A Lyre on the Ground
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Giovan Battista D'alessio Pindar's Prosodia and the Classification Of
GIOVAN BATTISTA D’ALESSIO PINDAR’S PROSODIA AND THE CLASSIFICATION OF PINDARIC PAPYRUS FRAGMENTS aus: Zeitschrift für Papyrologie und Epigraphik 118 (1997) 23–60 © Dr. Rudolf Habelt GmbH, Bonn 23 PINDAR’S PROSODIA AND THE CLASSIFICATION OF PINDARIC PAPYRUS FRAGMENTS* I. The attribution of Pindaric papyrus fragments Judging from current editions, the two books of Pindar’s Prosodia seem to be by far the most scantily represented among the 17 books in which his work was divided by ancient editors.1 In the Teubner edition (the only critical edition taking account of the bulk of papyrus fragments published in 1961, and of the few scraps subsequently known) the Prosodia occupy less than two pages, which compares rather poorly with the second worst represented category, the Hyporchemata, where five pages are the remains of one or two books,2 not to say of the Dithyrambs (14 pages from two books), the Threnoi (9 pages from a single book) or of the apparently massively represented Paeans (57 pages from a single book!). Together with the single book of the Encomia (whose indirect tradition is better represented) the Prosodia are the only category to which Snell and Maehler attribute no papyrus fragment.3 The distribution of the fragments among the different books of Pindar’s works, apart from the few cases where we have explicit evidence that a quotation or a poem came from one or other book, rests, unavoidably, on a certain degree of speculation. Since the 18th century (and in some cases earlier) many fragments, known thanks to indirect tradition, have been conjecturally attributed to different genres on different grounds: in the recent Teubner edition this fact is signalled by an asterisk, preceding the con- jecturally assigned fragment, while two asterisks indicate a fragment whose attribution to Pindar is conjectural too. -
The Music of the Bible, with Some Account of the Development Of
. BOUGHT WITH THE INCOl^E .. FROM THE SAGE ENDOWMENT FUlSfD THE GIFT OF Henrg W. Sage 1891 ,. A>.3ooq..i.i... /fiMJA MUSIC LIBRARY Cornell University Library ML 166.S78 1914 The music of the Bible with some account 3 1924 021 773 290 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021773290 Frontispiece. Sounding the Shophar. (p. 224/ THE MUSIC OF THE BIBLE WITH SOME ACCOUNT OF THE DEVELOPMENT OF MODERN MUSICAL INSTRUMENTS FROM ANCIENT TYPES BY JOHN STAINER M.A., MUS. DOC, MAGD. COLL., OXON. NEW EDITION : With Additional Illustrations and Supplementary Notes BY the Rev. F. W. GALPIN, M.A., F.L.S. London : NOVELLO AND COMPANY, Limited. New York: THE H. W. GRAY CO., Sole Agents for the U.S.A. [ALL RIGHTS RESERVED.] 5 ORIGINAL PREFACE. No apology is needed, I hope, for issuing in this form the substance of the series of articles which I contributed to the Bible Educator. Some of the statements which I brought forward in that work have received further confirmation by wider reading; but some others I have ventured to qualify or alter. Much new matter will be found here which I trust may be of interest to the general reader, if not of use to the professional. I fully anticipate a criticism to the effect that such a subject as the development of musical instruments should rather have been allowed to stand alone than have been associated with Bible music. -
And Nineteenth-Century Viola Da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 4-19-2013 Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Recommended Citation Becker, Sarah, "Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices" (2013). Music Honors Theses. 6. http://digitalcommons.trinity.edu/music_honors/6 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices Sarah Becker A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF_________MUSIC______________AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS DATE 04/19/2013 ______ ____________________________ ________________________________ THESIS ADVISOR DEPARTMENT CHAIR __________________________________________________ ASSOCIATE VICE PRESIDENT FOR ACADEMIC AFFAIRS, CURRICULUM AND STUDENT ISSUES Student Copyright Declaration: the author has selected the following copyright provision (select only one): [X] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S. -
Exhibits Depicting Dance at the National Archaeological Museum of Athens
Exhibits depicting dance at the National Archaeological Museum of Athens Compiled by Alkis Raftis Notes for a lecture List of images projected. s4133 Girl on a table performs the Oklasma or Persian dance. Boeotian red-figure Kalyx Krater vase Painting, clay vase -385 (B.C. approximately) 25 cm height Greece, Athens, National Archaeological Museum, 12683 The dancer wears a knitted oriental costume with sleeves and trousers. Two female musicians play the aulos and the tambourine s1640 Four men dancing led by a musician (forminx player) Painting, vase -750 Approximate date 9 cm Greece, Athens, National Archaeological Museum, 14477 Vase found in Dipylon, Attica s4125 Votive relief stele to Apollo and Cybele Sculpture, relief, marble -120 (B.C. approximately) 80 x 39.5 cm Greece, Athens, National Archaeological Museum, 1485 In the scene below a girl dances to the music of two aulos-players. On the right, slaves draw wine from vases for the drinking party (symposium) pictured above. s4123 Grave stele of a female dancer holding clappers and a boy Sculpture, relief, Pentelic white marble -350 (B.C. approximately) 77 x 12 cm Greece, Athens, National Archaeological Museum, 1896 The boy is probably the son of the dead dancer, a rare example of the occuation of the deceased. s4129 Attic Geometric oenochoe vase bearing incision mentioning dance Painting, clay vase -735 (B.C. approximately) 23 cm height Greece, Athens, National Archaeological Museum, 192 The inscription says: ""Which now of all the dancers dances most charmingly, to him this…". The vase was the prize for a dancer at an event. This is the earliest known inscription in Greek language. -
Colloquia Pontica Volume 10
COLLOQUIA PONTICA VOLUME 10 ATTIC FINE POTTERY OF THE ARCHAIC TO HELLENISTIC PERIODS IN PHANAGORIA PHANAGORIA STUDIES, VOLUME 1 COLLOQUIA PONTICA Series on the Archaeology and Ancient History of the Black Sea Area Monograph Supplement of Ancient West & East Series Editor GOCHA R. TSETSKHLADZE (Australia) Editorial Board A. Avram (Romania/France), Sir John Boardman (UK), O. Doonan (USA), J.F. Hargrave (UK), J. Hind (UK), M. Kazanski (France), A.V. Podossinov (Russia) Advisory Board B. d’Agostino (Italy), P. Alexandrescu (Romania), S. Atasoy (Turkey), J.G. de Boer (The Netherlands), J. Bouzek (Czech Rep.), S. Burstein (USA), J. Carter (USA), A. Domínguez (Spain), C. Doumas (Greece), A. Fol (Bulgaria), J. Fossey (Canada), I. Gagoshidze (Georgia), M. Kerschner (Austria/Germany), M. Lazarov (Bulgaria), †P. Lévêque (France), J.-P. Morel (France), A. Rathje (Denmark), A. Sagona (Australia), S. Saprykin (Russia), T. Scholl (Poland), M.A. Tiverios (Greece), A. Wasowicz (Poland) ATTIC FINE POTTERY OF THE ARCHAIC TO HELLENISTIC PERIODS IN PHANAGORIA PHANAGORIA STUDIES, VOLUME 1 BY CATHERINE MORGAN EDITED BY G.R. TSETSKHLADZE BRILL LEIDEN • BOSTON 2004 All correspondence for the Colloquia Pontica series should be addressed to: Aquisitions Editor/Classical Studies or Gocha R. Tsetskhladze Brill Academic Publishers Centre for Classics and Archaeology Plantijnstraat 2 The University of Melbourne P.O. Box 9000 Victoria 3010 2300 PA Leiden Australia The Netherlands Tel: +61 3 83445565 Fax: +31 (0)71 5317532 Fax: +61 3 83444161 E-Mail: [email protected] E-Mail: [email protected] Illustration on the cover: Athenian vessel, end of the 5th-beg. of the 4th cent. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
Lectures on Greek Poetry
Lectures on Greek Poetry 1 2 ADAM MICKIEWICZ UNIVERSITY IN POZNAŃ CLASSICAL PHILOLOGY SERIES NO. 35 GERSON SCHADE Lectures on Greek Poetry POZNAŃ 2016 3 ABSTRACT. Gerson Schade, Lectures on Greek Poetry [Wykłady o poezji greckiej]. Adam Mickiewicz University Press. Poznań 2016. Pp. 226. Classical Philology Series No. 35. ISBN 978-83-232-3108-0. ISSN 0554-8160. Text in English with a summary in German. The series of lectures contained in this volume were written for students at Adam Mic- kiewicz University. A first group of these lectures are intended to serve as an introduc- tion to Greek poetry of the archaic, classical and pre-Hellenistic age. They treat a selection of texts, ranging from the eighth to the fourth century BC. A second group of these lec- tures focuses on Homer’s Iliad: while the whole work is treated, the lectures follow the story of Achilles, which is developed mainly in five books. All texts are provided in trans- lation, and secondary literature is discussed and used to make the texts more accessible for young students interested in poetry. The lectures introduce to some of the main issues that characterise the texts, such as their relationship to their primary audience, the impact of orality, and the influence of the eastern poetic tradition on the Greeks. Where appro- priate, the lectures also treat the interrelation between various texts, their intertextuality. They try to answer the questions of how poetry did work then, and why these texts do matter for the European poetic tradition. Schade Gerson, Adam Mickiewicz University in Poznań, Faculty of Polish and Classical Philology, Institute of Classical Philology, Fredry 10, 61-701 Poznań, Poland Reviewers: prof. -
Fomrhi-110.Pdf
v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009. -
Elul3830.Pdf
Cover by D A N I E L R OTHBART www.danielrothbart.org 1 MY NAME IS JOSEPH 2 FIRE TO A GOLDEN WINDOW 3 CAESAR WASN'T ABLE 4 THEY BURNT EVERY SOUL 5 EXTINGUISHED 6 IF I FORGET THEE, O JERUSALEM 7 ALL 8 EPILOGUE: AND TRULY SO IT HAPPENED 9 ZUM LETZENMAL PSYCHOLOGIE! VIOLIN: HAIM FABRIZIO CIPRIANI WORDS: FRANZ KAFKA, DIE ZÜRAUER APHORISMEN 10 LEKHAH DODI SINGLE WORDS (RADIX, MATRIZ AND ET NOS AMOURS) BY PAUL CELAN AND GUILLAUME APOLLINAIRE. SONG BY SHLOMO HALEVI ALKABETZ JOSEPH TALKS: A TWO-PART INVENTION FROM TITUS FLAVIUS JOSEPHUS (ENGLISH TRANSLATION BY WILLIAM WHISTON) An antique Latin policy was used to say that ROMA is AMOR. It means that Rome is Love. Well, one cannot honestly say that plenty of ART is a plague RAT. LOVE and ART are vibrant. Jerusalem and the Second Temple fell in September 70: Elul 3830 in the Hebrew calendar. 1950 years ago ROMA's violence decided to destroy Jerusalem. That was not AMOR. 1950 years after, this album is dedicated to the ancient siege and massacre of Elul 3830. That's for sure. But we know that a transnational & transhistorical community of victims is calling us. Lots of eerie imperia - the empires - act impiously on the dashboard of history. Our music is but the memory of these events. And not only of a singular event. JOSEPH TALKS MY NAME IS JOSEPH, the son of Matthias. By birth a Hebrew… a priest also. I am who at first fought against the Romans, and was forced to be present at what was done afterwards. -
Pindar's Isthmians 3 and 4
PINDAR’S ISTHMIANS 3 AND 4: ESSAYS AND COMMENTARY A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Roman Vladimirovich Ivanov May 2010 © 2010 Roman Vladimirovich Ivanov PINDAR’S ISTHMIANS 3 AND 4: ESSAYS AND COMMENTARY Roman Vladimirovich Ivanov, Ph. D. Cornell University 2010 As pointed out by Richard Hamilton, ‘commentaries on individual odes are arguably the most obvious need in Pindaric scholarship’ (Bryn Mawr Classical Review 1999.01.01). My dissertation is a small step toward satisfying this need. The choice of the Third and Fourth Isthmians has been motivated by the lack of a thorough and up- to-date commentary and by the fact that this pair of odes poses a number of interpretative problems with resonances throughout the entire epinician corpus. The dissertation opens with four essays that address the major problems besetting the interpretation of the two odes. The first, ‘Isthmians 3 and 4: One or Two Poems?’, examines critically the arguments about the relationship between the two poems. Section two, ‘Isthmians 3 and 4: Imitation at the Symposium’, argues that Isthmian 3 is an improvised piece imitating Isthmian 4. On the basis of evidence from Pindar and Bacchylides, I follow J. Strauss Clay in positing the symposium as the most likely performance setting of this poem. Section three, ‘Μοῦσα Ἀυθιγενής: Context and Performance of Short Epinician Odes’, raises doubts about the now orthodox assumption that short epinician odes like Isthmian 3 were performed at the sites of the games and proposes plausible alternative scenarios. -
Chelys 15 Titles
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up-dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 15 (1986) Editorial, p. 2 Joan Wess Musica Transalpina, Parody, and the Emerging Jacobean Viol Fantasia Chelys, vol. 15 (1986), pp. 3-25 John R. Catch Praetorius and English Viol Pitch Chelys, vol 15 (1986), pp. 26-32 Richard Charteris English Music in the Library of Moritz, Landgrave of Hessen-Kassel, in 1613 Chelys, vol. 15 (1986), pp. 33-37 Graham Dixon Continuo Scoring in the early Baroque: The Role of Bowed-Bass Instruments Chelys, vol. 15 (1986), pp. 38-53 Music and Book Reviews Chelys, vol. 15 (1986), pp. 54-62 Margaret Urquhart The Handwriting of Christopher Simpson Chelys, vol. 15 (1986), pp. 62-63 EDITORIAL As promised in last year's editorial, Chelys 1986 makes a return To the early seventeenth century, and in so doing introduces an Italian flavour. -
Kithara of the Golden Age
KITHARA OF THE GOLDEN AGE The kithara was the highly advanced, large wooden lyre favoured by only the true professional musicians of ancient Greece, which reached its pinnacle of perfection during the “Golden Age” of Classical Antiquity, circa 5th century BCE. My album "The Ancient Greek Kithara of Classical Antiquity" features the wonderfully recreated Kithara of the Golden Age of Classical Greece - hand-made in modern Greece by Luthieros: http://en.luthieros.com/ Since late 2014, I have been collaborating with Luthieros in their inspirational "Lyre 2.0 Project" - dedicated to reintroducing the wonderful lyres of antiquity back into the modern world, to make these beautiful instruments accessible to each and every modern musician. This new series of recordings hopefully demonstrate why the kithara was so venerated in antiquity, as the instrument of the professional musician - perfect for both accompanying the human voice and for as an incredibly versatile solo instrument. In particular, I attempt to demonstrate the wonderfully reconstructed 2500 year old vibrato mechanism, for which there is an almost overwhelming body of visual evidence to support this theory. THE OVERWHELMING BODY OF VISUAL EVIDENCE FOR THE VIBRATO MECHANISM All original illustrations of the ancient Greek kithara clearly show what appear to be 2 tiers of inverted ‘U’ shaped curved springs beneath the yoke to which the strings are attached, with the top of the arms carved almost wafer thin, (often with projections which could certainly be interpreted as actual articulated hinges), which almost certainly was to allow for lateral movement of the yoke and the attached strings, complete with 2 vertical levers either side of the yoke, which if light lateral pressure was applied, would certainly have an eerie vocal vibrato effect.