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Unlocking the Riddles of Classical Greek Melodies II: The Revolution of the New Music in the Ashmolean Papyri (DAGM 5–6) and Athenaeus' Paean(DAGM20) In grateful memory of Andrew Barker: κοινὰ γὰρ τὰ τῶν φίλων Abstract This article completes the discussion of the Classical/Hellenistic harmonic system set out in Part I. Taken jointly, these articles offer the first account of the use of notation keys in the Hellenistic musical documents that is fully consistent with technical evidence as well as literary testimonies about the harmonic innovations of the New Musicians. This article offers practical analyses and new modern transcriptions of the Ashmolean Papyri (DAGM5–6) and Athenaeus’Paean(DAGM20)—scores that reflect the modulation system of the New Music and its characteristic use of ‘exharmonic’ and ‘chromatic’ notes. The analyses offered in this article are powered by a newly-developed database (dDAGM) and show that these ‘exharmonic’ notes correspond to the chromatic ‘bends’ first identified in Lynch 2018—‘bends’ which ‘distorted’ the central pillars of the noble Dorianharmoníaandturned it into its polar opposite: the Mixolydian, the emotional and lamenting mode par excellence. References DAGM =Pöhlmann, E. and West, M.L. (2001).Documents of Ancient Greek Music: The Extant Melodies and Fragments. Oxford. dDAGM =Lynch, T.A.C. (2021).Database ‘Documents of Ancient Greek Music’.Version 1.1Zenodo:https://doi.org/10.5281/zenodo.5181743 Lynch, T. (2018). ‘“Without Timotheus, much of ourmelopoiiawould not exist; but without Phrynis, there wouldn’t have been Timotheus”: Pherecrates’ twelve strings, thestrobilosand the harmonicparanomiaof the New Music’,Greek and Roman Musical Studies6.2, 290–327.https://bit.ly/3sOsT5b Lynch, T. (2018). ‘“Without Timotheus, much of ourmelopoiiawould not exist; but without Phrynis, there wouldn’t have been Timotheus”: Pherecrates’ twelve strings, thestrobilosand the harmonicparanomiaof the New Music’,Greek and Roman Musical Studies6.2, 290–327.https://bit.ly/3sOsT5b &nbsp

Lynch, T.A.C. (2023) 'Lydian sympathies: Vitruvius’ theatre resonators and the Imperial musical documents' (12 pages, 7 Figures). Preprint section from Lynch forthcoming, Ancient Greek melodies and the Invention of the Harmonic System: from Euripides to Early Christianity. https://doi.org/10.5281/zenodo.7524698, Licensed as CC BY-NC-ND

This new transcription of Athenaeus'Delphic Paeanwill be published shortly in Lynch, T. A.C. (2022b). ‘Unlocking the Riddles of Classical Greek Melodies II: theRevolution of the New Music in the Ashmolean Papyri (DAGM5–6) and Athenaeus’Paean(DAGM20)’,Greek and Roman Musical Studies10.2. &nbsp

This paper focuses on some quotations of Pseudo-Psellus’ treatise on music. Three quotations are provided and discussed: the well-known one by Manuel Bryennius, and two others by Joannes Zonaras and Michael Italicus. The Byzantine tendency to preserve pagan contents within Christian categories, together with the unique presence of this text in the overview of the ancient theoretical tradition, may be the main reasons for its wide circulation in the Byzantine world.

Unlocking the Riddles of Classical Greek Melodies I:Dorian Keys to the Harmonic Revolution of the New Music and the Hellenistic Musical Documents In grateful memory of Andrew Barker: κοινὰ γὰρ τὰ τῶν φίλων Abstract Bringing together evidence preserved by Aristoxenus, Aristides Quintilianus, Ptolemy, Porphyry and the Greek musical handbooks in a unified framework, this article and its sequels show how the Classical modulation system reconstructed in Lynch 2018 is confirmed by the melodies recorded in the Greek musical documents. Taken jointly, these articles will offer the first comprehensive account of the use of notationtónoiin the ancient Greek musical documents that is fully consistent with the extant technical evidence on ancient harmonic theory and with literary testimonies about the harmonic innovations introduced by the New Musicians. The present article will focus on the Classical/Hellenistic harmonic system, whereas its Imperial counterpart will be discussed in a forthcoming article. These theoretical analyses are based upon a newly developed database (dDAGM) that collects all the musical notes attested in the standard edition of the Greek musical fragments (DAGM), comprising over 3,400 notes. References DAGM =Pöhlmann, E. and West, M.L. (2001).Documents of Ancient Greek Music: The Extant Melodies and Fragments. Oxford. dDAGM =Lynch, T.A.C. (2021).Database ‘Documents of Ancient Greek Music’.Version 1.1Zenodo:https://doi.org/10.5281/zenodo.5181743 Lynch, T. (2018). ‘“Without Timotheus, much of ourmelopoiiawould not exist; but without Phrynis, there wouldn’t have been Timotheus”: Pherecrates’ twelve strings, thestrobilosand the harmonicparanomiaof the New Music’,Greek and Roman Musical Studies6.2, 290–327.

This dissertation takes a new approach to the study of Greek theater by examining the dramatic function of mousike (music, song, dance) in the plays of Euripides. Previous scholarship has tended to see the many references to mousike in his later work only in connection with the "New Music" (the changes in musical style, language, and instruments in fifth-century Athens), and to disregard their place within the plays themselves, often deeming especially meta-musical choral odes to be irrelevant to the surrounding drama. In contrast, I explore the dynamics of choreia (choral song and dance) and the sociocultural meanings of different musical images in four plays to show how mousike plays a vital role in directing and complementing the movement of the plot. I demonstrate how Euripides uses traditional as well as new images of mousike, and argue that this combination of musical motifs is essential to an understanding of each play's dramatic structure.The dissertation is divided into four studies of individual plays, which span roughly the last fifteen years of Euripides' career. The first chapter focuses on Electra, the earliest extant tragedy to include multiple, extended descriptions of mousike. I argue that choreia both frames our understanding of Electra and has a generative power, anticipating and even enacting pivotal moments of the plot. In Chapter Two I examine how Hecuba and the chorus in Troades create the illusion of an absence of choreia, even while they sing and dance on stage, and liken this to the concept of "embodied absence" within Performance Studies. I also argue that the chorus' proclamation in the first stasimon that they will sing "new songs" refers not only to Euripides' experimentation at this point in his career, but to musical change within the drama itself. Chapter Three explores patterns of mousike and choreia in Helen, showing how the dominance of such imagery in the play's choral odes shapes the audience's understanding of Helen's relationship with the chorus. I suggest that the play's mousike creates an aetiology not only of Helen's cult in Sparta, but also of the Dionysiac performance of the chorus of Athenian citizens in the theater. Chapter Four examines the dynamics of chorality and monody in Iphigenia in Aulis, showing how, through the performance of mousike, the audience's attention is directed away from the panhellenic choreia of the parodos and toward the sacrifice of Iphigenia. I also explore how representations of instrumental mimesis provide a poignantly vivid impression of pastoral calm before the beginning of the Trojan War, and argue for the authenticity of contested lines at the end of the tragedy on the basis of their style of musical performance. Throughout the dissertation, my methodology centers on the idea that a complex interaction between described and performed mousike encourages the audience to see and hear a performance in a particular way--a form of aesthetic suggestion through choreia.

La tesi presenta l’anàlisi d’un total de vint fragments identificats com a passatges de tragèdia que van acompanyats de notació musical grega antiga. Es tracta d’un estudi detallat i alhora de conjunt dels exemples coneguts de peces musicals relacionades intrínsecament amb la tragèdia grega. Tots els passatges, excepte un, es troben escrits en suport papiraci. L’única excepció és una citació i comentari d’un fragment de l’"Orestes" d’Eurípides que Dionís d’Halicarnàs va incloure en la seva obra "De compositione verborum". Els aspectes examinats dels documents del catàleg són, fonamentalment: les característiques del suport, els trets paleogràfics i els colomètrics, la part argumental del text, la seva mètrica i les característiques musicals. Tant la lletra com el sistema de notació musical dels exemplars estudiats són grecs, però la seva creació i ús abasten una franja temporal àmplia que s’inicia poc abans de mitjan segle III aC i arriba fins al canvi dels segles II-III dC. Per tant, ens demostren una pràctica musical vinculada a les arts escèniques que es va desenvolupar com a mínim des del període hel·lenístic i es va prolongar ‒no sense canvis i adaptacions‒ fins ben entrada l’època romana imperial. El rerefons ‒el qual es reflecteix en les preguntes de recerca i en la hipòtesi de treball‒ és la discussió sobre les claus que giren entorn de la qüestió de la presència de la música en la tragèdia, el seu abast i la mesura en què estava escrita. Es proposen possibles respostes a aquestes qüestions sobre la base de les fonts analitzades i de l’argumentació construïda a partir d’altres evidències i raonaments existents sobre el tema. La tesis presenta el análisis de veinte fragmentos identificados como pasajes de tragedia acompañados de notación musical griega antigua. Se trata de un estudio detallado, y a la vez de conjunto, de los ejemplos conocidos de piezas musicales relacionadas intrínsecamente con la tragedia griega. Todos los pasajes, salvo uno, se hallan escritos en soporte papiráceo. La única excepción la constituye una cita y comentario de un fragmento del "Orestes" de Eurípides que Dionisio de Halicarnaso incluyó en su obra "De compositione verborum". Los aspectos que se han examinado en los documentos del catálogo son, fundamentalmente: las características del soporte, los rasgos paleográficos y los colométricos, la parte argumental del texto, su métrica y las características musicales. Tanto la letra como el sistema de notación musical de los ejemplares estudiados son griegos, pero su creación y uso abarcan una amplia franja temporal que tiene inicio poco antes de mediados del siglo III a. C. y alcanza los siglos II-III d. C. Así pues, ponen de manifiesto una práctica musical vinculada a las artes escénicas que se desarrolló como mínimo desde el periodo helenístico y se prolongó ‒no sin cambios y adaptaciones‒ hasta bien entrada la época romana imperial. El trasfondo ‒que se refleja en las preguntas de la indagación, así como en la hipótesis de trabajo‒ es la discusión sobre las claves que giran en torno a la cuestión de la presencia de la música en la tragedia, su alcance y la medida en que estaba escrita. Se proponen posibles respuestas a estas cuestiones en base a las fuentes analizadas y a la argumentación construida a partir de otras evidencias y de razonamientos existentes sobre el tema. The thesis presents the analysis of a set of twenty fragments identified as passages from tragedies that are accompanied by ancient Greek musical notation. It is a detailed and comprehensive study of the extant musical fragments intrinsically related to Greek tragedy. All but one of these passages are written on papyrus. The only exception is a quotation and commentary on a fragment from Euripides' "Orestes" that Dionysus of Halicarnassus included in his work "De compositione verborum". The aspects examined in the catalogue are, basically: the descriptive details of the papyri, the palaeographic and colometric features, the plot of the text, its metrical aspects and the musical characteristics. Both the lyrics and the musical notation system contained in all items are Greek, but their creation and use cover a wide time span that begins shortly before the middle of the third century BC and reaches the turn of the second-third centuries AD. Therefore, they show us a musical practice linked to the performing arts that developed at least from the Hellenistic period and lasted –including changes and adaptations– until the end of the early Roman imperial period and beyond. The background ‒which is reflected in the inquiry questions and the working hypothesis‒ is the discussion on the keys around the question of the presence of music in tragedy, its scope and the extent to which it was written. Possible answers to these questions are proposed on the basis of the sources analysed and the argumentation constructed from other existing evidence and reasoning on this subject.

This paper aims at investigating the presence of musical elements within a selection of significant examples taken from the epigrammatic production of the Hellenistic period. The epigram represents one of the most distinctive literary genres of the Hellenistic age. Its composition and the context in which it was read are, of course, far from vocal and musical performance ; however, and perhaps surprisingly, epigrams provide a very large quantity of musical images and draw attention to the description of sounds and to the sonic texture of the text itself. The study of the whole corpus of literary epigrams from a lexical point of view and complemented by the analysis of epigraphic sources, may demonstrate a particular sensibility of epigrammatic poets towards music : epigrammatic poems recall the terminology of musical theory and show, in most cases, the traditional way of dealing with musical themes belonging to the literary tradition. In this paper, epigrams have been selected in order to illustrate specifically how the musical component is elaborated, revealing a spirit well exemplified by the following Euripidean line : μὴ ζῴην μετ᾽ ἀμουσίας., Pezzotti Maria Paola. Ζῆν μετὰ μουσίας. Some Case-Studies from Hellenistic Epigrams. In: Sonus in metaphora. La rhétorique sonore et musicale dans l’Antiquité. Besançon : Institut des Sciences et Techniques de l'Antiquité, 2021. pp. 57-75. (Collection « ISTA », 1528)

Ancient Greek music theory comprises a large body of speculations which are not necessarily related to how music practice was really carried out at the time. This complex set of theories was reduced by 19th-20th centuries scholars to a ditonic – as for two whole tones in a Just fourth – substrate for many reasons, the first of which being the legitimation of Western music and its alleged Ancient Greek affiliation. The same biased Hellenistic tool was used to influence Byzantine chant in the late 19th century (2nd Patriarchal Reform) in such a way as to modify both its theory and praxis, pulling it away from its “Eastern” sources. The article demonstrates that today, more than ever, the future – and the preservation – of Byzantine chant is closely dependent on a better understanding of its intrinsic characteristics, far from the ideological speculations – and political considerations – of the last few centuries. The article is based on the book of the author on Arabian Byzantine chant (see http://foredofico.org/CERMAA/archives/584) and on his further research on Hellenism in musicology, notably the dossier for NEMO-Online No. 5 (see http://nemo-online.org/wp-content/uploads/2016/11/INTERNET-5-04.-Article-NEMO-n%C2%B05-Amine-Beyhom-161130-S.pdf) and other articles on modality (see http://foredofico.org/CERMAA/ publications/publications-on-the-site/publications-amine-beyhom)., Series Musicologica Balcanica, Vol 1, No 1 (2020): Modus-Modi-Modality

The paper is the first part of S. Barbantani’s contribution Lyric for the Rulers, Lyric for the People: The Transformation of Some Lyric Subgenres in Hellenistic Poetry, in E. Sistakou (ed.), Hellenistic Lyricism: Traditions and Transformations of a Literary Mode (Trends in Classics 9, 2), Berlin - Boston 2017, 339-399 (which discusses encomiastic lyric, epinikion in Callimachus, Posidippus and inscriptional epigram, literary epithalamia, threnoi and epikedeia, poems in stichic lyric meters, Carmina popularia, anthologies for symposiastic use and mimes). This contribution analyses how some of the main lyric genres, developed in archaic and classical Greek poetry, underwent transformation in the Hellenistic period, following social, political and cultural changes. The paper specifically explores lyric poetry produced ‘for the gods’ (hymns, esp. paeans, preserved on stone and on papyrus).

Este trabajo está basado en la atenta lectura, traducción y análisis de las obras harmónicas de Nicómaco de Gerasa y de Gaudencio el Filósofo. Estos autores son considerados paradigmas de una concepción pitagórica y ecléctica de la música griega antigua y tardoantigua, respectivamente. En él, se subrayará la importancia de la voz como elemento de la Harmónica y se expondrán sus movimientos y clasificación., This paper is based on the careful reading, translation and analysis of Nicomachus of Gerasa’s and Gaudentius the Philosopher’s harmonic works. These authors are considered paradigms of a Pythagorean and eclectic understanding of the ancient Greek music and the music from Late Antiquity, respectively. In it, the importance of the voice like an element of Harmony will be emphasised and its motions and classification will be presented., Facultad de Humanidades y Ciencias de la Educación

International audience; Working on Byzantine chant was an eye-opener which explained the litany of misunderstandings, contradictions, obvious errors and allegations made in bad faith in maqām literature, some of which I have already mentioned in previous publications and papers. What remained inexplicable for me, for over two decades, was the reason why (and how) all of these errors could be made in the first place, in such a domain that is still today considered as the “science” of music: the answer to this question is the main object of this dossier.

Ethos – meaning the characteristic spirit of a culture, era, or community as manifested in its beliefs and aspirations – is a piece that explores Greek music from the 3rd Millennium B.C.E. to the folk tunes and dances of the 16th century C.E. Ethos incorporates multiphonics, quarter tones, ancient tonal systems and folk scales to show the differences and similarities between ancient and folk styles. The piece also features the traditional Greek drum ‘Daouli’ and mimics ancient instruments with those in a traditional orchestra. As the piece develops, ancient musical fragments can be heard thought the orchestra, chiefly in string and woodwind passages. The violin, harp, flute and clarinet depict the kithara, lyre, floyera and aulos, respectively. The ever present increase in tempo drives both virtuosic and drone like characters to develop and transform.

This work is introduction to and a general survey of the treatises written in Latin between the 3rd and 5th centuries that transmitted the ancient Greek musical theory to the Middle Ages. Throughout these pages there will be a concise, eclectic and panoptic view of Latin authors who dedicated their work or part of their work to notions related to the harmonic science of the ancient Greeks. This study will show a “selection” of certain aspects of Greek music theory in its step to the Middle Ages, such as the gradual loss of the vocal and instrumental musical notation, as well as the progressive importance that Rhythmic and Metrics were acquiring into the musical treatises of this era. Este trabajo constituye un estudio en el que se hace una presentación y repaso general de los tratados de entre los siglos III y V, en lengua latina, que transmitieron a la Edad Media la antigua teoría musical griega. A lo largo de estas páginas se dará una visión concisa, ecléctica y panóptica de autores latinos que dedicaron su obra o parte de su obra a nociones relacionadas con la ciencia harmónica de los antiguos griegos. En este estudio se evidenciará una “selección” de ciertos aspectos de la teoría musical griega en su paso hasta la Edad Media, como la pérdida paulatina de la cuestión notacional vocal e instrumental, así como la progresiva importancia que fue adquiriendo la rítmica y la métrica en los tratados musicales de esta época.

The interest of the Early Pythagoreans in musical speculation appears in literary sources as strictly linked with religion and education. The use of paeans for healing and calming both rage and anger among the Pythagoreans (see for instance Iamblichus, De vita pythagorica 110; Porphyrius, Vita Pythagorae 30) shows that catharsis was meant within such groups as a “purification” from every kind of excess in which religion, medicine and ethics were blended together in order to provide a harmonious order within the individuals. Music and musical education in Pythagorean communities had also a “political” role, since they were intended to foster social order.

Starting with selected excerpts from the Iliad and the Odyssey, by Homer, and from the Theogony and the Works and Days, by Hesiod, I want to show that there is a fundamental ambiguity in the way the Greeks built the image of music and musicians. On the one hand, the music was something that had a divine origin and which was closely linked to gods who occupy a central place in the Greek pantheon. However, the musician‟s activity was not well regarded and was treated as something pejorative, unworthy of noble people. After proving the existence of such ambiguity, I intend to propose an explanation for this, based on how the Greeks saw the 'occupation' of the musician-poet., Partindo de trechos selecionados da Ilíada e da Odisséia, de Homero, e da Teogonia e dos Trabalhos e Dias, de Hesíodo, pretendo mostrar que existia uma ambiguidade fundamental na maneira como os gregos construíam a imagem da música e dos músicos. Por um lado, a música era algo que tinha origem divina e que estava intimamente ligado a divindades que ocupam um lugar central no panteão e na mitologia dos helenos. Contudo a atividade do músico era mal vista e tratada como algo pejorativo, indigno de alguém nobre. Depois de demonstrar a existência dessa ambiguidade, pretendo propor uma explicação para esse fato, com base na maneira como os gregos tratavam a „profissão‟ do músico-poeta.

Özet Bu makale müzikoloji ve arkeoloji metotlarını birleştirerek, müzikle bağlantılı arkeolojik bulgulara uygulamaktadır. Bu uygulama ile, bulguların keşif noktalarını ve kullanım bağlamlarını değerlendirerek müzik aktivitelerinin bölgelerinin belirlenmesi sağlanmaktadır. Bu şekilde, müzikal performansların kültürel dini ve sosyal anlamlarının yorumlanması sağlanmaktadır. Bu araştırma Batı Yunanistan özelinde bir müzikal geleneğe odaklanarak Selinus bağlamında müziğin rolünü açıklamayı hedeflemektedir: Kalıntılar Batı’daki Yunanlıların anakaranın müzikal mirasını kullanarak kültürel kimliklerini nasıl güçlendirdikleri ile ilgili görüşler ortaya koymak için olanak sunmaktadır. Abstract This paper combines the methods of musicology and archeology and applies them in the study of archaeological remains of musical interest, considering their findspot and original context of use in order to place musical activities in a well-defined space and occasion; and to interpret the cultural, religious and social meaning of musical performances. The research will bring out a particular musical tradition of the Western Greeks and will reconstruct the role of music in the specific context of Selinus: the remains offer the opportunity for a reflection on the way in which the Western Greeks reworked the musical heritage of the motherland, and reinforced their cultural identity.

The entry offers an advanced introduction to the metre of Greek tragedy.

Paper. Aspects of Ancient Greek Cult II. Architecture - Context - Music. An International Colloquium in Honor of Erik Hansen. Copenhagen, 4-6 May 2012 (abstracts p. 7)