{"title":"新音乐家的古代模型","authors":"M. Ercoles","doi":"10.1163/22129758-bja10024","DOIUrl":null,"url":null,"abstract":"\nOn the symbolic role assumed by mythical musicians (e.g. Marsyas, Olympus, Orpheus, Thamyris) in the debate on music in the second half of the fifth century BC, with particular attention to them in the fragments of New Musicians (Melanipp. PMG 758 and 766, Tim. PMG 791.221–4, Telest. PMG 805 and 806). Timotheus and the other exponents of the New Music tried to construct distant and authoritative models for their way of making music by projecting back onto those ancient ‘colleagues’ key features of their style, namely poikilia, inventiveness and virtuosity.","PeriodicalId":36585,"journal":{"name":"Greek and Roman Musical Studies","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2021-08-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Ancient Models for the New Musicians\",\"authors\":\"M. Ercoles\",\"doi\":\"10.1163/22129758-bja10024\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\nOn the symbolic role assumed by mythical musicians (e.g. Marsyas, Olympus, Orpheus, Thamyris) in the debate on music in the second half of the fifth century BC, with particular attention to them in the fragments of New Musicians (Melanipp. PMG 758 and 766, Tim. PMG 791.221–4, Telest. PMG 805 and 806). Timotheus and the other exponents of the New Music tried to construct distant and authoritative models for their way of making music by projecting back onto those ancient ‘colleagues’ key features of their style, namely poikilia, inventiveness and virtuosity.\",\"PeriodicalId\":36585,\"journal\":{\"name\":\"Greek and Roman Musical Studies\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-08-20\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Greek and Roman Musical Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1163/22129758-bja10024\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Greek and Roman Musical Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1163/22129758-bja10024","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Arts and Humanities","Score":null,"Total":0}
On the symbolic role assumed by mythical musicians (e.g. Marsyas, Olympus, Orpheus, Thamyris) in the debate on music in the second half of the fifth century BC, with particular attention to them in the fragments of New Musicians (Melanipp. PMG 758 and 766, Tim. PMG 791.221–4, Telest. PMG 805 and 806). Timotheus and the other exponents of the New Music tried to construct distant and authoritative models for their way of making music by projecting back onto those ancient ‘colleagues’ key features of their style, namely poikilia, inventiveness and virtuosity.
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