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Tom Phillips - Music, Text, and Culture in Ancient Greece

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Tom Phillips Music, Text, and Culture in Ancient Greece

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What difference does music make to performance poetry, and how did the ancients themselves understand this relationship? Although scholars have long recognized the importance of music to ancient performance culture, little has been written on the specific effects that musical accompaniment,and features such as rhythmical structure and melody, would have created in individual poems. This volume attempts to answer these questions by exploring more fully the relationship between music and language in the poetry of ancient Greece. Arranged into two parts, the essays in the first half engage closely with the evidential and interpretative challenges posed by the interaction ofancient music and poetry, and propose original readings of a range of texts by authors such as Homer, Pindar, and Euripides, as well as later poets such as Seikilos and Mesomedes. While they emphasize different formal features, they also argue collectively for a two-way relationship between musicand language: attention to the musical features of poetic texts, insofar as we can reconstruct them, enables us to better understand not only their effects on audiences, but also the various ways in which they project and structure meaning. In the second part, the focus shifts to ancient attempts to conceptualize interactions between words and music; the essays in this section analyse the contested place that music occupied in the works of Plato, Aristotle, Plutarch, and other critical writers of the Hellenistic and Imperial periods.Thinking about music is shown to influence other domains of intellectual life, such as literary criticism, and to be vitally informed by ethical concerns. These essays illustrate the importance of music for intellectual culture in ancient Greece and the ancients abiding concern to understand andcontrol its effects on human behaviour.

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Great Clarendon Street, Oxford, OX2 6DP, United Kingdom

Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries

Oxford University Press 2018

The moral rights of the authors have been asserted

First Edition published in 2018

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All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above

You must not circulate this work in any other form and you must impose this same condition on any acquirer

Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America

British Library Cataloguing in Publication Data

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Library of Congress Control Number: 2017955710

ISBN 9780198794462

ebook ISBN 9780192513298

Printed and bound by CPI Group (UK) Ltd, Croydon, CR0 4YY

Links to third party websites are provided by Oxford in good faith and for information only. Oxford disclaims any responsibility for the materials contained in any third party website referenced in this work.

Preface

This volume originates in a workshop that took place in June 2013, and a conference that took place a year later. We would like to express our gratitude to the John Fell Fund for making these events possible, and to Jesus College, Oxford for providing an atmosphere congenial to discussion. The spirit of lively debate and co-operative engagement that pervaded those meetings has carried through the process of preparing the volume for publication, and we are very grateful to the contributors for their patience and efficiency. Georgina Leighton and Charlotte Loveridge steered the volume through the press with attentiveness and skill, and the final product was considerably improved by the editorial interventions of Tim Beck and Albert Stewart. Numerous other scholarly conversations have informed the volume, but we are particularly indebted to Emily Dreyfus and Pauline LeVen for their comments on the introduction, and to the readers of the press for their suggestions about the shape and substance of the book as a whole.

A.J.D.

T.R.P.

Oxford

October 2016

Contents
CBSCatalogue of the Babylonian Section, University Museum, Philadelphia.
CEGP. A. Hansen (ed.), Carmina Epigraphica Graeca (Berlin, 19839).
DAGME. Phlmann and M. L. West (eds), Documents in Ancient Greek Music (Oxford, 2001).
D-KH. Diels and W. Kranz (eds), Die Fragmente der Vorsokratiker, IIII (Berlin, 1974).
DrA. B. Drachmann (ed.), Scholia Vetera in Pindari Carmina, IIII (Leipzig, 190327 [reprinted Stuttgart, 1997]).
FGrHF. Jacoby et al. (eds), Fragmente der Griechischen Historiker (Leiden, 1923).
K-AR. Kassel and C. Austin (eds), Poetae Comici Graeci (Berlin, 1983).
LfgrELexikon des frhgriechischen Epos (Gttingen, 1979).
LIMCLexicon Iconographicum Mythologiae Classicae, IVIII (Zurich/Munich, 198199).
LSJH. G. Liddell , R. Scott , H. S. Jones , and R. Mackenzie (eds), A GreekEnglish Lexicon (ninth edn, Oxford, 1940).
MSGK. von Jan , ed. Musici scriptores Graeci: Aristoteles, Euclides, Nicomachus, Bacchius, Gaudentius, Alypius (Leipzig, 1895).
PEGA Bernab (ed.), Poetarum epicorum Graecorum testimonia et fragmenta I (Leipzig, 1987).
PMGD. L. Page (ed.), Poetae Melici Graeci (Oxford, 1962).
PMGFD. L. Page and M. Davies (eds), Poetarum Melicorum Graecorum Fragmenta (Oxford, 1991).
SEGSupplementum Epigraphicum Graecum (Amsterdam, 1923).
S-MB. Snell and H. Maehler (eds), Pindari Carmina cum Fragmentis (Lepizig, 1984, 1989).
TLGThesaurus Linguae Graecae (University of California, 1985).
TGrFR. Kannicht , S. Radt , and B. Snell (eds), Tragicorum Graecorum Fragmenta, I (Gttingen, 19712004).
UETUr Excavation Texts (London, 1928).
VATVorderasiatisches Museum, Berlin (Vorderasiatische Abteilung. Tontafeln).
WehrliF. von Wehrli (ed.), Die Schule des Aristoteles: Texte und Kommentar IX (Basel and Stuttgart, 1969).
Andrew Barker is Emeritus Professor of Classics at the University of Birmingham. He has published eight books and numerous articles on ancient Greek music and musical theory, and is the Founding Editor of the journal Greek and Roman Musical Studies. He was elected a Fellow of the British Academy in 2005.
Armand DAngour is Associate Professor in Classics at Oxford and Fellow and Tutor of Jesus College. He is the author of The Greeks and the New (Cambridge, 2011), and has published numerous articles on ancient Greek music and poetry. His ongoing project aims to reconstruct the sounds of ancient Greek music.
Pierre Destre is a FNRS Research Professor at the University of Louvain. Most recently he has co-edited The Blackwell Companion to Ancient Aesthetics (2015), and Plato: SymposiumA Critical Guide (Cambridge, 2017).
John C. Franklin is Associate Professor and Chair of Classics at the University of Vermont. The cultural history of ancient music has been central to his research, much of which has focused on the interface between early Greece and the Near East (culminating recently in Kinyras: The Divine Lyre, 2016).
Anastasia-Erasmia Peponi is Professor of Classics at Stanford University. She writes on issues of aesthetic perception and judgement, ancient and modern lyric poetry, Plato, dance, and the relationship between the verbal and the visual. Among her publications are Frontiers of Pleasure: Models of Aesthetic Response in Archaic and Classical Greek Thought (Oxford, 2012) and (as editor) Performance and Culture in Platos Laws (Cambridge, 2013).
Tom Phillips is Supernumerary Fellow in Classics at Merton College, Oxford. He is the author of Pindars Library: Performance Poetry and Material Texts (Oxford, 2016). His current research focuses on lyric poetry, Hellenistic poetry, and ancient scholarship.
James I. Porter is Chancellors Professor of Rhetoric and Classics at UC Berkeley. His teaching and research focuses on models of aesthetic sensation, perception, and experience in ancient Greece and Rome. His most recent book is The Sublime in Antiquity (Cambridge, 2016).
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