Ερευνητές

Zambelis Spyros

Παλαιό Μέλος
Mantzilas, Dimitrios
University of Thrace, Greece
Dimitrios Mantzilas studied Classics at the Universities of Athens (BA) and Paris Sorbonne (DEA, Doctorat). Since 2004 he has taught as Adjunct Lecturer in Latin language, literature and civilization and in Translation Theory and Practice of Ancient Greek at the Universities of Ioannina, Thrace, and Patra. In the past, he taught Modern Greek to Foreigners and worked as a text editor and translator. He has presented papers in 22 conferences and has written five books. 18 of his articles are either published or under publication.

Bird voices in Aristophanes’ Birds

In Aristophanes’ Birds there is a series of bird voices presented by onomatopoeia in the
verses, specific metrical schemes and live music which imitated them. Many of these sounds gave birds their actual names. We will try to demonstrate the connection between phonemes, fictitious words, meters, melodies and screams, bird names and characteristics. Moreover, we will examine their distinction in categories (landbirds, divided into birds of the fields and birds of gardens and mountains and water birds, divided into shorebirds and seabirds) as it is shown in the play. Last but not least, we will locate information from various sources, such as didactic poems, glossaries and treatises (eg Aristotle, Dionysios, Pliny, Nemesianus, and
others) about bird sounds and their musicality.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

http://helit.duth.gr/staff/partners/cv_Mantzilas.pdf

"Από τις απαρχές της ρωμαϊκής μουσικής στις μεγάλες θεωρητικές πραγματείες (1ος αιώνας π. Χ.-11ος αιώνας. μ. Χ.)"

https://www.academia.edu/2507623/_Α...γματείες_1ος_αιώνας_π._Χ.-11ος_αιώνας._μ._Χ._

e-mail : dmantzilas@yahoo.gr
 
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Zambelis Spyros

Παλαιό Μέλος
Moore, Timothy
Washington University-St. Louis, Missouri-USA
Timothy J. Moore is John and Penelope Biggs Distinguished Professor of Classics at
Washington University in St. Louis. His publications include Artistry and ideology: Livy’s vocabulary of virtue, The theater of Plautus, Music in Roman comedy, Roman theatre, a translation of Terence’s Phormio, and articles on Latin literature, the teaching of Greek and Latin, ancient music, American musical theater, and Japanese comedy.

Stinging auloi: Aristophanes’ Acharnians 860-869

In Aristophanes’ Acharnians, a Theban enters, accompanied by auloi, which are described as
buzzing like wasps (σφῆκες) and bees (βομβαύλιοι). “Buzzing” describes well the sound of reed instruments like the aulos; but the context of the words here suggests something more strident than the sound usually produced by most reed instruments. The Theban says to the auletai, φυσεῖτε τὸν πρωκτὸν κυνός. S. Douglas Olson is probably correct in translating this phrase as something like “take your playing where the sun doesn’t shine.” Thebans were known for their obsession with the aulos (Roesch),
but evidence for multiple auletai playing
together is exceedingly rare in Greece. Even for an
aulos-loving Theban, the dissonance
produced by several pipers playing together at loud volume would have sounded
cacophonous. This passage thus joins other analogies between the aulos and animal noises in shedding important light on how the instrument soun ded and how it affected those who heard it.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

https://classics.artsci.wustl.edu/moore
 

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Zambelis Spyros

Παλαιό Μέλος
Mystrioti, Georgia
University of Athens, Greece
Georgia Mystrioti is a graduate student of Ancient Greek Literature in the University of
Athens. Her Master of Arts thesis is entitled “The poetics of prophetic dreams in Homer,
ancient Greek lyric poetry and tragedy”. Her resear ch interests include ancient Greek music, the status of women in Ancient Greece, and the reception of Classical themes in
contemporary music and modern literature.

''Μεταπτυχιακή (και ευελπιστεί σύντομα διδακτορική) φοιτήτρια του Τμήματος Φιλολογίας της Φιλοσοφικής Σχολής του ΕΚΠΑ, με ειδίκευση στην Αρχαία Ελληνική Γραμματεία. Κινείται από την επιθυμία της να γράφει και να εξερευνεί τον κόσμο τούτο, ενώ φιλοδοξεί να ασχοληθεί με τη μουσική και από φιλοσοφικής και από πρακτικής πλευράς. Επίσης μελετά το heavy metal ως πεδίο πρόσληψης της Κλασσικής Γραμματείας. Όντας οπαδός της δια βίου μάθησης, αποφάσισε να καταπιαστεί με το μπάσο στα 24 και φιλοδοξεί να εκπαιδευθεί και σε όργανα της κλασσικής μουσικής (βιολί ή κοντραμπάσο).

Μιλάει δύο γλώσσες, Αγγλικά και Γαλλικά. Εν τούτοις ασχολείται και με ευρωπαϊκές γλώσσες, όπως η Ολλανδική, η Δανέζικη, η Σουηδική, η Πορτογαλική, η Ουαλική, η Ιρλανδική, η Λιθουανική, η Νορβηγική, η Φιλανδική, η Ουγγρική και η Σλοβενική (αναμένονται σύντομα και άλλες) . Ευχή της είναι να προωθηθούν περισσότερο οι γλώσσες (κυρίως ευρωπαϊκές) που δεν ομιλούνται εκτός της χώρας τους, ώστε να γίνουν πιο γνωστές ευρέως και να υπάρχει τρόπος εκμάθησής τους (εκτός από τους διαδικτυακούς).''
http://citycampus.gr/γεωργία-μυστριώτη/

Marsyas: The Satyr Pioneer of Greek Music

https://www.academia.edu/26986793/Marsyas-The_Satyr_Pioneer_of_Greek_Music_presentation

Music has been an integral part of Ancient Greece, both in everyday life and literature. One of the pioneers of Ancient Greek Music is considered to be Marsyas, as evidenced not only by pseudo-Plutarch’s On music, but also by Pausanias (8.9.1) and other sources,
such as Pliny the Elder. The widespread use of an instrument named aulos, which was used in tragedies, is attributed to Marsyas. According to the legend, Marsyas discovered the aulos discarded by Athena. In another myth, Marsyas challenged Apollo in a music competition; Marsyas ended up losing and Apollo punished him for his hubris. It is noteworthy that despite Marsyas’ wild
nature (a horse/goat-human hybrid), he contributed to the progress of music, a great, noble aspect of ancient Greek and Roman civilisation.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

~~~~~~~~~~
Pseudo-Plutarch’s De Musica: The Moral and Pedagogical Importance of Music and Neoplatonism’s Critical Attitude against its Progress

https://www.academia.edu/23055755/P...nism_s_Critical_Attitude_against_its_Progress

G. MYSTRIOTI National and Kapodistrian University of Athens-Faculty of Philology gmystr@phil.uoa.gr
 

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Zambelis Spyros

Παλαιό Μέλος
Papadopoulou, Zozi
Ephorate of Antiquities of the Cyclades-Athens, Greece
Archaeologist. Head of the Department of Prehistoric and Classical Antiquities at the
Ephorate of the Cyclades. Studied Archaeology in the Faculty of Letters of the National and Kapodistrian University of Athens. Awarded her PhD from the Ionian University for a thesis related to ancient music and the cults of Delos. Visiting Research Fellow at Princeton University. Has taught at the Ionian and Athens Universities. Her principal interests areCycladic archaeology, ancient Greek music and cults.

Τhe Delian geranos revisited: an interpretative approach of choreia

One of the most important choral rituals in Delos was geranos
(the crane dance). The investigation of the literary sources in relation to the various – mainly epigraphical – testimonies proves that the geranos had various musical and choral phases and can be considered as a thanksgiving dance with a courotrophic character. Moreover, the choice of the name seems to be indicative of some sonic and choreographic elements related to certain of the ‘Delian’ elements of the dance.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf
 

Zambelis Spyros

Παλαιό Μέλος
Sylvain Perrot is a former student of the École Normale Supérieure (Paris) and a former
member of the École Française d’Athènes. He has received a PhD thesis on music and musicians in Delphoi and has written another thesis on the handcraft of ancient Greek sound
artefacts. Since 2011 he coordinates a program on ancient soundscapes. His interests also include the reception of ancient sound theories and ancient scores up to the modern world.

Timotheos’ Skylla and the barking of dogs

We do not know so much about Timotheos’ Skylla, but this dithyramb may be replaced in the context of kainotomia, ie the thematic and melodic evolution of the genres at the end of 5thc.
BC, and of Timotheos’ interest for Homeric themes,
especially monsters. While remembering that Plato regrets the increasing use of animal calls in the musical genres of this period, we may wonder how Timotheos put Skylla on stage, as far as it could have been a challenge for him to integrate barks of Skylla’s dogs. Since his style was full of pathetic effects, the composer likely tried to imitate barks for aesthetical purposes and anthropological as well.
Indeed, considering the meaning of barking in ancient Greek literature, we realize that it is firmly related to supernatural beings, a strange and terrifying sound, which is difficult to
characterize. Then, the question is whether barking
has got musical properties for ancient
Greeks, melodic and/or rhythmical.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

http://www.efa.gr/images/administratif/CV_membres_PDF/Sylvain_PERROT.pdf

https://efa.academia.edu/SylvainPerrot

https://efa.academia.edu/SylvainPerrot/CurriculumVitae

Sylvain PERROT 13 A, rue du César Julien 67200 STRASBOURG Tél. : 06 73 34 36 46 E-mail : sylvain.r.perrot@gmail.com Né le 28/12/1982 à Belfort (90
 

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Zambelis Spyros

Παλαιό Μέλος
Pitropou, Ekaterini
Athens, Greece
Ekaterini Pitropou Studied Classics at the University of Athens, from where she obtained her MSc in Comparative Classics and PhD in Ancient Greek (2011). She is currently working as a Teacher of the Greek Language in a public high school in Athens. She has participated in research programmes and conferences regarding ancient Greek literature and ancient Greek language didactics. Her fields of interest are: ancient Greek literature (history, poetry, rhetoric), narratology, didactics.

Λιγύφωνος ἀοιδοτάτη πετεηνῶν: animal voices in Theokritos’ Idyllia

Animals in Theokritos’ poetry have multiple functions. It is thus intriguing to investigate the circumstances under which they are given a voice: do animals form a type of co-hero, playing a supporting role in the poem’s plot, or are they a narratological tool, reflecting the heroes’ feelings, the views of the narrator and abiding by the rules of the various literary genres that are merged in theocritean poetry? Moreover, what are the morphological features of such a dramatization? Is this voice realistically represented, through the use of specially selected vocabulary, or is it represented through common verbs, used invariably for various animal species? And, finally, on the basis of their role, representation and species, to what
extent does animal voice contribute to textual musicality?

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf
 

Zambelis Spyros

Παλαιό Μέλος
Polymeni, Maria-Roza
University of Athens, Greece
Rosa-Maria Polymeni is Asssistant Professor in Ecology and Animal Systematics at the Section of Zoology and Marine Biology at the National and Kapodistrian University of
Athens. Her main scientific interests are the ecological, systematic and genetic approach of the Amphibians, the stydy of the skin peptides and the scientific interpretation of ancient
Greek texts of zoological interest. She has published 22 papers in research journals and 45 communications in scientific meetings.

The animal ‘sound identity’ from Aristotle to our days
Polymeni, Maria-Roza & Pafilis, Panayiotis

Aristotle was the first to observe that every animal species has its own special cry. In his
numerous books referring to wildlife, he meticulously described the voices of many different animal groups. Most interestingly, he recognized the importance of the ‘sound identity’ of each species in the overall biology of animals. For instance, when writing about frogs, he observed that females mate with males only after recognizing the particular call of their species and also noted that all animals have special cries for this purpose. Though the main concepts in systematic and taxonomy have largely changed since Aristotle made the first animal descriptions, his approach regarding sound proved to be, at least partially, correct. Bioacoustics, a discipline combining biology and acoustics to investigate sound production and its implications in animals, develop the Aristotelian conception on the vocal abilities of animals. As such, animal sounds can be used to identify one species from another or even to infer about several biological features (eg the effectiveness of its immune system or its parasite load).

E-mail: rpolyme[at]biol.uoa[dot]gr
Τηλέφωνο: 210 727 4364 - Fax: 210 727 4364
 

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Zambelis Spyros

Παλαιό Μέλος
Panayiotis Pafilis is a trained biologist who serves as an Assistant Professor in Animal
Diversity at the National and Kapodistrian University of Athens. He defended his PhD thesis
in 2003 and since then he worked as a Post Doc Researcher at NKUA (2004-2006), Lecturer
at the University of the Aegean (2006-2007) and Research Fellow at the University of
Michigan (2007-2010). He has published 53 papers in research journals, presented 158
communications in scientific meetings and co-author ed 17 books.

The animal ‘sound identity’ from Aristotle to our days
Polymeni, Maria-Roza & Pafilis, Panayiotis

E-mail: ppafil[at]biol.uoa[dot]gr
Tel: [30] 210 727 4544
 

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Zambelis Spyros

Παλαιό Μέλος
María Isabel Rodríguez López is a specialist in Classical Iconography, Professor at the
Universidad Complutense de Madrid in the Departmentof Historiographic Sciences and
Archaeology, where she directs the research group called Seminar of Iconographic Studies.
She also holds a degree in Musicology.

Centaurs Musicians in Classical Iconography
Rodríguez-López, María-Isabel
/ Universidad Complutense de Madrid, Spain
Romero-Mayorga, Claudina
/ The Ure Museum of Greek Archaeology-Reading, UK

The iconography of centaurs appeared in Greek art during the second half of the 8th century BC, probably in relation to the Homeric texts that presented Chiron as Achilles's mentor. Taught by Apollo and Artemis in the arts of Music, there is no explicit representation of this myth in the Classical period. Young or old, centaurs are generic beings in Roman art, usually depicted playing musical instruments. Their presenc
e in funerary context deserves special mention, where marine and terrestrial centaurs blow their instruments, preceding Dionysus and Ariadne carriage or engaging in idylls with Nereids, while the deceased is transported to the Afterlife.

mirodrig@ghis.ucm.es

http://pendientedemigracion.ucm.es/centros/cont/descargas/documento3430.pdf
 

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Zambelis Spyros

Παλαιό Μέλος
Romero-Mayorga, Claudina
Claudina Romero Mayorga has just completed her PhD
in Archaeology at the Universidad Complutense de Madrid, where she researched the iconography of Mystery Cults, especially the cult of Mithras. Her postdoctoral research focuses on the sensory aspects of these religious phenomena. She is now Research Associate in The Ure Museum of Greek Archaeology
(Reading).

Centaurs Musicians in Classical Iconograph
Rodríguez-López, María-Isabel
/ Universidad Complutense de Madrid, Spain
Romero-Mayorga, Claudina
/ The Ure Museum of Greek Archaeology-Reading, UK

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

https://ucm.academia.edu/ClaudinaRomeroMayorga

Mercury with lyre: a new interpretation of a mithraic sculpture found in Hispania

Music and theatrical performance in the Mysteries of Mithras - Decoration of performance space: meaning and ideology XIIIth Symposium of the ICTM Study Group on Iconography of the Performing Arts Fondazione Giorgio Cini, Venice, May 17th-20th 2016.
 

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Zambelis Spyros

Παλαιό Μέλος
Sfyroeras, Pavlos
Middlebury College-Middlebury, Vermont-USA
Pavlos Sfyroeras is Professor of Classics at Middlebury College, Vermont. In addition to several articles that he has published on a number of Greek poets, including Aristophanes, Euripides, and Pindar, his book The feast of poetry: sacrifice and performance in Aristophanic comedy
is forthcoming (Center for Hellenic Studies / Harvard University Press).
He is currently working on a book-length project tentatively entitled Pindar and Athens: epichoric traditions of mythmaking.

Frogs and aulos from Pratinas to Aristophanes

This paper explores an association of aulos
music with frogs in Pratinas (Poetae melici graeci
708) and Aristophanes’ Frogs
(206-268). The “singing match” between the Frogs and
Dionysus illustrates the analogy: timbre and rhythm, mode of playing (ie puffed cheeks of amphibians and
auletai), location (the frogs’ habitat is the source of the aulos’ vibrating reeds), word-play (linking phryneos / phrynê
“toad” with Phrygia and aulos’ origins), and function (the Frogs’ choral song accompanies Dionysus’ rowing, replicating the aulos on Athenian triremes). In both texts, moreover, the an alogy between animal and instrument is
part of an argument that is aesthetic but also broadly cultural and political. While Pratinas engages in a polemic on the relative precedence of aulos and voice, Frogs seeks to resolve
cultural dichotomies surrounding the aulos and recover the elemental power of music.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

psfyroer@middlebury.edu
 

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Zambelis Spyros

Παλαιό Μέλος
Solomon, Jon
University of Illinois-Urbana-Champaign, Illinois-USA
Robert D. Novak Professor of Western Civilization and Culture, Professor of the Classics at the University of Illinois at Urbana-Champaign, faculty of Media & Cinema Studies and
Medieval Studies Program. Twelve books and five dozen scholarly articles and chapters in classical reception in popular culture in cinema, opera, mythology, ancient Greek music, and ancient Roman cuisine.

Python: the mythical serpent in musical history

One of the signature musical performances of Archaic Greece was the auletic representation of the fight between Apollo and the mythical Python by Sakadas of Argos at Delphoi in 586
BC. Seven centuries later, Pollydeukes (Onomastikon 4.84) recorded that part of this performance was intended to imitate the sounds and movements of the serpent. Sakadas’
legacy is continued more than a millennium later in Rinuccini’s
Pythikos nomos performed in a dramatic intermedio in 1589, refurbished in 1598 in La Dafne, the first opera. This paper
will examine this tradition, concluding that as an auletic recreation of the death of the Delphic serpent, Sakadas’ high-profile Delphic performance was the first to establish a conscious and historical association between music and a monstrous animal that would be repeated often in Western musical and dramatic arts.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

http://www.medieval.illinois.edu/people/josolomo

josolomo@illinois.edu

"The Delphic Hymn, Antigone, and a Brief Revival of Ancient Greek Music,." La musica nell’Impero Romano. . Pavia: Pavia University Press, 2010.

"The Reception of Ancient Greek Music in the Late Renaissance and the Late Nineteenth Century." International Journal of the Classical Tradition 17 (2010):
 

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Zambelis Spyros

Παλαιό Μέλος
Takakjy, Laura
University of Texas-Austin, Texas-USA
Laura Takakjy is a doctoral candidate in Classical
Languages at The University of Texas at
Austin. Her dissertation concerns the themes of family and of marriage in Lucretius’ De rerum natura.

The aesthetic and didactic qualities of birdsong in
Lucretius’ De rerum natura

This paper provides a thorough examination of birds
ong in De rerum natura. It connects
Lucretius’ views on birdsong to his philosophical goal of destabilizing an anthropocentric
hierarchy among animals. Furthermore, it shows how
Lucretius establishes song as a pleasure
readily available for all species, which is consist
ent with the Epicurean teaching that pleasure
was the highest good for all animals.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

https://utexas.academia.edu/LauraTakakjy

ltakakjy@utexas.edu
 

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Zambelis Spyros

Παλαιό Μέλος
Theodorou, Georgia
Archaeological Museum of Megara, Greece
Georgia Theodorou studied Conservation of Antiquities and Works of Art, first in the private school PETRA (1994) and later in the Department of Conservation of Antiquities and Works of Art at the Athens TEI (2002). Later on, she got a scholarship from the Greek
State Scholarships Foundation for postgraduate studies at Cardiff University from where she received her Master of Science in Conservation (2006). In 1994 she worked in the Netherlands on the conservation of textiles, and since 1995 she has been working for the
Ministry of Culture as Conservator of Antiquities, mostly in Northern Greece (Pella); since 2006 she has been working as permanent employee of the Ministry of Culture in the Archaeological Museum of Megara.

The Megara ∆ 1964 Α, Β aulos: restoration

During a rescue excavation in the archaeological area of Megara in Attica, a bone aulos with its six bronze keys was discovered, among other fin dings, in a box-shaped tomb. The restoration the reconstruction and the assembling of all the existing parts of the aulos started years after the excavation and a possible further degradation may have been occurred during.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

https://efadyat.wordpress.com/category/νεα-2/
 

Zambelis Spyros

Παλαιό Μέλος
Ulieriu-Rostás, Theodor E.
École des Hautes Études en Sciences Sociales-Paris, France
Currently PhD candidate in ancient history at the École des Hautes Études en Sciences Sociales (Paris) under the supervision of Prof. Claude Calame (2010-16, final year) and research fellow at the New Europe College, Bucharest (2015-16). BA degree in History
(University of Bucharest, 2008), MA in History (EHESS Paris, 2010). Other short-term affiliations: École Française d’Athènes, Fondation
Hardt pour l’Étude de l’Antiquité Classique (2013).

For whom do satyr musicians stand? A fresh look at
the semantics of Attic vase-painting(6th – 4 th c. BC)

From the frenzied witnesses of musical inventions in Athenian satyr plays to the Hesiodic “good-for-nothings” and Telestes’ treatment of Marsyas as a “handclapping beast”, satyrs seem to cover a rather narrow spectre of musical competence in the archaic and classical
Hellenic poetic tradition. Yet Attic vase-painting makes out of satyrs one of its most frequent and enduring musical actors, clearly surpassing in numbers the occurrences of any other hybrid figures or animal musicians. Previous literature has explored the satyrs’ broad
connection to music and the animal world, but the aim of these particular images remains little understood: are they mere visual puns, do they outline lineal or inverted paradigms of musical performance? Putting this question on firmer methodological ground, this paper will take a systematic approach to the relations, correspondences and construction of meaning
around satyr musicians, as framed within the overall visual syntax and three-dimensionality of Attic painted vases.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

https://ehess.academia.edu/TheodorUlieriuRostas

Dionysiac strings ? Towards an iconographic reassessment of late 5th and early 4th century Athenian perceptions of mousikē

Music and Socio-Cultural Identity in Attic Vase Painting: Prolegomena to Future Research (Pt 1)

Noms fonctionnels et représentation dans l`iconographie attique des satyres. Essai de modélisation

Review: Philippe Monbrun, Les Voix d`Apollon. L`arc, la lyre et les oracles. Presses Universitaires de Rennes, 2007

Alexandru Macedon şi tradiţia muzicală greacă: un tur de orizont

Dionysiac strings? Towards an iconographic reassessment of late 5th and early 4th century Athenian perceptions of mousikē

Corpuri muzicale și violențe fondatoare în Antichitatea greco-romană: două studii de caz

Perspective actuale în arheomuzicologie: artefact, patrimoniu intangibil şi reflecţie antropologică

« La flûte et le masque »: penser les mythes de l`aulos après Jean-Pierre Vernant

Marsyas, Athenian trends and local musical culture in Magna Graecia

Tradiție și identitate culturală în iconografia atică a aulos-ului: trei studii de caz

Hybristes și heuretes: două fețe ale lui Marsyas în tradiția greco-romană

Negotiating Easterness: Auloi, Contexts and Cultural Identity in Attic Red-Figure Vase Painting

Mythical contests and mousikoi agones in Attic iconography: continuity or antinomy?

Les figures de Marsyas et la politique de l`aulos

Reexamining a classical opposition: satyrs, kitharai, and processions in Attic vase-painting

Recontextualising the opposites: satyrs and kitharai in Attic vase-painting

L`onomastique de l`espace dionysiaque: noms fonctionnels des satyres et ménades dans la céramique attique

Între glume și hierofanii: muzica satirilor în iconografia atică

Archaiologia, invenție și ideologie în istoriografia muzicală greacă

Apollo învins de un satir? Limbaj vizual și inovație în iconografia lui Marsyas la Atena

Reading blasphemies on Greek vases? Mythical innovation and visual language in the iconography of Marsyas

Cultural press and blogs

(Recenzie) Moritz Csáky, Ideologia operetei şi modernitatea vieneză: un eseu de istorie a culturii

Contemplating the end(s) of scholarship

Marsyas, Athenian trends and local musical culture in Magna Graecia

Marsyas à Sicyone. Note spéculative sur la généalogie intellectuelle d`une relique mythologique
 

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Zambelis Spyros

Παλαιό Μέλος
Valetta, Lucio-Maria
University of Napoli ‘Federico II’, Italy
Lucio-Maria Valetta obtained a BA Degree in Classics at the University of Pisa with a thesis in Greek Literature entitled “Il matrimonio di Trigeo e Opora. Momenti drammatici ed elementi rituali. Analisi di Aristofane Pax vv. 842-870 e 1318-1367”. In 2012 he obtained a MA Degree at the University of Pisa with a thesis in Greek Literature entitled “Mito e poesia nella Sparta arcaica. La testimonianza di Alcmane”. In 2016 he obtained a PhD in Ancient
History at the University of Naples Federico II with a thesis entitled “Questioni di storia e di cultura spartana da Alcmane al IV secolo a.C.”.

The concept of nomos in Alkman fragment 140 Calame.

From mimesis of nature to musical theory Starting from the presence of the concept of nomos in Alkman fragment 140 Calame –concerned with the singing of birds and to the poet’s ability to recreate it – my paper aims to define the meaning of the concept of nomos
in the Archaic period. We should think of a meaning that precedes the strictly technical one that we find in writings of later ages
concerning musical theory and that, in a so early age, is rather to be understood in relation tothe mimesismof nature that the poet is able to enact and, in doing so, to the ability of the poet to gain a knowledge of the natural elements that he reproduces, in a way that is precluded to
ordinary people. It is precisely what we find implied in a source as Philolaos fragment 44 B 6 DK. On this basis, my paper aims to define the original meaning of nomos in the Archaic period – both in relation to the function of mimesis in musical activity and to the function of
the poet in ancient societies.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

luciovalletta@virgilio.it
 

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Zambelis Spyros

Παλαιό Μέλος
Vespa, Marco
University of Siena, Italy & Université Nice Sophia Antipolis, France
Marco Vespa is a PhD candidate in Classics at the University of Siena (IT) and of Université Nice Sophia Antipolis (FR). His research explores the cultural construction of non-human primates in the ancient Greek world. Besides a few articles on non-human animals his
interests include ancient Greek myth and pragmatics in Antiquity, with particular attention to ancient Greek drama. He is a member of the International Research Gourp Zoomathia sponsored by CNRS which deals with the cultural representation and transmission of zoological knowledge in Classical antiquity and the Middle Ages. He is furthermore alumnus at the Vatican School of Palaeography, Diplomatics and Archives where he obtained a diploma in Greek Palaeography. A voice without Muse: the sound of primates in the
Graeco-Roman culture Non-human primates are often described by ancient sources as imitative animals, mimēloi, by adapting their bodily movements to those of humans they can dissimulate their own identity
thanks to a perfect resemblance. But what about the world of sounds? Are non-human primates considered imitative and good performers a
lso when it comes to music and singing? By reading ancient sources it seems clear that not monkeys, but rather other animal species
were considered in the Graeco-Roman world as excellent singers and harmonious voices deserving of imitation on the part of humans. Through a detailed analysis of ancient Greek sources, above all some passages by Galen on the voice of monkeys, this paper aims at
investigating why non-human primates were not considered good singers. In particular our survey will try to shed a new light on possible cultural associations linking the bad and weakvoice of monkeys (μικροφωνία) with other figures of ancient society (actors, musicians, kids, eunuchs etc.) also marked out by the same kind of voice.

http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf

https://unisi.academia.edu/MarcoVespa
 
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