From the Editor

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• From the Editor
• Roger D. Woodard, Editor

This issue does not mark the first occasion on which an examination of Greek musical structure and tragedy has been taken up within the covers of Arethusa. There is, for example, Claire Catenaccio’s 2017 “Sudden Song: The Musical Structure of Sophocles’ Trachiniae” (50.1, pp. 1–33), a work with which Anna Conser herein engages directly. But “Musical Structure in Greek Tragedy” does represent a first for Arethusa—a single issue centered on the theme of Greek music, with a set of inquiries dedicated fully to taking a close look at the musical structures that characterize the performance of tragedy in the Greek theater. I want to express my deepest appreciation to Timothy Moore for his expert guidance as guest editor of “Musical Structure in Greek Tragedy”–and to Tim and to each of the other contributors—Anna Conser, Armand D’Angour, Helene Foley, John Franklin, Toph Marshall—for lending their remarkable expertise to this endeavor. The idea for such a special thematic issue of Arethusa is one that initially emerged out of a pair of symposia that were held in honor of John J. Peradotto, Emeritus Raymond Professor of the Classics at the University of Buffalo and long-time editor of this journal (1975–1997). Those celebratory symposia were made possible by a generous gift provided by Milton Ezrati, who as an undergraduate majoring in Economics at the University of Buffalo in the late 1960s had studied with Jack Peradotto. I want also to take this opportunity to express my gratitude to Milton Ezrati for his continuing support of the Classics discipline in all of its various aspects. [End Page 1]

Roger D. Woodard, Editor University at Buffalo (SUNY) Copyright © 2024 Johns Hopkins University Press ...