Pub Date : 2023-01-16DOI: 10.1163/22129758-bja10060
Kamila Wyslucha
{"title":"Nachklänge, Instrumente der griechischen Klassik und ihre Musik. Materialien und Zeugnisse von Homer bis heute, written by Steinmann, C.","authors":"Kamila Wyslucha","doi":"10.1163/22129758-bja10060","DOIUrl":"https://doi.org/10.1163/22129758-bja10060","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49255902","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 : 2023-01-11DOI: 10.1163/22129758-bja10054
Silvia Tessari
The purpose of this article is to comment on three dance-related passages from the Χρονικὴ διήγησις of the Byzantine historian Niketas Choniates (1155 ca.–1217). A linguistic analysis will identify both the precise classical reminiscences used by the author and the medieval reality transfigured through his archaizing linguistic choices. An introduction summarizes some aspects of Constantinopolitan dance in its specific connection with political power.
{"title":"Dances at the Palace","authors":"Silvia Tessari","doi":"10.1163/22129758-bja10054","DOIUrl":"https://doi.org/10.1163/22129758-bja10054","url":null,"abstract":"\u0000The purpose of this article is to comment on three dance-related passages from the Χρονικὴ διήγησις of the Byzantine historian Niketas Choniates (1155 ca.–1217). A linguistic analysis will identify both the precise classical reminiscences used by the author and the medieval reality transfigured through his archaizing linguistic choices. An introduction summarizes some aspects of Constantinopolitan dance in its specific connection with political power.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47208216","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 : 2023-01-03DOI: 10.1163/22129758-bja10050
A. Weddigen
This paper considers the shape and function of musical diagrams transmitted in ancient musical treatises, focusing on two main types of musical diagrams. The first of them is the canon-diagram. It originates in arithmetical visualization habits, and shows great variety of degrees ranging from a realistic schema of a tool to an abstract mathematical proof. The second object under investigation is the Lambda-shaped diagram, only described in Greek commentaries to the Timaeus, but handed down to us in its graphical version through the Latin tradition well known to Renaissance scholars. These two examples show the strong and interwoven link between theoretical thinking and diagrammatic visualization as a support for abstraction. As one of the quadrivial arts, music’s borrowing from mathematical tools is not surprising; but their application shaped music-theory as a whole and left a long-lasting mark on the perception of ancient Greek music.
{"title":"Depicting What Cannot Be Heard? A Preliminary Study of Diagrams in Greek Harmonic Theory","authors":"A. Weddigen","doi":"10.1163/22129758-bja10050","DOIUrl":"https://doi.org/10.1163/22129758-bja10050","url":null,"abstract":"\u0000This paper considers the shape and function of musical diagrams transmitted in ancient musical treatises, focusing on two main types of musical diagrams. The first of them is the canon-diagram. It originates in arithmetical visualization habits, and shows great variety of degrees ranging from a realistic schema of a tool to an abstract mathematical proof. The second object under investigation is the Lambda-shaped diagram, only described in Greek commentaries to the Timaeus, but handed down to us in its graphical version through the Latin tradition well known to Renaissance scholars.\u0000These two examples show the strong and interwoven link between theoretical thinking and diagrammatic visualization as a support for abstraction. As one of the quadrivial arts, music’s borrowing from mathematical tools is not surprising; but their application shaped music-theory as a whole and left a long-lasting mark on the perception of ancient Greek music.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42559263","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 : 2022-08-15DOI: 10.1163/22129758-12341389
Eleonora Rocconi
{"title":"Editorial","authors":"Eleonora Rocconi","doi":"10.1163/22129758-12341389","DOIUrl":"https://doi.org/10.1163/22129758-12341389","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47769774","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 : 2022-07-25DOI: 10.1163/22129758-bja10047
T. Lynch
This article completes the discussion of the Classical/Hellenistic harmonic system set out in Lynch 2022a. Taken jointly, these articles offer the first account of the use of notation keys in the Hellenistic musical documents that is fully consistent with technical evidence as well as literary testimonies about the harmonic innovations of the New Musicians. This article offers practical analyses and new modern transcriptions of the Ashmolean Papyri (DAGM 5–6) and Athenaeus’ Paean (DAGM 20) – scores that reflect the modulation system of the New Music and its characteristic use of ‘exharmonic’ and ‘chromatic’ notes. The analyses offered in this article are powered by a newly-developed database (dDAGM) and show that these seemingly ‘exharmonic’ notes correspond to the chromatic ‘bends’ first identified in Lynch 2018a. These ‘bends’ (kampaí) ‘distorted’ the central pillars of the noble Dorian harmonía and turned it into its polar opposite: the Mixolydian, the emotional and lamenting mode par excellence.
{"title":"Unlocking the Riddles of Classical Greek Melodies II: The Revolution of the New Music in the Ashmolean Papyri (DAGM 5–6) and Athenaeus’ Paean (DAGM 20)","authors":"T. Lynch","doi":"10.1163/22129758-bja10047","DOIUrl":"https://doi.org/10.1163/22129758-bja10047","url":null,"abstract":"\u0000This article completes the discussion of the Classical/Hellenistic harmonic system set out in Lynch 2022a. Taken jointly, these articles offer the first account of the use of notation keys in the Hellenistic musical documents that is fully consistent with technical evidence as well as literary testimonies about the harmonic innovations of the New Musicians. This article offers practical analyses and new modern transcriptions of the Ashmolean Papyri (DAGM 5–6) and Athenaeus’ Paean (DAGM 20) – scores that reflect the modulation system of the New Music and its characteristic use of ‘exharmonic’ and ‘chromatic’ notes. The analyses offered in this article are powered by a newly-developed database (dDAGM) and show that these seemingly ‘exharmonic’ notes correspond to the chromatic ‘bends’ first identified in Lynch 2018a. These ‘bends’ (kampaí) ‘distorted’ the central pillars of the noble Dorian harmonía and turned it into its polar opposite: the Mixolydian, the emotional and lamenting mode par excellence.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48583162","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 : 2022-07-25DOI: 10.1163/22129758-bja10046
T. Lynch
Bringing together evidence preserved by Aristoxenus, Aristides Quintilianus, Ptolemy, Porphyry and the Greek musical handbooks in a unified framework, this article and its sequels show how the reconstruction of the Classical modulation system offered in Lynch 2018 is confirmed by the melodies recorded in the Greek musical documents. Taken jointly, these articles offer the first comprehensive account of the use of notation tónoi in the ancient Greek musical documents that is fully consistent with the extant technical evidence on Greek harmonic theory and with literary testimonies about the harmonic innovations introduced by the New Musicians. The present article focuses on the Classical/Hellenistic harmonic system, whereas its Imperial counterpart will be discussed in Lynch forthcoming 1 and 2. These theoretical analyses are based upon a newly developed database (dDAGM) that collects all the musical notes attested in the standard edition of the Greek musical fragments (DAGM), comprising over 3,500 notes.
{"title":"Unlocking the Riddles of Classical Greek Melodies I: Dorian Keys to the Harmonic Revolution of the New Music and the Hellenistic Musical Documents","authors":"T. Lynch","doi":"10.1163/22129758-bja10046","DOIUrl":"https://doi.org/10.1163/22129758-bja10046","url":null,"abstract":"\u0000Bringing together evidence preserved by Aristoxenus, Aristides Quintilianus, Ptolemy, Porphyry and the Greek musical handbooks in a unified framework, this article and its sequels show how the reconstruction of the Classical modulation system offered in Lynch 2018 is confirmed by the melodies recorded in the Greek musical documents. Taken jointly, these articles offer the first comprehensive account of the use of notation tónoi in the ancient Greek musical documents that is fully consistent with the extant technical evidence on Greek harmonic theory and with literary testimonies about the harmonic innovations introduced by the New Musicians. The present article focuses on the Classical/Hellenistic harmonic system, whereas its Imperial counterpart will be discussed in Lynch forthcoming 1 and 2. These theoretical analyses are based upon a newly developed database (dDAGM) that collects all the musical notes attested in the standard edition of the Greek musical fragments (DAGM), comprising over 3,500 notes.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44235216","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 : 2022-07-01DOI: 10.1163/22129758-bja10048
Liana Lomiento
This paper contains a survey of studies that demonstrate a new sensitivity, established over time, towards the performative dimension of ancient Greek poetic texts. Focus on the public and on the idea of consumption less as reading and more as a ‘show’ first emerged in the 1980s if not earlier, and at the same time more in-depth research on music has had a great impact on metrical studies, giving metricists a new opportunity to distance themselves from a purely verbal approach to the versified text and to turn profitably to the semantic and dramaturgical aspects implicit in the ‘scores’ of meters and rhythms.
{"title":"Ancient Greek Metrics and Music: Is It Time for a New Dialogue?","authors":"Liana Lomiento","doi":"10.1163/22129758-bja10048","DOIUrl":"https://doi.org/10.1163/22129758-bja10048","url":null,"abstract":"\u0000 This paper contains a survey of studies that demonstrate a new sensitivity, established over time, towards the performative dimension of ancient Greek poetic texts. Focus on the public and on the idea of consumption less as reading and more as a ‘show’ first emerged in the 1980s if not earlier, and at the same time more in-depth research on music has had a great impact on metrical studies, giving metricists a new opportunity to distance themselves from a purely verbal approach to the versified text and to turn profitably to the semantic and dramaturgical aspects implicit in the ‘scores’ of meters and rhythms.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44646348","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 : 2022-07-01DOI: 10.1163/22129758-bja10044
D. Roochnik
In Book 8 of the Politics Aristotle argues that because music can ‘fashion the character of the soul’ (1340b12) it merits a place in the paideia, the education, of the young. He then asks whether it is sufficient for students ‘to enjoy the playing of music by others’ (1339b6) or must they ‘learn by singing and actually putting their hands to the playing of instruments?’ (1340b21)? His answer will be the latter but only ‘up to a point’ (mechri tinos: 1337b15). The purpose of this paper is to explore why he thinks this. As we shall see, pursuing this question will lead to a far more general one: why does Aristotle impose strict limits on the role of technical knowledge (technē), including the playing of musical instruments, in the education of free citizens?
{"title":"Ancient Mousikē: Technē or Epistēmē?","authors":"D. Roochnik","doi":"10.1163/22129758-bja10044","DOIUrl":"https://doi.org/10.1163/22129758-bja10044","url":null,"abstract":"\u0000 In Book 8 of the Politics Aristotle argues that because music can ‘fashion the character of the soul’ (1340b12) it merits a place in the paideia, the education, of the young. He then asks whether it is sufficient for students ‘to enjoy the playing of music by others’ (1339b6) or must they ‘learn by singing and actually putting their hands to the playing of instruments?’ (1340b21)? His answer will be the latter but only ‘up to a point’ (mechri tinos: 1337b15). The purpose of this paper is to explore why he thinks this. As we shall see, pursuing this question will lead to a far more general one: why does Aristotle impose strict limits on the role of technical knowledge (technē), including the playing of musical instruments, in the education of free citizens?","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44504653","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 : 2022-06-23DOI: 10.1163/22129758-bja10045
T. Moore
Almost all ancient plays have three things in common with most modern musicals. First, the basic structure of most ancient plays, like most musicals, involved alternation between song and speech. Second, the songs of ancient plays, like those of musicals, could have a wider cultural relevance, living on beyond their original performance context. Third, in most ancient plays, as in musicals, there is a strong sense that song and dance are as important as, or even more important than, what occurs in spoken dialogue in providing pleasure to the audience and conveying the meaning of plays. Scholarship of the last decade has made clearer the centrality of music to ancient theater and has taken important steps in understanding how that music worked.
{"title":"Ancient Plays: Are They Musicals?","authors":"T. Moore","doi":"10.1163/22129758-bja10045","DOIUrl":"https://doi.org/10.1163/22129758-bja10045","url":null,"abstract":"\u0000Almost all ancient plays have three things in common with most modern musicals. First, the basic structure of most ancient plays, like most musicals, involved alternation between song and speech. Second, the songs of ancient plays, like those of musicals, could have a wider cultural relevance, living on beyond their original performance context. Third, in most ancient plays, as in musicals, there is a strong sense that song and dance are as important as, or even more important than, what occurs in spoken dialogue in providing pleasure to the audience and conveying the meaning of plays. Scholarship of the last decade has made clearer the centrality of music to ancient theater and has taken important steps in understanding how that music worked.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45224061","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 : 2022-06-22DOI: 10.1163/22129758-bja10049
T. Power
This article provides a survey of recent scholarship on music and dance in the cults and rituals of ancient Greece and Rome, with a focus on work that explores the experiential aspects of worship music. I review research on cultic and ritual soundscapes; the materiality and phenomenality of ritual sound; special modes of visually and aurally perceiving cultic mousikē; the epiphanic potential of sacred music; ways of remembering, recording, reenacting, reperforming, and reexperiencing ritual musical performances within and beyond the parameters of cult. I also propose some further avenues of inquiry into each of these topics. Other approaches to religion and music are discussed as well, in particular the sociopolitical contextualization of cultic choreia that has remained a dominant interpretive paradigm over the past two decades.
{"title":"Are You Experienced?","authors":"T. Power","doi":"10.1163/22129758-bja10049","DOIUrl":"https://doi.org/10.1163/22129758-bja10049","url":null,"abstract":"\u0000This article provides a survey of recent scholarship on music and dance in the cults and rituals of ancient Greece and Rome, with a focus on work that explores the experiential aspects of worship music. I review research on cultic and ritual soundscapes; the materiality and phenomenality of ritual sound; special modes of visually and aurally perceiving cultic mousikē; the epiphanic potential of sacred music; ways of remembering, recording, reenacting, reperforming, and reexperiencing ritual musical performances within and beyond the parameters of cult. I also propose some further avenues of inquiry into each of these topics. Other approaches to religion and music are discussed as well, in particular the sociopolitical contextualization of cultic choreia that has remained a dominant interpretive paradigm over the past two decades.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43331235","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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