evolution of the Greek harmonic system and notation keys (tónoi) that bridges the gap between Classical and Imperial music. This new solution allows us to reconstruct, for the first time, a continuous, if evolving, tradition that stretches from Euripides’ Orestes to late antiquity, reconciling key theoretical insights provided by Ptolemy, Porphyry and others with documentary evidence that illustrates the structure of the Imperial harmonic system and its use in the Imperial musical documents (dDAGM). This approach also enables us to trace the gradual expansion of the Greek notation system from an initial set of symbols (–) to the full array recorded by Aristides and Alypius, mapping its development onto key historical milestones including the revolutionary innovations of the New Musicians and Damon of Oa’s inclusion of the Lydian mode into the Greek modulation system.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"46 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139167034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-15DOI: 10.1163/22129758-bja10074
O. Wiener
{"title":"Représenter la musique dans l’Antiquité, edited by Vendries, C., and Gétreau, F.","authors":"O. Wiener","doi":"10.1163/22129758-bja10074","DOIUrl":"https://doi.org/10.1163/22129758-bja10074","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"33 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139274413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-15DOI: 10.1163/22129758-bja10075
Luis Calero
{"title":"Vicente Requeno y Vives. Ensayos históricos para servir al restablecimiento de la música de los antiguos griegos, edited by Astorgano Abajo, A., and Garrido Domené, F.","authors":"Luis Calero","doi":"10.1163/22129758-bja10075","DOIUrl":"https://doi.org/10.1163/22129758-bja10075","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"191 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139271540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-31DOI: 10.1163/22129758-bja10072
Timothy Moore
{"title":"Nuove volute di versi: Poesia e musica nella commedia greca di V e IV sec. a. C, edited by Gostoli, A., and Zimmermann, B. with the collaboration of Bianchi, F.B.","authors":"Timothy Moore","doi":"10.1163/22129758-bja10072","DOIUrl":"https://doi.org/10.1163/22129758-bja10072","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"120 ","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135976978","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-19DOI: 10.1163/22129758-bja10071
Konstantine Panegyres
Abstract There is uncertainty about the form and meaning of the word καβιθακάνθιον , the name of a type of aulos instrument mentioned in a Byzantine Greek alchemical treatise. The problem can be resolved if the word is interpreted as a hybrid bilingual compound of Late Latin cauitas (‘hollow’) and Greek ἀκάνθιον (‘little thorn’), meaning ‘hollow little thorn’. Aulos instruments were thought to be ‘hollow’ owing to the internal cavity through which the performer blows in order to produce sound; and ‘little thorn’ may refer to the shape and size of the instrument, being a small slender pipe.
{"title":"On the Name of an Obscure Musical Instrument: What was the Kabithakanthion?","authors":"Konstantine Panegyres","doi":"10.1163/22129758-bja10071","DOIUrl":"https://doi.org/10.1163/22129758-bja10071","url":null,"abstract":"Abstract There is uncertainty about the form and meaning of the word καβιθακάνθιον , the name of a type of aulos instrument mentioned in a Byzantine Greek alchemical treatise. The problem can be resolved if the word is interpreted as a hybrid bilingual compound of Late Latin cauitas (‘hollow’) and Greek ἀκάνθιον (‘little thorn’), meaning ‘hollow little thorn’. Aulos instruments were thought to be ‘hollow’ owing to the internal cavity through which the performer blows in order to produce sound; and ‘little thorn’ may refer to the shape and size of the instrument, being a small slender pipe.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"345 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135821519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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