Analogion bannerPowered by
analogion.com
Psaltologion (Ψαλτολόγιον)

Επιστροφή   Psaltologion (Ψαλτολόγιον) > Συζητήσεις στα Ελληνικά > Ιστορία > Αρχαία Ελληνική Μουσική

Απάντηση στο θέμα
 
Εργαλεία Θεμάτων Τρόποι εμφάνισης
  #271  
Παλιά 30-07-16, 17:19
Zambelis Spyros Zambelis Spyros is offline
Παλαιό Μέλος
 
Εγγραφή: 15-07-2010
Μηνύματα: 9.412
Thanks: 197
Thanked 3.175 Times in 2.220 Posts
Προεπιλογή Romero-Mayorga, Claudina

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//manifestat...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.
Συνημένες Εικόνες
Τύπος Αρχείου: jpg s200_claudina.romero_mayorga.jpg (12,1 KB, 39 εμφανίσεις)
Τύπος Αρχείου: jpg ClaudinaR.jpg (5,3 KB, 41 εμφανίσεις)
Απάντηση με παράθεση
  #272  
Παλιά 31-07-16, 12:10
Zambelis Spyros Zambelis Spyros is offline
Παλαιό Μέλος
 
Εγγραφή: 15-07-2010
Μηνύματα: 9.412
Thanks: 197
Thanked 3.175 Times in 2.220 Posts
Προεπιλογή Sfyroeras, Pavlos

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//manifestat...MOISA-prog.pdf

psfyroer@middlebury.edu
Συνημένες Εικόνες
Τύπος Αρχείου: jpg Pavlos-Maria_Delphi.jpg (709,4 KB, 1 εμφανίσεις)
Απάντηση με παράθεση
  #273  
Παλιά 01-08-16, 23:02
Zambelis Spyros Zambelis Spyros is offline
Παλαιό Μέλος
 
Εγγραφή: 15-07-2010
Μηνύματα: 9.412
Thanks: 197
Thanked 3.175 Times in 2.220 Posts
Προεπιλογή Solomon, Jon

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//manifestat...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):
Συνημένες Εικόνες
Τύπος Αρχείου: png josolomo.png (67,9 KB, 28 εμφανίσεις)

Τελευταία επεξεργασία από το χρήστη Zambelis Spyros : 01-08-16 στις 23:06.
Απάντηση με παράθεση
  #274  
Παλιά 02-08-16, 12:58
Zambelis Spyros Zambelis Spyros is offline
Παλαιό Μέλος
 
Εγγραφή: 15-07-2010
Μηνύματα: 9.412
Thanks: 197
Thanked 3.175 Times in 2.220 Posts
Προεπιλογή Takakjy, Laura

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//manifestat...MOISA-prog.pdf

https://utexas.academia.edu/LauraTakakjy

ltakakjy@utexas.edu
Συνημένες Εικόνες
Τύπος Αρχείου: jpg s200_laura.takakjy.jpg (14,8 KB, 27 εμφανίσεις)
Απάντηση με παράθεση
  #275  
Παλιά 03-08-16, 15:05
Zambelis Spyros Zambelis Spyros is offline
Παλαιό Μέλος
 
Εγγραφή: 15-07-2010
Μηνύματα: 9.412
Thanks: 197
Thanked 3.175 Times in 2.220 Posts
Προεπιλογή Theodorou, Georgia

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//manifestat...MOISA-prog.pdf

https://efadyat.wordpress.com/catego...CE%B5%CE%B1-2/
Απάντηση με παράθεση
  #276  
Παλιά 03-08-16, 16:05
Zambelis Spyros Zambelis Spyros is offline
Παλαιό Μέλος
 
Εγγραφή: 15-07-2010
Μηνύματα: 9.412
Thanks: 197
Thanked 3.175 Times in 2.220 Posts
Προεπιλογή Ulieriu-Rostás, Theodor E.

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//manifestat...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
Συνημένες Εικόνες
Τύπος Αρχείου: jpg s200_theodor_emil.ulieriu-rost_s.jpg (22,9 KB, 20 εμφανίσεις)
Απάντηση με παράθεση
  #277  
Παλιά 03-08-16, 19:09
Zambelis Spyros Zambelis Spyros is offline
Παλαιό Μέλος
 
Εγγραφή: 15-07-2010
Μηνύματα: 9.412
Thanks: 197
Thanked 3.175 Times in 2.220 Posts
Προεπιλογή Valetta, Lucio-Maria

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//manifestat...MOISA-prog.pdf

luciovalletta@virgilio.it
Συνημένες Εικόνες
Τύπος Αρχείου: jpg s200_lucio_maria.valletta.jpg (48,3 KB, 20 εμφανίσεις)
Απάντηση με παράθεση
  #278  
Παλιά 04-08-16, 15:51
Zambelis Spyros Zambelis Spyros is offline
Παλαιό Μέλος
 
Εγγραφή: 15-07-2010
Μηνύματα: 9.412
Thanks: 197
Thanked 3.175 Times in 2.220 Posts
Προεπιλογή Vespa, Marco

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//manifestat...MOISA-prog.pdf

https://unisi.academia.edu/MarcoVespa
Απάντηση με παράθεση
Απάντηση στο θέμα

Εργαλεία Θεμάτων
Τρόποι εμφάνισης

Δικαιώματα - Επιλογές
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is σε λειτουργία
Τα Smilies είναι σε λειτουργία
Ο κώδικας [IMG] είναι σε λειτουργία
Ο κώδικας HTML είναι εκτός λειτουργίας


Όλες οι ώρες είναι GMT +2. Η ώρα τώρα είναι 21:38.


Forum engine powered by : vBulletin Version 3.7.0
Copyright ©2000 - 2017, Jelsoft Enterprises Ltd.