{"title":"How Is Technology Useful in the Study of Ancient Music?","authors":"Stefan Hagel","doi":"10.1163/22129758-bja10043","DOIUrl":"https://doi.org/10.1163/22129758-bja10043","url":null,"abstract":"\u0000A variety of possible applications of modern technology for music-archaeological purposes are discussed: from studying and evaluating musical finds and acoustical environments through the presentation of pitch structures down to databases, their statistical evaluation and the necessity and promises of dedicated coding.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47721065","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":"Menander, Theophorumenē: A Song to Kybele on the Comic Stage","authors":"Egert Pöhlmann","doi":"10.1163/22129758-bja10036","DOIUrl":"https://doi.org/10.1163/22129758-bja10036","url":null,"abstract":"\u0000While Old Comedy abounds in musical parts, New Comedy restricts music to four act-dividing songs, about which in the papyri nothing but remarks like χοροῦ are transmitted. Monodies sung by actors are extremely rare. In Menander there are only two examples, a monody of a priestess in the Leukadia and a song to Kybele in the Theophoroumenē, transmitted in nine book fragments, three fragments on papyri and five mosaics depicting scenes connected with the song of the possessed girl. By integrating the book fragments and the recently enriched pictorial evidence it is possible to attempt a hypothetical reconstruction of the comedy: Menander wanted to tell the well-worn story of a foundling girl, her love affairs, rescue and marriage in a new, unexpected way by inventing the role of a girl presumably possessed by Kybele. This way he could bring a thrilling musical scene and fascinating Kybele ritual onto the stage.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44705661","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":"Some Additional Notes on the Ancient Side Flute","authors":"Angela Cinalli","doi":"10.1163/22129758-bja10035","DOIUrl":"https://doi.org/10.1163/22129758-bja10035","url":null,"abstract":"\u0000Literary, archaeological, and iconographic testimonies attest to the side flute as an instrument that, from the 4th century BC to the 3rd century AD, played its part in the Greco-Roman musical landscape. Building on the conclusions of recent studies, this contribution aims to add to the discourse some further elements regarding both the panorama that the sources allow us to draw and the structural and acoustic features of the ancient side flute. A detailed analysis of the sources sheds light on more than a name, more than one typology, more than a performative context, for an instrument whose life extended far from the bucolic cliché. Plus, the side-blown reedless headjoint is a distinctive feature of the ancient side flute, documenting an experimental journey through acoustic effectiveness that sees eye to eye with the solutions adopted by modern craftsmanship to enhance sonority and focus.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48910370","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":"Rievocare la musica greca antica","authors":"G. Casali","doi":"10.1163/22129758-bja10038","DOIUrl":"https://doi.org/10.1163/22129758-bja10038","url":null,"abstract":"\u0000When Ettore Romagnoli was invited in 1914 to stage classical dramas for the ancient Greek theatre of Syracuse, he attempted to re-create their ancient original characteristics, i.e. a combination of poetry, music, and dance. One of Romagnoli’s aims was to create music for contemporary plays, which recalled ancient Greek music, and he succeeded thanks to the collaboration with the composer Giuseppe Mulè. Indeed, for all the tragedies, Mulè and Romagnoli aimed at re-enacting ancient Greek music. This paper will highlight how both authors pursued their ambitious goal following different criteria: the re-elaboration of particular elements of Sicilian folk music; the re-creation of pieces inspired by both the description of Greek music in ancient sources and the musical fragments; the use of instruments which can reproduce specific sound effects.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45814615","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":"Editorial","authors":"Eleonora Rocconi","doi":"10.1163/22129758-12341387","DOIUrl":"https://doi.org/10.1163/22129758-12341387","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44603048","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 Alessandria e Roma. La pneumatica e l’organo idraulico, written by R. Catalano","authors":"P. Dessì","doi":"10.1163/22129758-bja10033","DOIUrl":"https://doi.org/10.1163/22129758-bja10033","url":null,"abstract":"","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41623331","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":"Re-Stringing the Daphnē Harp?","authors":"Stefan Hagel","doi":"10.1163/22129758-bja10041","DOIUrl":"https://doi.org/10.1163/22129758-bja10041","url":null,"abstract":"\u0000D. Najock has criticised a tentatively proposed diatonic-chromatic tuning for the triangular frame harp found at Daphnē and suggested a different enharmonic-diatonic stringing. While his criticism may well be justified, it is argued that his alternative proposal is physically problematic and historically implausible. A possible compromise is discussed.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46762753","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}
Andrew Barker, ὡς φιλοσοφίας, μὲν οὔσης, μεγίστης μουσικῆς
{"title":"Tribute to Andrew Barker (1943–2021)","authors":"Andrew Barker, ὡς φιλοσοφίας, μὲν οὔσης, μεγίστης μουσικῆς","doi":"10.1163/22129758-12341388","DOIUrl":"https://doi.org/10.1163/22129758-12341388","url":null,"abstract":"Andrew Barker made an outstanding contribution to the advancement and establishment of the discipline of Ancient Greek Music, which can hardly be overestimated. Retracing the stages of his extraordinary career is not an easy task, given the vast breadth and high quality of his seminal work. But the importance of his mastery in the field goes far beyond his extensive academic production, consisting of 8 books (two of which are in Italian)1 and more than 80 articles.2 His research and teaching activities, which had even intensified after his retirement thanks to the numerous lectures and seminars he gave world-wide, trained and inspired more than one generation of scholars and students, paving the way for the flowering of the discipline we see today. The main focus of his teaching career was Ancient Philosophy, which he taught in the Philosophy Department at the University of Warwick (1970–1975, 1978–1992) and in the Classics Departments of the Universities of Cambridge (1976–1978), Otago (1992–1995) and Birmingham (1996–2008). He became a Fellow of the British Academy in 2005 and Professor Emeritus on his retirement in 2008. His interest in music began to emerge in the mid-1970s in some articles that already showed what would become the most innovative and authoritative trait of his scholarly approach: that of locating ancient","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48094434","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":"Two Auloi from Megara","authors":"Chrḗstos Terzḗs, Stefan Hagel","doi":"10.1163/22129758-bja10040","DOIUrl":"https://doi.org/10.1163/22129758-bja10040","url":null,"abstract":"\u0000Two aulos pairs (Δ1965 and Δ1964), unearthed in 1980 and 2005 respectively at Megara (Attica), are exhibited in the city’s Archaeological Museum. Both are associated with metal sliding keys (resembling the keys on the well-known Pergamon aulos model), either mounted on the pipes (Δ1964) or displayed next to them (Δ1965). The present paper describes the parts, proposes a meaningful re-assemblage of the bone sections, and gives a detailed account of the sliding mechanism, which is here for the first time attested on finds of actual musical instruments, including an entirely new technology of speaker hole keys. A musical analysis, based on determining plausible reed configurations using software modelling, suggests that the finds represent a partially standardised design of professional modulating auloi, playing attested harmoníai while hovering between the enharmonic and chromatic.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45352297","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":"A Few Notes on the Kοινὴ Ὁρμασία and Some Musical Examples of the Old Organum","authors":"D. Najock","doi":"10.1163/22129758-bja10039","DOIUrl":"https://doi.org/10.1163/22129758-bja10039","url":null,"abstract":"\u0000The article discusses – on the basis of manuscript readings and the wider context – two musical examples from the Old organum (Musica enchiriadis 14 and Micrologus 19), both with respect to an occursus at the end of the melody. These examples were previously used by the author for the illustration of similar features in the κοινὴ ὁρμασία, but without the critical discussion given here. The discussion shows that the Micrologus example most probably must be renounced as an illustration for the sequence b♭-b and that the Musica enchiriadis example can serve as an illustration for parallel fourths, but that it remains ambiguous with respect to the occursus. In addition, a few further musical examples from the Musica enchiriadis and from an associated treatise (De organo, with the Alleluia/Benedicta) are discussed which may help us to understand the role of the tritone in Gaudentius and in some of the restored hormasia tables.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"64571621","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}