Greek and Roman Musical Studies最新文献

{"title":"Fifteen Years of Enquiries in Ancient Greek and Roman Music (2004–2018)","authors":"Egert Pöhlmann","doi":"10.1163/22129758-12341331","DOIUrl":"https://doi.org/10.1163/22129758-12341331","url":null,"abstract":"\u0000Every summer, from July 2004 to July 2011, the Music Department at the Ionian University in Corfu (Greece) held a week-long Seminar on Ancient Greek and Roman Music, attended by students and scholars from all over the world, contributing to the formation of younger generations of researchers in the field. In 2012, because of the financial crisis in Greece, the annual seminar had to be cancelled: but in 2014 it was revived in Riva del Garda (Italy) thanks to the joint support of the MOISA and the ARION Societies and has taken place every year since then.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/22129758-12341331","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44134365","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}

{"title":"La medicina delle Muse. La musica come cura nella Grecia antica, written by Provenza, A.","authors":"E. Matelli","doi":"10.1163/22129758-12341340","DOIUrl":"https://doi.org/10.1163/22129758-12341340","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/22129758-12341340","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46035982","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}

{"title":"Τὸ καλόν as a Criterion for Judging Innovation (τὸ καινόν) in Greek Musical Pedagogy","authors":"Antonietta Gostoli","doi":"10.1163/22129758-12341332","DOIUrl":"https://doi.org/10.1163/22129758-12341332","url":null,"abstract":"\u0000The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from pre-Homeric epic poetry to the lyric poetry of the fourth century BC. Importantly, the work also contains an evaluation of the role of music in the process of educating and training citizens. Pseudo-Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/22129758-12341332","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44999276","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}

{"title":"Classical Musical Imagery in Eugenius Vulgarius’ Carmina Figurata","authors":"P. Dessì","doi":"10.1163/22129758-12341338","DOIUrl":"https://doi.org/10.1163/22129758-12341338","url":null,"abstract":"\u0000At the beginning of the tenth century, Vulgarius wrote some poems for Pope Sergius III. One of these is set out in the shape of a psaltery and is followed by a short explanatory essay. This article reconstructs the cultural context of this pattern poem and sheds light on the presence and significance of music in this text. First, I shall address the visual appearance of this poem, since the shape of the text imitates a musical instrument. Secondly, I shall examine the textual content of the poem, which sings the praises of the Pope and ultimately reveals the true meaning hidden in the name ‘Sergius’. Subsequently, I shall examine the content of the explanatory essay, which clarifies the Boethian musical proportions on which the entire construction of the pattern poem is based. Finally, I shall address the political ‘double meaning’ of this poem, which seems to hide an invective against the Pope.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/22129758-12341338","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45852930","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}

{"title":"La tragédie chorale: poésie grecque et rituel musical, written by Calame, C.","authors":"A. Maganuco","doi":"10.1163/22129758-12341341","DOIUrl":"https://doi.org/10.1163/22129758-12341341","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/22129758-12341341","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47034579","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}

{"title":"New Music and Early Peripatetic Scholarship","authors":"Ambra Tocco","doi":"10.1163/22129758-12341333","DOIUrl":"https://doi.org/10.1163/22129758-12341333","url":null,"abstract":"\u0000This paper aims at presenting a preliminary survey of Peripatetic statements about the so-called ‘New Music’ as a significant turning point in musical history, addressed by most of the main exponents of the Peripatos as part of a wider engagement in the study of µουσική. The establishment of a ‘history of music’, whose main phases are represented by its origins, its development through Archaic and Classical times and, eventually, its corruption into a ‘degenerated’ musical style, is crucial in the Peripatetic foundation of µουσική as a scholarly field of enquiry and is inherited by later sources that rely largely on Peripatetic materials, namely the pseudo-Plutarchaean De musica.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/22129758-12341333","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43826099","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}

{"title":"Porphyry’s Commentary on Ptolemy’s Harmonics: A Greek Text and Annotated Translation, edited and translated by Barker, A.","authors":"L. Taub","doi":"10.1163/22129758-12341339","DOIUrl":"https://doi.org/10.1163/22129758-12341339","url":null,"abstract":"pertinent writings of particular Neoplatonists further to refine and argue for its thesis. In both parts, moreover, H. pays careful attention to previous scholarship pertinent to his topic and thesis. Conspicuously absent from his narrative, though, is analysis or even indication of where Porphyry’s mentor Plotinus fits into the book’s topic – for example, as may be gleaned from his Sixth Ennead and its treatises on being and number. This quibble aside, H.’s narrative and analyses highlight the diversity and plurality among the particular Neoplatonists not only with respect to how much, or to what degree, they discerned doctrinal harmony in Plato’s and Aristotle’s philosophies but also in their methodologies for discerning this. Thus, for example, we find Porphyry carefully critiquing (and criticising) Aristotelian doctrines regarding the soul to discern where Aristotle was correct (and so potentially in agreement with Plato) regarding the soul (pp. 56–8) whereas we find Stephanus of Alexandria purposively reading Aristotle in a manner which would agree with Platonic doctrine, proclaiming that ‘if he [Aristotle] spoke of an unwritten tablet . . . it is because it contains letters that are minuscule and invisible’ (p. 70). Another important corollary toH.’s harmonisation thesis is the fact that, howevermuch a particular Neoplatonist may discern Plato and Aristotle to ‘agree’, also a ‘recurrent feature in late Neoplatonism is the affirmation of the superiority of Plato over Aristotle in everything having to do with questions of metaphysics and theology’ (p. 52). Thus, for example, in reading Syranius we find ‘the distinction between an Aristotle who is more a philosopher of nature, and a Plato who is more of a theologian’ (p. 124). Or, in more general terms, among the Neoplatonists ‘the philosophy of Plato is considered to be higher, more theological, and more inspired as compared to that of Aristotle’ (p. 134) so that even ‘Aristotle’s Metaphysics can only be an intermediary stage between the study of principles and natural causes and the true theology developed byPlato’ (p. 134). Even here, though, there is no singlemonolithicNeoplatonist viewpoint, as Simplicius, for example, maintained that in most cases of seeming differences between Plato and Aristotle ‘the difference between the philosophers is not over a reality, but over a name’ (p. 167); and David (Elias) counsels the exegete not to approach the philosophers’ textsas either aPeripatetic or aPlatonist but to approach themasequals andnot take sides (p. 141). The book’s concluding bibliography of previous scholarship and textual resources is also (again aside from Plotinus) quite thorough and useful.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/22129758-12341339","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49583259","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}

{"title":"New Music and Dancing Prostitutes","authors":"Laura Gianvittorio","doi":"10.1163/22129758-12341323","DOIUrl":"https://doi.org/10.1163/22129758-12341323","url":null,"abstract":"\u0000Old Comedy often brings prostitute-like dancers on stage while parodying the New Music. This paper argues that such dances were reminiscent of sex practices, and supports this view with dance-historical and semantic evidence. For the history of Greek dance, I survey the literary evidence for the existence of a dance tradition that represents lovers and their acts, and which would easily provide Comedy with dance vocabulary to distort. The semantic analysis of three comic passages, all criticising the New Music in sexual terms, shows a consistent overlapping between the semantic fields of eroticism and of bodily movement, with several terms indicating both figures of lovemaking and figures of dance. By performing comically revisited erotic dances or by verbally alluding to them, prostitutes would powerfully embody the conservative criticism of Old Comedy against the new trends in dance promoted by the New Music.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/22129758-12341323","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42467304","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}

{"title":"Tra lyra e aulos. Tradizioni musicali e generi poetici, edited by Bravi, L., Lomiento, L., Meriani, A., Pace, G.","authors":"M. Ercoles","doi":"10.1163/22129758-12341329","DOIUrl":"https://doi.org/10.1163/22129758-12341329","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/22129758-12341329","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44135579","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}

{"title":"The Delphic Paeans of Athenaios and Limenios between Old and New Music","authors":"Egert Pöhlmann","doi":"10.1163/22129758-12341325","DOIUrl":"https://doi.org/10.1163/22129758-12341325","url":null,"abstract":"\u0000Currently, there are only 64 extant fragments of ancient Greek music, of which the bulk belongs to imperial times. Thus, the musical evidence for ‘New Music’, which had its climax in the second half of the 5th century, is limited. Nevertheless, one important observation is possible: fragments from classical times, which belong to antistrophic compositions, use melodies which do not mirror the prosody of the texts and simply repeat the melody of the strophe in the antistrophe. But all fragments in astrophic form have melodies which follow the prosody of the respective texts closely. This overturn is connected with Melanippides, who in the dithyramb replaced the strophic form with the free astrophic form, to the advantage of musical mimesis. Moreover, the polemics of Old Comedy provide evidence for melodic extravagances which depict highlights of the text. The Delphic Paeans are the heirs to these novelties.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/22129758-12341325","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44182167","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}