Ερευνητές

Zambelis Spyros

Παλαιό Μέλος
(2012) Η νεοελληνική πολιτισμική φυσιογνωμία μέσα από το ρόλο της μουσικής σε αναβιώσεις του αρχαίου δράματος, Gutenberg - Γιώργος & Κώστας Δαρδανός

''Στο παρόν πόνημα αναπτύσσονται ζητήματα σχετικά με τις αναβιώσεις αρχαίων δραμάτων στη νεότερη Ελλάδα, στο βαθμό που αυτές συνέβαλαν, προάγοντας την αρχαία ελληνική κληρονομιά, στην παραγωγή εθνικής ιδεολογίας. Η μελέτη επικεντρώνεται στην "αποκωδικοποίηση" των σχέσεων αρχαιότητας και νεότερης Ελλάδας μέσα από το ρόλο της μουσικής στις αναβιώσεις αυτές.

Τα χαρακτηριστικά που αναλύονται, κατά συνέπεια, απαντούν σε ερωτήματα που ακολουθούν και αναδεικνύουν τις ιδιαιτερότητες του νεοελληνικού πολιτισμού: ποιος είναι ο ρόλος της παράδοσης και ποια είναι η θέση της μουσικής στο δίπολο Ανατολή-Δύση που χαρακτηρίζει γενικότερα τη νεοελληνική ιστορία, ποια είναι ιεραρχικά η θέση της μουσικής σε σχέση με το λόγο και τη σκηνοθεσία στο ολικό έργο τέχνης του αρχαίου δράματος, με ποιους τρόπους η μουσική μπορεί να αναδείξει την υπεροχή της στο αρχαίο δράμα ως όπερα και, τέλος, σε ποιο βαθμό αυτά τα χαρακτηριστικά βρίσκονται σε σύμπνοια ή αντιπαράθεση με τις αντίστοιχες εξελίξεις στην υπόλοιπη Ευρώπη με την οποία η Ελλάδα συνδιαλέγεται και αλληλεπιδρά.

Η συστηματική ενασχόληση με τα θέματα αυτά και ο εποικοδομητικός διάλογος που θα προκύψει αναδεικνύουν μια σημαντική πτυχή της πρόσληψης της αρχαιότητας στη νεότερη Ελλάδα. Μια ιδιαίτερα σημαντική πολιτισμική πτυχή της χώρας μας που αδικαιολόγητα απουσιάζει από τον ευρύτερο επιστημονικό διάλογο.''

H Aναστασία Α. Σιώψη είναι Επίκουρη Καθηγήτρια στο Τμήμα Μουσικών Σπουδών του Ιονίου Πανεπιστημίου με ειδικότητα "Αισθητική της Μουσικής". Οι κύριες ερευνητικές δραστηριότητές της περιλαμβάνουν ανακοινώσεις και διαλέξεις σε διεθνή μουσικολογικά συνέδρια, καθώς και δημοσιεύσεις και συνεισφορές σε συλλογικούς τόμους σε διεθνή μουσικολογικά περιοδικά και εκδόσεις στην Ελλάδα και το εξωτερικό, κυρίως για τη γερμανική ρομαντική μουσική, ιδιαίτερα τα μουσικά δράματα του Ρίχαρντ Βάγκνερ (η διδακτορική της διατριβή έχει τίτλο "Richard Wagner' s "Der Ring des Nibelungen": The Reforging of the Sword or, Towards a Reconstruction of the People's" Consciousness, Αγγλία 1996), όπως επίσης και για τη νεοελληνική λόγια μουσική, ιδιαίτερα το έργο του Μανώλη Καλομοίρη και ζητήματα αισθητικά και ιδεολογικά της εποχής της Εθνικής Μουσικής Σχολής, τις Ελληνίδες συνθέτριες, καθώς και για τη μουσική σε μορφές αναβίωσης του αρχαίου ελληνικού δράματος στη νεότερη Ελλάδα. Κεφάλαια σε συλλογικούς τόμους περιλαμβάνουν ενδεικτικά τη μελέτη "Dreaming the myth of "wholeness": Romantic interpretations of Ancient Greek Music in Greece (c.1890-1914)" (υπό έκδ. στο Textual Intersections: Literature and the Arts in Nineteenth Century Europe, Ιnternationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft series, Editions Rodopi) και τη μελέτη "Greek women contributing in art music in Greece and abroad" (υπό έκδ. στο Her Art: A Diachronic Perspective of Greek and Greek-American Women in Literature, Music and the Visual Arts, New York, Cosmos Publishing House). Επίσης, η μονογραφία της "Τρία δοκίμια για τον Μανώλη Καλομοίρη" έχει εκδοθεί στη σειρά "Ελληνικές Μουσικολογικές Εκδόσεις", την οποία επιμελείται ο μουσικολόγος και καθηγητής Απόστολος Κώστιος (Αθήνα: Μουσικός Εκδοτικός Οίκος Παπαγρηγορίου-Νάκας, 2003).

http://www.biblionet.gr/book/185888...ς_μουσικής_σε_αναβιώσεις_του_αρχαίου_δράματος
 

Attachments

Zambelis Spyros

Παλαιό Μέλος
Katerina Kolotourou
Royal Holloway, University of London, Classics, Department Member

Research Interests:
Ancient History, Classical Archaeology, Material Culture Studies, Mediterranean prehistory, Aegean Archaeology, Ancient Greek Music, and 13 more

Papers
26
Musico-cultural amalgamations in the Eastern Mediterranean: a percussive view from the Aegeanmore
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340
'Musical Rhythms From The Cradle To The Grave'more


https://royalholloway.academia.edu/KaterinaKolotourou
 

Attachments

Zambelis Spyros

Παλαιό Μέλος
Avgerinou, Panagiota
Ephorate of West Attica Piraeus and Islands, Greece
Archaeologist, Curator of the Archaeological Museum
of Megara/Ephorate of West Attica,
Piraeus and Islands, Ministry of Culture and Sports. Contact info: avgerinou.p@gmail.com
pavgerinou@culture.gr
The musical instruments from Megara and their archaeological context
The present study focuses on supplementing the alre
ady known musical instruments with
others that have been discovered in rescue archaeological investigations in Megara during the last decades. The information about the musical instruments and the other artefacts or vases who accompanied the same burial as well, it is considered to be an indispensable and valuable resource for dating the instruments and understanding the social context of ancient music itself. Thus, data are given for the research findings of two auloi exhibited in the Megara museum. Both of them were funerary objects (kterismata) that have been buried with the person who presumably played the instrument in life.

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

Conference on Ancient Hellenic
& Roman Music
 

Attachments

Zambelis Spyros

Παλαιό Μέλος
Calero, Luis
Universidad Rey Juan Carlos-Madrid, Spain
PhD in Classic Philology (thesis dissertation “Voice and singing in ancient Greece”) by the
Universidad Autónoma de Madrid, and Bachelor of Arts (Singing) by the Royal
Conservatoire of Music of Madrid. He teaches at the Department of Visual Arts and Dance of
the Universidad Rey Juan Carlos (Madrid). He is a member of the Spanish NGO Voices for
Peace (www.vocesparalapaz.com).

The κύκνειον ᾆσμα: an approach to its musical aspects Greek literature portrayed swans as the metaphoric reference of diverse human values. Their colour, their bravery and their singing became synonyms for beauty, courage and musical dexterity. We shall try to pursue the textual information that may deal with all the musical details in order to understand the way the ancient writers tried to imagine what the κύκνειον ᾄσμα might have sounded like. We shall analyse the typeof sound the texts reflect as their singing and even their very being used as animal instruments in certain texts. We shall, therefore, try to show what the ancient writers’ idea about the ‘swan song’ was in some other musical contexts beyond the swans’ literary capacity to sing their dirge of death.

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

https://www.academia.edu/26676620/_2016_The_κύκνειον_ᾄσμα_an_approach_to_its_musical_aspects_

https://urjc.academia.edu/Calero

(2014) La voz en la antigua Grecia

(2014) Una noche de fiesta en casa de Calias: las auletrias, bailarinas y contorsionistas esclavas en la Atenas clásica

(1994) Estudio del influjo de la koiné en el dialecto megárico

(2015) Bailarinas y contorsionistas en el Simposio de Jenofonte


Contratenores

Talks

(1993) “Estado de las oraciones condicionales en el poema de Digenís Akritas”

(2016) "The κύκνειον ᾄσμα: an approach to its musical aspects"

(2016) "La tradición oriental en la música de la Grecia arcaica"

(2016) "Los orígenes de la música bizantina"

(2016) "De la música oriental a las prácticas musicales de la antigua Grecia"

(2015) "Terpandro: la tradición musical oriental en la lírica griega"

(2014) "La voz y los cantantes en la antigua Grecia"

Book Reviews

(2015) • Reseña del libro "La música en la antigua Grecia"

Books

(2016) Tesis doctoral "La voz y el canto en la antigua Grecia"
 

Attachments

Zambelis Spyros

Παλαιό Μέλος
Cross, Rodney
/ Macquarie University-Sydney, Australia
Rodney Cross is a Masters of Research Graduate from
Macquarie University, Sydney,
Australia. Rodney’s background in music and ancient
history at an undergraduate level led
him to specialise in the music of ancient Rome, with a thesis focussing on Roman brass instruments and musicians. Rodney most recently pre
sented a paper at the 2016 Symposium Cumanum
entitled “Musica rustica: the nature of ancient Roman pastoral music”.
Vox naturae: music as human-animal communication inthe context of ‘animal training’ in Ancient Greece and Rome Plutarch establishes the notion of music as a form of animal communication by asserting that
the melodious sounds of certain species of birds are expressions of ‘articulate speech’ (Plut. On the intelligence of animals972F). The use of music as human-animal communication in the context of ‘animal training’ provides a distinct perspective into the influence of human music on animals in an ancient Greco-Roman context.
This paper will present two case studies that emphasise the extensive influence of music in this context. Firstly, Varro records the practice of swineherds training their animals to respond to the sound of a bucina
(Varro Rust. 2.4.20), and secondly, a 6thcentury AD funerary mosaic depicts Orpheus surrounded by various animals, including a leashed mongoose. This image implies a conceptual link between
music and ‘animal training’.

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

Attachments

Zambelis Spyros

Παλαιό Μέλος
De Poli, Mattia
University of Padua, Italy Mattia De Poli’s main stream of research is Attic tragedy (especially Euripides’ texts), monodies and metrics. He graduated from the University of Padua, Italy (2004), where he also received his PhD in Classical Philology (2008) and worked for two projects as granter and principal investigator (2009-2011 and 2011-2013).

A bull’s bellow sounding like a trumpet (Heliodoros X, 30.5)
At the end of Heliodoros’ Aithiopika Theagenes’ triumph on a bull is “declared by the bull’s bellowing as well as if it has been declared by a trumpet”. What has a bull’s bellow in common with the sound of a trumpet? I will try to in vestigate what kind of trumpet Heliodoros possibly had in his mind and focus on the literary (Homer to Nonnos’
Dionysiaka) and non-literary (proverbs) sources for such a simile.

Fra metro e parola. Considerazioni sulla poesia drammatica greca

Monodie mimetiche e monodie diegetiche. I canti a solo di Euripide e la tradizione poetica greca

Le monodie di Euripide. Note di critica testuale e analisi metri

Musica e strumenti musicali nelle Etiopiche di Eliodor

Le Erinni e le torce nella tragedia greca

LA PROMESSA DI ADMETO E L’ALTRA CASA (1896) DI HENRY JAMES

Aiace e Oreste, figli davanti alla morte

Monodie euripidee: dall'Alcesti alle

Monodie euripidee: Troiane, Elettra, Ifigenia fra i Tauri, Ione, Elena, Oreste, Fenicie, Ifigenia in Aulide

Antigone's Monody (Soph. OC 237253)

Odisseo, Oreste e l’ospite-supplice. Nota testuale a Eur. Cycl. 368-71 e Aesch. Eum. 576-8 (e 473-4)


PER UNO STUDIO DELL’ANACOLUTO E DELL’APOSIOPESI IN EURIPIDE (EUR. ALC. 122 SS., 466 SS.; TR. 285 SS.; IT 208 SS., 895 SS.; HEL. 238 SS.; ION 695 SS.)


https://unipd.academia.edu/MattiaDePoli
 

Attachments

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Zambelis Spyros

Παλαιό Μέλος
jutta.guenther@mx.uni-saarland.de

Günther, Jutta
Saarland University, Germany
Jutta Günther studied classical guitar at the HfM Saar as well as Musicology and History atthe Saarland University in Germany. After her studies, she started a dissertation project on
music in Late Antiquity. She worked as a lecturer in ancient history and as a music teacher forclassical guitar. In June 2016, she submitted her thesis with the title: “Music as an argument
in the writings of the Church fathers. Studies on Lactantius, Eusebios, Chrysostomos and Augustinus”.
On the meaning of birds in the writings of the early Church fathers
The capacity of birds to sing beautifully is an ongoing topic in the writings of the early Church fathers, especially in the third and fourth
centuries. It is part of a larger discussion about the human possibilities to make music and thecreation of the human voice because of
Godʼs will. Another aspect to this topic lies in the meaningless singing of birds whic therefore differ from the human species. As the early Christians define their own musicalstyle as a vocal one, the comparison to the singing birds is central to the discussion aboutsinging. Is it allowed and willed by God to sing mindlessly but joyfully? In my paper, I would
like to show and discuss some textual evidence of the Church fathersfrom the third and fourth centuries as they deal with the idea of the
chant of birds and humans in comparison.

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

Attachments

Zambelis Spyros

Παλαιό Μέλος
Karali, Lilian
University of Athens, Greece
Lilian Karali-Giannakopoulou, studied History & Arc
aheology, Byzantine & New Hellenic
studies at the University of Athens (Ptychion), and
Prehistory and Environmental
Archaeology at the University of Paris I, Sorbonne
(MA, DEA, PhD). She teaches Prehistoric
and Environmental Archaeology at the National and Kapodistrian University of Athens. She participates in many excavations in Greece and abroad, she has published many books and
articles, she organizes conferences and founded the Team and the Laboratory of Environmental Archaeoogy. Her research interests in
clude Environmental Archaeology, Bioarchaeology (human and animal remains, shells) and Geoarchaeology.

Musical instrument out of seashell. A parallel study of the Triton seashell in Greece and
Japan.In Greece and Japan shell remains are often found in excavations, from prehistory to the present day. Among the mollusk species the triton shells have diachronically been among the most renowned seashells in most maritime cultures all around the globe. More specificallythe species Triton (Charonia Tritonis L. / Charonia Sequaenzae / Charon
ia Nodifera /Cymathium Parthenopium / Cymathium Cutaceum) has had a large spectrum of uses. Triton flesh has served as food and bait and its shell worked or with no intervention at all have been used as a tool, vessel and instrument. Furthermore in many cases Triton has a symbolic function in rituals, cult and music. The purpose of this presentation is to examine the parallel invention, use and symbolic meaning of the Triton shell as a musical instrument in Greece and Japan, focusing mainly on the data from the prehistoric era, especially the Neolithic and
the Bronze Age. The locations and find spots withi n graves and settlements will be taken into consideration in particular, as well as the depictions of Triton shells in seals, in pottery, in frescos and elsewhere.
(Karali, Lilian & Dellios, Paschalis & Yamaguchi, Daisuke)


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

Lilian Karali-Giannakopoulos
– Department of Archaeology, University of Athens, University Campus,
15784
Atene, Grecia.
e-mail
: ikarali@arch.uoa.gr
 

Attachments

Zambelis Spyros

Παλαιό Μέλος
Daisuke Yamaguchi, born in Fukuoka, Japan, studied
Archaeology at Kumamoto University
(BA), and Environmental Studies at the University of Tokyo (MA). During his undergraduate education at Kumamoto University he had the opportunity to work at ancient Messini. Since
then he has participated in many excavations in Japan, Syria and Greece. From 2002 he is a member of the Team and the Laboratory of Environmental Archaeology at the University of
Athens. From 2004 he is a PhD candidate at the Department of History and Archaeology at the University of Athens.

Musical instrument out of seashell. A parallel study of the Triton seashell in Greece and Japan.
Karali, Lilian & Dellios, Paschalis & Yamaguchi, Daisuke
/ University of Athens, Greece
http://www.efa.gr/images//manifestations/2016/COLLOQUES2016/MOISA-prog.pdf
 

Zambelis Spyros

Παλαιό Μέλος
Paschalis Dellios holds a B.A. in Archaeology and History of Arts from the National and
Kapodistrian University of Athens and he is a
postgraduate student of Prehistoric
Archaeology of the same department. He has participated as research associate in various
excavations and scientific projects, among which the most important were as an assistant
researcher in the Department of Prehistoric, Ancient Greek and Roman Collection of the
Benaki Museum, in the Laboratory of Archaeoenvironmental Studies of the University of Athens and in the European Research Programme of the Academy of Athens DARIAH-ATTIKI-DYAS.

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

Musical instrument out of seashell. A parallel study of the Triton seashell in Greece and
Japan.
Karali, Lilian & Dellios, Paschalis & Yamaguchi, Daisuke
/ University of Athens
 

Zambelis Spyros

Παλαιό Μέλος
University of Athens, Greece
Eleni Kavadia is a Greek, Canadian and Italian educated zoologist and ecologist, currently a PhD candidate at the Department of philosophy, University of Athens, studying the deep ecological approach to nature. She has done extensive work on the Bestiario, the
mythological, fantastic, immaginary animals and mixanthropic forms. She has linked cubism to avant-garde ecology and studied the common character of the species that take the place of the extinct. She is also an amature cello player.

The notion of ‘contrapuntal duet’: from Aristotle to Pliny to contemporary biosemiotic theory

Biosemiotics as a study of the use of sign processes both whithin and between organisms, sign being something that stands for something other than itself, accepts no bifurcation between the material and the mental and sees humans, culture, animals and nature as a continuum. Biosemiotics pioneer Uexkull following Aristotle does not see nature as the modernists do, that is as matter in motion, but as organised according to a plan. Using the musical metaphor Uexkull sees nature as a composition and takes as the basis for the various relations the counterpuntual duet, two notes being
the minimum needed to make harmony.
Aristotle mentions the animal cries as a means to communicate, Pliny observes that
everything in nature has it’s opposite in the endless battle of nature against herself while
Dawkins and Krebs wonder if the counterpuntual duet is based only on the exchange of true information or rather on the advantage gained by mi
sinforming and manipulating.

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

Zambelis Spyros

Παλαιό Μέλος
Kılıç, Sinem Derya
Humboldt University-Berlin, Germany
Sinem Derya Kılıç holds an MA (Magister Artium) in
Philosophy, Musicology and Classics
from the Johannes Gutenberg University of Mainz. She is now a doctoral candidate at the Humboldt University of Berlin with a dissertation project focused on Plato’s philosophy of music and its impact on the Renaissance. Her resear ch interests encompass philosophy of music, aesthetics, ancient and late ancient philosophy (Plato, Aristotle, Apuleius), Renaissance philosophy, and 19th- and 20th-century philosophy (Schopenhauer, Hegel, Nietzsche, Wittgenstein).

Of cicadas and men: the role of animal music in Plato’s Phaidros It is well known that music plays an important role
in Plato’s philosophy. As a matter of fact,
Plato doesn’t only attempt to philosophize the value of music, but he also turns philosophy itself into a kind of music: “the greatest music (μεγίστη μουσική),” as Socrates definesphilosophy in Phaidon 61a. In addition to the loci classici about music, which can be found in the Republic and in the Laws, a very interesting passage is given in the dialogue Phaidros.
There, Socrates presents the famous myth of the cicadas that is not, as has often been claimed, only an ornamental intermezzo, but rather a crucial passage of the whole dialogue. In thepresent paper, I want to show what kind of music the cicadas produce, in which way their
music affects human beings, and how well embedded it is in Plato’s philosophy of music intoto.

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

Zambelis Spyros

Παλαιό Μέλος
Kokkoliou, Antonia
Ephorate of Antiquities of Athens, Greece
Antonia Kokkoliou completed both her under- (1979-1983) and postgraduate (DEA) studiesin Montpellier, University Paul Valéry. She is currently a PhD candidate at the Ecole Pratique
des Hautes Etudes in Paris and at the University of Genève, investigating “The cemetery of the so-called Eriai Gates and the topography of the ir vicinity”. Since 1986 she holds a post in the Archaeological Service (Samos, Delphoi, Eleusis), and is currently working in the Archaeological Ephorate of Athens. She has taken part in the Athenian underground network excavations, and contributed with several entries in the volume Stambolidis, N. & Parlama, L. (eds) (2001) Athens: the city beneath the city. Antiquities from the metropolitan railway excavations. Athens: Greek Ministry of Culture & Museum of Cycladic Art.

Lyres and aulos from two Classical Athenian burials

During rescue excavations, 300 metres from the site of Kerameikos, and next to the ancient road joining that of the Demosion Sema with that of the so calles Eriai Gates, part of a
cemetery was unearthed, dated to the period from Geometric to Hellenisitc times. Amongst the 91 graves, two were of special interest. Grave T48 probably belonged to a 17 year-old youth, and contained a lyre, an aulos, lekythoi and a strigil. Grave T63 seems to have belonged to a boy about 4 years old, and contained 36 offerings, amongst which were lekythoi, an idol and a lyre. In this paper the issues addressed are: 1) the connection between the presence of lyres in children’s graves and the
lives they led before they passed away; 2)the role the instruments played in the education of the young aristocrats; 3) the grief these instruments express for the unduly deaths of those who can now only celebrate their weddingin the Underworld.

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

Παλαιό Μέλος
Kordellou, Aggeliki
Athens, Greece
Received a Bachelor degree in Musical Studies from
the National and KapodistrianUniversity of Athens, Greece, a Master degree from
the University of Paris IV-Sorbonne anda PhD in analysis of 20
th century music. She has taught at Institutes of professional formation,
the STEI of Ionian Islands and at the primary education. She has participated in music conferences in Greece and abroad and published several articles of musicological andpedagogical interest (akordelou@yahoo.gr).

Bird singing in Giorgos Koumendakis’ compositions

Several compositions of Giorgos Koumendakis’ have been inspired by the ancient Greek literature of different ages. The magical, metaphysical sound of the birds, as it mentionned in Iphigenia in Tauris
of Euripides becomes an important source for the writing of
Koumendakis’ composition for dance Iphigenia on the bridge of Arta (1994-95) in collaboration with the choreographer Dimitris Papaïoannou. In this piece the innocent victim
Iphigenia meets her alter ego in a more recent traditional myth of
The bridge of Arta. The presence of the bird’s voice (which represents the voice of Kalchas) imitated by the human voice of the soprano transfers in this way its metaphysical connotation from one period of
time to another. This first piece involving bird singing will find its successors in instrumental pieces as the symphonic Amor fati
(2007), the cycle Mediterranean desert (1998-2004) and
the opera The murderess(2014).

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

PDF]Download this PDF file - Hellenic Journal of Music, Education and ...
hejmec.eu/journal/index.php/HeJMEC/article/download/51/48
από Α Κορδέλλου - ‎2015

Απο τον Πλάτωνα στον Παπαδιαμάντη... Η ελληνική γραμματεία στο έργο του Γιώργου Κουμεντάκη
http://hejmec.eu/journal/index.php/HeJMEC/article/view/51
 
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Zambelis Spyros

Παλαιό Μέλος
Leitmer, Florian
/ University of Würzburg, Germany
2000-2009: Study of Classical Archeology, Ancient History, Late Antique Archeology and
Byzantine Art History in Munich, Florence and Freiburg (Dr. phil.). 2009-2011: Research
Assistant at the Staatlichen Antikensammlungen and Glyptothek Munich. Since 2012:
Assistant Professor at the University of Würzburg (Classical Archeology).

(florian.leitmeir@uni-wuerzburg.de)

Locusts, cicades and crickets as Muses – Different
ways of visualizing insect music in
Antiquity

Recent scholarship has stressed the dark side of the locusts as a real danger in the ancient (andmodern) world. In my paper instead I will focus on the positive aspect, their ability of making music. Ancient written sources compare the songs of the tettix or
akris even to the Muses. In my paper I will focus the – often neglected – visual representation of these insects as musicians. On the one hand, the insects are depicted like humans playing the lyra and the aulos. On the other hand there are also some images showing the animals in the moment of chirring, the so-called stridulatio. Instead of the first group, the latter is – as Ican see – not get noticed in modern research. How could we explain these remarkable different concepts of visualizing music? Are there similar concepts in the written sources? How could this positive aspect be combined with the other, the destructive side?

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

https://www.uni-wuerzburg.de/fuer/s...tudien_info_tag_2016/altertumswissenschaften/
 

Attachments

Zambelis Spyros

Παλαιό Μέλος
Liveri, Angeliki
Athens, Greece
Angeliki Liveri studied Archaeology, Philology and History of Arts in the universities of
Ioannina, Vienna and Munich. She is holder of a BA from the department of Archaeology of
the University of Ioannina and a PhD from the University of Vienna. She has taken part in
different projects in Archaeology and Art in Greece and abroad, and has worked in differentposts as an archaeologist and philologist in Greece and in Germany. She was Lecturer at the
University of Cologne, has participated in excavations, and has published on Greek, Romanand Byzantine Art and Archaeology.

Music and songs of the Sirens from Archaic to Classical Times.

Representations and interpretations on vase paintings of metropolitan Greece and the Greek colonies in South Italy and Sicily
In this paper a selection of representations of the Sirens, as singers and musicians as a team or individually will be presented, in combination withliterary sources from Archaic to Classical times. We can see the transformation of their iconography and significance on vase paintings produced in metropolitan Greece from Archaic to Classical times. A comparison with similar themes on vases and in cult of the Greek colonies in South Italy and Sicily will show affinities
and differences among them. Sirens are to be seen on vases of various shapes and uses.
Usually they are singing; sometimes they are holding musical instruments, eg aulos, cithara, lyre, tympanon and kymbala. In ancient Greek religion the Sirens were often associated with the afterlife and with burial rituals. Their role in the ancient Greek literature and philosophy was very important as well.

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

Ευάγγελος Σολδάτος
Nobody of them knows that the Ancient harmonics are applied 100% in traditional chanting of 20th century. One day I hope all of them will understand that modern byzantine music theorists of 19th century and now have destroied the correct and traditional soft diatonic gendre. I hope then not to be too late...
 

Zambelis Spyros

Παλαιό Μέλος
Lloyd, James
University of Reading, UK
James Lloyd is a first year PhD student at the University of Reading, supervised by Prof. Ian
Rutherford and Prof. Lynette Mitchell (Exeter). He is funded by the SWW-DTP. His main area of study is music in Sparta, with specific interests in the Sanctuary of Orthia, the lead figurines, and material culture more generally. Other interests include the role of 3D technologies in teaching Classics.

Swans and songs

This poster will explore why swans were so heavily associated with singing, lyres, and
Apollo, arguing that in each case a different characteristic of the swan is alluded to (its bird-cry, its shape, and the shared locale of Delos). This multi-layered association seems to have created a confusing situation whereby the swan was poetically μελῳδὸς
(Euripides Iphigeneia in Tauris 1104-1105) but not actually very tuneful:
τὰ μὲν ἄλλα ὅπως μούσης τε καὶ ᾠδῆς ἔχει εἰπεῖν οὐκ οἶδα (Aelian On animals 2.32).

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

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Zambelis Spyros

Παλαιό Μέλος
''Γεννήθηκα στα Καμίνια του Πειραιά το 1974 και μεγάλωσα στο Ρέντη και στην Κοκκινιά. Τα πρώτα ακούσματά μου στην ψαλτική ήταν ο Γεώργιος Καρακάσης που έψαλλε τότε στον Άγιο Ιωάννη Ρέντη. Ο παππούς μου Κωνσταντίνος Κουβαράς ήταν συλλέκτης δίσκων γραμμοφώνου φίλος με τον γιό του σμυρνιού συνθέτη Βαγγέλη Παπάζογλου, Γιώργη Παπάζογλου. Ο πρώτος μου δάσκαλος μουσικής ήταν ο κωνσταντινουπολίτης Δημήτριος Πονηρίδης στο 14ο Γυμνάσιο Πειραιά, γιος του συνθέτη Γεωργίου Πονηρίδη. Μαθήματα ψαλτικής ξεκίνησα το 1990 με τον θείο μου Θωμά Σολδάτο. Φοίτησα στο ωδείο Νίκος Σκαλκώτας με καθηγητή τον Λυκούργο Αγγελόπουλο και το 1996 πήρα το δίπλωμα βυζαντινής μουσικής με βαθμό Άριστα.
Ήμουν μέλος της «Ελληνικής Βυζαντινής Χορωδίας» από το 1993 μέχρι το 1996.

Έψαλλα στους ιερούς ναούς:
Ζωοδόχο πηγή π. Κοκκινιάς(1992-1993),
Ευαγγελίστρια Πειραιώς ως δομέστικος και στις καθημερινές ακολουθίες (1994) με τον Αναστάσιο Μεντάκη,
Άγιο Ελευθέριο Καμινιών ως Λαμπαδάριος (1996-1997),
Αγία Τριάδα Πειραιώς στις καθημερινές ακολουθίες (1997-2000),
Άγιο Κωνσταντίνο Πειραιώς ως Λαμπαδάριος (1998-2000) μαζί με τον π. Χρήστο Χριστοδούλου και τον κ. Διαμαντή Μαυραγάνη,
Αγία Σοφία επί της Διονυσίου Αρεοπαγίτου Αθηνών ως πρωτοψάλτης (2001-2002),
Αγίους Πάντες Κορωπίου ως πρωτοψάλτης (2002-2004).
Από το 2006 μέχρι σήμερα ψάλλω στην Υπαππαντή Πειραιώς ως Λαμπαδάριος με τον Ευάγγελο Σφακιανάκη και συμμετέχω στην χορωδία «Φωνές ασμάτων».

Το 1998 παρακολούθησα σεμινάριο επιμόρφωσης καθηγητών μουσικής, «Διδασκαλία του μαθήματος μουσικής στην Α/θμια και Β/θμια εκπαίδευση με σύγχρονα οπτικοακουστικά συστήματα διδασκαλίας» στο πλαίσιο της Λαϊκής Επιμόρφωσης της Νομαρχίας Πειραιά. Το σεμινάριο ήταν διάρκειας 132 ωρών και το πραγματοποίησε η καθηγήτρια μουσικής Χρυσούλα Τσιμούρη-Κατσουρού. Επίσης συμμετείχα και στην πολυφωνική «Χορωδία Νέων Πειραϊκής Εκκλησίας» υπό την διεύθυνση της ιδίας (1997-1999).
Συμμετείχα επίσης στις εργασίες και στην χορωδία του επί 45ετίας μαθητή και συνεργάτη του Σίμωνα Καρά, κ. Νικολάου Κλέντου(1997-2002).Επίσης έχω κάνει φωνητική στο Εθνικό Ωδείο με τον κ. Κώστα Ηλιόπουλο.
Το 2008 η γνωριμία μου με τον Γεώργιο Μιχαλάκη, μαθητή του πρωτοκανονάρχου της μεγάλης του Χριστού Εκκλησίας Στυλιανού Τσολακίδη, με βοήθησε να μάθω πολλά για το ψαλτικό ύφος της Πόλης, το οποίο είχε διδαχθεί από τον δάσκαλο του.

Η μαθητεία και η εργασία μου σε διαφορετικά μουσικά περιβάλλοντα και διδασκάλους με έκανε να δω τα πράγματα σφαιρικά, να ερευνήσω την μουσική κάθε φορά από διαφορετικό πρίσμα.
Η έρευνα μου γύρω από την μουσική βασίζεται πρωτίστως στην παρατήρηση της διασωθείσας προφορικής παράδοσης. Έχω θίξει αρκετά μουσικά ζητήματα όπως τον θεμελιώδη ρόλο του δια τριών συστήματος, τον τριαδικό άλογο χρόνο, την αρχιτεκτονική των συστημάτων και την διπλοπαραλλαγή. Για τα θέματα αυτά έχω κάνει σχετικές ανακοινώσεις σε συνέδρια και στο διαδίκτυο από το 2008 μέχρι σήμερα.

Εκτός από την μουσική το επάγγελμα μου είναι Πληροφορικός, απόφοιτος του ΙΕΚ Όμηρος 1998-2000 με ειδικότητα «Ειδικός Εφαρμογών Πληροφορικής». Από το 1998 μέχρι σήμερα έχω εργαστεί ως προγραμματιστής και τεχνικός πληροφοριακών συστημάτων σε αρκετές εταιρείες κι έχω συμμετάσχει στην ανάπτυξη συστημάτων πληροφορικής για βιομηχανική παραγωγή (ΓΙΟΥΛΑ Α.Ε.) και εμπορικοοικονομικά προγράμματα σε Ελλάδα και εξωτερικό. Η πληροφορική με έχει βοηθήσει στην αναλυτική και με ακρίβεια μελέτη της μουσικής και στην ανάπτυξη σχετικών εφαρμογών.

Επίσης το 2007 φοίτησα για μικρό διάστημα στο τμήμα Φυσικής του Ελληνικού Ανοιχτού Πανεπιστημίου (Εισαγωγή στις Φυσικές Επιστήμες).

Μία από τις ασχολίες μου είναι ο αθλητισμός, κολύμβηση, τρέξιμο. Έχω τερματίσει τέσσερις αγώνες μαραθώνιου δρόμου( Κλασικός Μαραθώνιος Αθηνών , Μαραθώνιος Μέγας Αλέξανδρος, Olympus Marathon 2006 )

Μου αρέσει η μελέτη της ιστορίας, το κλασικό θέατρο, η ποίηση, το λαϊκό θέατρο σκιών, η όπερα, η αληθινή-ποιοτική λαϊκή μουσική(ελληνική και ξένη), ο κλασικός κινηματογράφος. Επίσης ταξιδεύω και διασκεδάζω τόσο με ελληνική αλλά και ξένη μουσική κλασική και σύγχρονη, αυτό που έχει πει κι ο Διονύσης Σαβόπουλος:
«να γίνουμε μοντέρνοι χωρίς να χάσουμε την ψυχή μας».''

Ευάγγελος Σολδάτος

http://soldatosmusic.blogspot.gr/

Phone: 0030-6989683345
Email: soldatose@gmail.com

Ελληνορωμαϊκή Μουσική
 

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Zambelis Spyros

Παλαιό Μέλος
Mâche, François-Bernard
François-Bernard Mâche, born in a family of musicians, studied at the Ecole Normale
Supérieure, from where he received a degree in Hellenic Archaeology (1957), the teaching
certificate “Agrégation de lettres classiques” in Classical Philology (1958), and a doctorate in Musicology (1980). As a musician, he was amongst the few founders of the “Groupe de Recherches Musicales” under the supervision of Pierre Schaeffer (1958). He studied music with Olivier Messiaen at the Conservatoire National Supérieur, Paris, where he was granted a prize in the Philosophy of Music (1960). He is the
author of six books and of about one hundred and seventy articles on music, and one of the first translators of the poetry of Odysseas Elytis into French (1975, 1977). He put forth his own method-and-theory of composition, based on the notions of models and archetypes, and was pioneer in applying linguistic data to music analysis and synthesis. For many years he was director of the Music Department of the University of Strasbourg (1983-1993). He has composed over one hundred and ten works, in which are often combined speakers and acoustic instruments. They have been performed in the most prestigious halls and festivals. Over the years he has been invited to give seminars in over twenty countries. Amongst the honourary titles he has received are the “Grand Prix du Disque” (1971), the “Prix Italia” (1977), the “Grand Prix National de la Musique” (1988), and the “Grand Prix de la Musique Symphonique de la Sacem” (2002); he has also been named a “Commandeur de l’Ordre des Arts et Lettres” (1990). He is a member
of the Académie des Beaux-Arts since 2002, and occupies the chair of the late Iannis Xenakis. He is also Honourary Doctor of the University of Athens (Department of Music Studies, 2011). Two of his books are directly connected to the theme of the present conference: (1983) Musique, mythe, nature, ou Les dauphins d’Arion. Paris: Méridiens Klinksieck (Reprinted by Aedam Musicae, 2015); (1992) Music, myth and nature, or The dolphins of Arion (translated by Susan Delaney, Reading: Harwood Academic Publishers); (2007) De la musique, des languages, et des oiseaux: entretien (avec Bruno Serrou). Paris: Éditions Michel de Maule.

Philology and Zoomusicology

After an initial survey of a few texts which radiate the prevailing feelings commonly
associated with the animal voices in ancient Greece, particular attention will be given to a
comparison between some onomatopoeic words and their corresponding sound models. In a civilization exalting the privileges of mankind, there seems to exist a somewhat ambiguous attitude concerning its relationships with the animal world, either as divine attributes or just as ordinary pets. Is the Aristotelean theory of mimēsis
limited to literature? Eventually, what
does ancient Greece still represent for somebody like me, having created the study of a novel field for which I coined the term zoomusicology?

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

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