Music and the Muses: The Culture of ’mousikē’ in the Classical Athenian City

225 Pages·042.472 MB·English

by  Penelope Murray, Peter Wilson

Music and
the Muses
The Citlt1,tre of '1\1101,1,sike' in tlte
Classical Athe1iian City
Edited by
Penelope lVlurray and Peter \Vi Ison
OXFORD
VNlVERSlTY PRESS
1 O'i,I '1'.l.l.
r
rt)Of}5
OX.FORD
Preface
\.'Nl'l6Rl>l'l'Y l't\1::SS
' G rl~,~ Chlrl'ml<>i) ::iH<;l!t, Oxfonl ox1e <uw
O.dofd Unwl'n1ity P1't,;i; i,; :, dc;)i1111,,,mt or 1.lu.: 011~v,:11;i1y ol' O:.:f,.,t,I.
ft f\111h(:1'S. 1.h1: \J1)i.Vo11i1y',; (ohjcdi\'l' of ,::,;¢,:11,•,w.~: in l\'..t:ux:I,, :id,ok1r~hi~'>,
:111,l 1:Juc:1ti(m hy f•\thfoihin;:: worldw1,lt :.,,
0:--1h1d Nt·,,. Y,)11: 'l'his book is the int.ended product of ~l colloqulum held at the
:\+.~d:t:md Ct1p,: 'l_'•>'•>.'n l'hr <:."I $:11:'.:IU) Moi•t K,,n!~ K.J.r.t.doi C niv<:rsity of\Vi:in,vick in 1999 to whlch a group of scholars \\:ere:
K:,:1b Lc1np1.i M-;,d11fl Mdlmu:rn<- M<:~i,:,, <.:m· N:iit.:bi
invit<·.d who were identified ns ,vo,·king in innovative .., .vays on the
J'<ew Odhi $h:.11~h.t.1 'fnipd Tv11Jnl~
With ,-:i:fi,-..-:1 in subject of :Wous,:he. Thot co'1oquiurn could not have ttiken place
:\1;:.;\·111i,tt /wm1.1 lhl.'1-!I Chik <..,;,.«h R<1•ul;lk, F1~11wc (;f(«(;
G11:1tc111:o!:i I hmt,MY h:11:,' .l"i"'n Sl>uth K'>f<.:,1, P,,l:m:1 t\.1atis:il without the generous fin,mdal supporl' of the I lcllenic .Pounda*
$i1oi:ip1>1c Swit~t1l,1;1,I 'l'h:Jl:11;1.t ~J\,!'l,ei' 1Jl:u.u:e Vi<:111,·,m
tion, Loridon, ,he British Academy., the Society for the Pro1notion
O:..ford i:s, ,, n:~i:1tcrtd cn.111\: marl: of ():,:f,:,td l'.uin:,:1i.t v 111\:J!.~
Qf l-lellcr'lic Studies> ~md the G ilbert iVlurrny T rust> to ,vhom
in th,· \;I{ i\1hi in ~,:r1;,111 011,ct ((l\lnh'k:. · \Ve
express our he~ntfelt thflnks. \.Ve should also like to th,1nk all the
l'\1hli:.lm,I in lhc Unif<;cl Srn1c11
by Q)(il,ml Unw\•1,;.i1t Pre:.:. lo,~. . Ne,,; 'il)l'I; partiClpants in the colloquium for nu1king le mi enjoyable nod
t) (hfo1·d lJni\·<:r~i1y Pl\tM> 2(.:0:>4 productive occ,1sjon; Simon Goldhill for his ch(lirm~H1ship and
T1:1c mo1'1"1l ri~h1$ of tlu: ~w1h,:,r hu\·~ 11<:cn :111N'lfl1AI genen:il support of the project; Sue Dibhcn for hcl' efficient Ol'gan
O:,rnb:,N~ riµh; f)~ford Uoivcr1;itr Prc:-:-(m:,kvrj
ization of the event; Anne .Rowre11 for cornputing assjsrnncc; and
F1r::t pul,fo,hcd 2(104
D~vvid Pe,n n for cditorh)J support.
All :·i,!tlu,;. rv.1,cT\'<111. No 1>:.1n l)f tlm; publi,;alitH\ m,;iy ll't! l'l'J)l"Ah,.:<•(I,
Rather th;1n hnposing a $tnndard form, contrib1..uors> preferred
,a,JTo:~l 111 t\ rc1r1<:\·:,l :-y:1(,.;ff1, (•Y tr>;1n:1miu1:"1I, i11 ,111r f,wu, or hy :11,y m,.,1m,;,
wuh,,m tl1c prior p<1nnissl,m in wrii111p. of <)xfohl (foivt:t:1it v 1'•<-~s. spellings of Greek n~,mcs have been ret(,ined throughQut.
or ~JI. c·9r~:1:1\y .P<-n~,iucd by l:uv, ,:u· u,1,kr t,;ni,:1 a,1;r<-c<I with ,h; ~1r,1w,)~Witlt,,
1'(·~~l'<.>j!rnpl11,"$ n~ln11 or;::,rni:i.;1ti.,::. Eoquiri1•t; <:'1>11,;:c,oi,1~ rv1u(1dll(:tivn
<.mh1dc 1h,; $1.'(•l-,t' ,,f ,i.~ ;,ho~·..-11h,)11ld ht: iic1~t w 1hc Ri;::!.1:. D<':p,wrn\cnr,
Oxford 011ivcuity 1•,·t:JI.JI., Ul 1lit: ;1(1'11\.'Sf. :ib1>w
\'ou ir.u~I O•)t ,;,:in:ubll.1 this l)l),,I; in 1111)' 01hc1· hitali111~ 1)r ,:v,·<·1•
:11,.I y.-,u m11~1 impo:.t: tl1i<' ~1mc .;mi.lition ,:m :ir.r 11.:'•lllircr
n~,a
Uri1i:1h Li'rw,,t}' Ciu::11<.>J.!"in!{ if, l'ublicu,ion
Diu::1 1w11il11l,le
Libr:111• of C,:,owc1111 Ct11\ll<.>uin~ in Public11tio11 D.,1~1
O:,rn :\\·'\lilnhlc.:
ISDi': (l.t9-92·1231;.9
35 1<11()8(14
T; pef.ct hy l{ok,m 1,,fonu1,1i1>n Sc::vic<-~ ()q, I ,1,I, P<111,li.::h<:nr, Jrnlia
f>rinh~tl itt (;rc:.il Hri1:,itl of1 add-fr,:<; p~ipcr l,y
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Cl,ippc1)h!.1Il\ \'>;'il111hi1"1:.·
DEDALUS • Acervo • FFLCH
20900015421
1
Contents
rd
I-isl c()nlrilmtors IX
Lisi of ilhul ratiaus X
(,isl uf abbret:i<itions XII
Jn troduction I
PHN EL0 1)£ .:.VlonnAV Ai'.'D PETEH \·VI L.SON
Part I lvfou.,il<ii and Religion 9
~·1uscs and :\·1yscerics 1 l
ALEX l-1,\Rl)IE
2 Changing Chornl \Vorlds: Song-Dance
and Society in .1\. thcns and Beyond 39
BARRAHA K O WAU~IG
3 xopo~ d; tK rftc,or. 11i; -rr6/\cw; .. . (Xen. )l,1em. 3.3.12):
Song-Dnnce nnd Statc-PilgritYHlU'C at Athens 67
IAK Rl!TIIERFOI\O
4 Dancing the Pyn·hiche jn Athens 91
PAOLA C£CC:\ftELLI
Part II 1W:ousif1e on Stage 119
S Chor,d Pnlyer in G1·eek 'J'rngedy:
Euphe,nia or 1\ischrologi~1? 121
Ev A S TEIi LE
6 Chontl Fornls in Aristoph,mic Com,~dy:
!Vlusical :\·limesis :md Drnmatic P1..~rfor.monce
15i
in Classical Athens
C l.AU))f. C A L AMH
Vlll Coutents
7 'J.'rAnsforming the Nighting,ale: .Aspc<.:ts of
I~ist of Contributors
Ath<.:ni:in i\:lusical Discourse in the L:.lte Fifl'.h Ccnturv ·1S 5
ANDHE\\' BAHKEH ~
Part Ill The Politics of l14ousikii 205 AN on B\\' IlA HK En ~ Professor of Classics in the J nstitute of
\rchacology and J\ntiquity flt the l.Jniverslty of Birmingham
8 'J'he Politics of the New rv(u::;ic 207 1
E RIC CSAPO Ct.,,\ u u c C/\ L:\ i\.'l B, Professor of Greek Language and Litcnlture
("lt the t:nivcrsjty of Lausanne nnd Dircctcur cfctuc-fes at the Centre
9 Diunon of O,l: A :Vlusic 'J'hcorist Ostn1d;,,ed? 249 Louis Gernct, Paris
Ro BF.llT \V. \V ,, tLACE
PAOLA C£<:C:\IlHLLT, ProfcS$ore AssQciato di Stori;l Grcc,1,
10 .:\thcnian .Stl'ings 269 U"iversita dcgli Studi dell'A()uila
PETJ.:H \V1LSON
Erne CsAr•o, ...\. ssocinte Professor of Classics ac the University
of '1 '01·onto
Part IV 1-Wousike and Paidei<t 307 A r-:ron E\V Fon o, Professor of Cl.issks at Princeton University
i,, ALEX 1-1A H u Ir., Bursar of Oriel College, Oxford
11 Cach<1rtiis: 'f'he Pon·cr of :vJusic Adscotlc's PoNth·s 309
BAnOARA l{Q\\.'ALZ!C, Cawkwdl Pellow ;md Tutor .in Ancient
.'\NIJRIH\/ F'OHD
History a1, University College> Oxford
12 Dircy Dmlcing: Xcnophon1s Svmpo~imu 337
PENEl,OPE );1t:11R,\Y, Senior Lecturer in Clnssics ~lt the
VICTORIA \VoHr, - .
University of \•Varwick
13 T he ::VJ uses and their Arcs 365 JAN Hu THE rt ro RD, Professor of Greek at the Univc.:rsity of
PIJNELOPU :VJUF<HAY
Rending
Ev:\ STEHLE, Associate Pmfcssor of Classics at che UnivcrSity of
Ribliograpl,.y
390
ivlaryland
lude.v.
,1.31
Ron EH T \V. \:V' AL LJ\ c E > Professor of Cla~sics at Nortlnvesten)
L niversity
PETEn \VtL$0N, Lecturer in Classics itnd Fellov,• of i\'e,v
College, Oxford
V CTO n 1: \ \:Vo H L> Atisocim<.: Professor of Classics Ohio State
1 iH
University
l.iu of lllnstraffrms
8. Attic red-figured llmphorn (,:.480) with
List of Illustrations
concert !?ilharO-idos. i\4oscum of Fine.A.rts,
Boston; John ivlichacl Hodoc~rn,chi Fund; 26.61.. 283
9.
Red-figured vol<itc-krntcr (late fifth century)
showing the satyr IVfarsyas pfnying the kich~ra in
I.
The remains of the khoregi<: monumenl' of
front of Athena~ Apollo observes from:., reclining
A tnrbos, with two groups of four p)'·rrhicisrs
position to rhe 1·ight-hand side. Ruvo,
on the right-hand block. Athens, Akropolis
:Vluseo Jann 1093. 286
:\1fuseum 1338. 98
2. An /·\ttlc black-figure skvphos fro,n ''f'hasos
(l'.520il0). Thasos 275059 (Ecole Fn1n,aisc
d'Athencs, neg. 33.823) 99
3a and b. An Anic k~kychos with pyrrhic satyrs
(c.490-4$()). A chens, .\fotiona I Archacologica I
!Vluseum 1856i = ABV 522, 20. 109-10
4. An Attic p<:like (c.500) ,v(th an 1H1los-pl;1y<:r
~ind a pyrrhic dancer, arrnng<:d around a centr,11
folding chair with c/J/amy.)·; *lnd il goat on the for
left-h,md side or the image. Sort i·\ntonio i\·lt1S<.:um
of Art 86.134.1.57 = l'ara. 25i . ·1·12
5. ,.1.\ red-figured <~.up signed Uy Euphroni,)$ (c.520).
One of chc external sides shows the rcmov;ll of
the body of S:irpedon by Acam~1s, Hypnos, ;1nd
Th~mntos. On 1hc other, the cc::ncral space i$
occ.;upied Oy nn :lulos-pl*lyer· r~1dng (l JJynhic dancer,
both fnHned by an onlooking you nu mnn dress<:d
in a long hi·mali<ni with tl flower (lefl); ;ind
a woinan, also wich a flov,rcr (right). ex coll.
~<.:Ison Dunker Hunt no. 58, Sochcbv's, Tlw :V,?isou
Hw1/,er l'l1t11/ C,;lleclio11, New York 19.6.1990. 114
6. T he 'Pronon1os> v,1sc, an Attic red-figJ11·cd
voh,te-knner (t.400). found in Ruvo di Pugfot.
.'.'laplcs, 1'" rional '.VJ oscum 1318(). 211
7. Pt,estan bcll-kratcr by ,Assteas {rni.d-founh
century) with a S<:ene from ;1 comedy (Eupolis'
Demo£?) in \vhkh the hitlrnrr)t'dos Phrynis, still
holding his instnn11<.·nt, is being drnggcd off by chc
Atheni*ln genc::rnl j\:[yronid<.:::i. Salerno, l\:Iusco
Provincial<: Pc 'I 812. 245
Lisi oJ JlbbJ·eviatious xm
LS,1/vf F. Sokolowski (<:d.), /,ois sacre'cs. de l'/1sie :.liine1,ae
(Pnris, I 9SS)
List of 1-\bbreviations
LSCC F. Sokolow::.ki (ed.)> Lois sotre'es d,:s d1eS grecqm,s
(!',iris, 1969)
1,SS I<'. Sokolowski (<:d.), J..ois sal're'es des til<"'s f(recques.
S11p1,leme111 (Paris, 1962)
J.
.4 /3 f/ Uoarc.hn,m, llthenian BltJch Figure Vases (Oxford
i\1J, H. Meiggs and D. Lewis, A Sdtcclim, of G,·eeil
and New 'Yol'k, 1974)
J. J3ci1~l(~y~ Alli(; Re<I-Figure Va~·<t Pt}inu rs, 2nd edn. His/oritol J.11s1:rip1io11s 10 the lf-11d of the Pi/th Ce11lury
B.C. (Oxford, 1969)
(Oxford, 1963)
CAH <.:0111/>ridge !11tcic111 H;.,u,ry, 2nd edn. (1961- ). Por(I. J. Beazley Parali/>"melf«: Addition., to ii I.lie
Blac/,. . Fi_qure VtrSl?-Paintet·s 1md lO Attic Red-Figure
Cl/JI Carpus det. iuscripti<Jus de Delplws, '/'(inW I. Lois
S<)<:rc'es e1 rCf(lcmcnlS religieu.x, ed. G. Ro1.1g1.':H10nt Va.,e-Pai11ier.,, 2 edn. (Oxford, 1971)
(P;H·is, 1977) PLC T. Bcrgk (ed.). Pael.ae Lyrici Graed (Leipeig,
Cl/, C<Jrpus Jnscrij>timmm Latin.arum {I S63- ). 1914- 23)
CV/1 Co,pns Vasorrnn /lutiquorum (P:iris ;;md cltiC\\•hcrc, p;wc D. Page (ed.} l'<>etll<' :Hdici Grar<:i (Oxford, ·1962)
SEC Suppl~~meutum EpiJ;rts/>hicuw G,'fu:cwn (A1nstcrdnm)
l 922- )
L>AA A. Raubirschek, Dedicntions fmm the Athcuitm SJC3 \·V. I )ittenbcrgcr, Sy/loge .lnsrriprionum Graet:cuutn
/lcropolis (Cmnbridge, lvhiss., 1949) 3rd. edn. (Leipzig, 191S -24)
D:V/> H. Cancil< und H. Schneider (ed$.), Der ne11e Poulv: SLG D. Page (ed.)> Supplcmcutu.m Lyricis <Jracl'is
E11zyklopiidie der Antike (Sruttgart, 1996- ) · (Oxford, J 974)
FD Pnuillcs d< /)tdpl,es (P:1ris, 1906- ) SOD Demetrius of l'halern.nt: Texl, Translatio,, ond Dis
FGrl·I F. Jacoby (ed.), Die Frag111<,11te der gried1ische11 cus;ion, ed. V/. J.:>ortenbaugh *lnd E. Schlitrumpf,
Rutgers Univc.rsity Studil:S in Clnssical l lumanlci<:s,
His1oril,e-r (Berlin ,ind Leipzig, I 923- SS)
vol. ix (New Bn.u)swick and London)
Ff-IS &C; \V. Fonenb,mgh, P. Huby, H. Shaq>les, and
Suppl. 11el/, H. l ,Joyd Jones :-md P. P~lrsons (eds.), Sut>J>lememum
D. Gut<lS (eds.), Tl,eophraslut. of Erc:w.~. S<Jun:esfor
1-Jellenisticwn, 'J'cxtc t:md Kommentnrc no. 11
hfr, l....i.fe, FVritiugs, Thought and lnflrumce, 2 vols.
(Berlin 1983)
(l.eiclen, 1992)
TC 1'rGF 1 B. Snell, correCt(;d :md nugmcntcd R. K:mnicht
F. Halbherr ,ind lvl. G<1>1rducci (eds.), ./11scriptio11es
(ed.), Tragicorwn Gr(letonm1 Fragmeuu,, vol. 1:
Creticae (Rome, I 935- SO)
Didascalit)C Tragicne, Ca1,,logi Tra{,,.'1corum el 1'n)
JD i'llSCnj>Jions de. Dtlos ed. F. Durrlwch ct ~,I. (P:1ris
1 1 goedirwwu 'l'e:;tim()ni(l et J•'ragm(mU1 Tragitx,rmn
I 923- 37)
:Vli1101·1<m (Cottingen, 1986)
JEG !vi. \Vest (ed.} iambi el t:legi Graeci, 2 vols. (Oxford,
1971)
f(; lnscrip1io11es G,·oe<:O< (Berlin, l 9.13- )
/Priem: Die luschriftt?n •von P·ricme> ed. F'. I liller (Berlin,
1906)
1(.-A. R.. f{;lssd ftnd C . ..:'\oscin~ f>oe1ae Comid G,-oeci
(Berlin ,ind New YO l'k, 1983- )
LJ!VIC L1::)..:ico11 ft:<n10graphicun1 )1,1ytholagicw Clns$itae
(Zurich, I 981- )
Introduction: l\llousihe, not lvlusic
Penelope Aflln·fiy and Peter ~iii/son
'l\Iusic .-md the :\·1uscs: the cultu1·c of 1mm$·ihe in the classical
1
Athenian ciry': our titl<: js designed to shovv dut this is not a
book about nn,sic in the rnvdern sense, but :)bout mouS-ih.e, tlwt
l11,ion of song> dM'lce, and word co \Vhich th<.: )/h1sc~ g~1ve their
n,m'le. :Wousihii, the re;llrn of the ~'lu$eS, lies :1t the very h<:;1rt of
Greek culture. and is in<le,~d contcnckr for the closest term jn
~1
Gre<:k to our (polymorphous) 'clilturc'. Yet it is'°' s,Jh,iect which
has bHgely bl·cn 1lpp1·oached in 11 fn1gmentary, :1to1n istic manner
or conrjncd to abstru::;e specialisms and antiquarian .itt..:mp,s nt
reconstruction.
ln its com1noncst form, mousil~e rcpre~ented for the (]reeks
a seamless c01nplcx of instrumental music, poetic ,vord, ~md
co-ordinated physical movcn1ent. As such it cncornp~lssed ("l v~lSt.
array of perfo1·nrnnccs, from small-s<.'.;1lc encerrninmcnt in the
private borne to elaborate festivals in which ~n entire f,Q/is was
involved. ,1:1ousil<evvas endlessly variegated, rich ser of cultural
~lr)
pr~ct.ices, with strongly marked rcgion<1l traditions that n-1ade then,
a v:1h.H1ble item of loctll self-definition as ,veil as a means for
exchange ,md intcn,ction. Tt also displays a markedly self-reflc.ctivc
e'lt:.mcnl, a concornitrlllt disc<>ursc nbout those practices: thus
heroes> gods, ;md n.1rnuives of numsi/::e ahvays loomed k1rge in the
realm of myth, rhat most ,)')allec1ble fon11 of Greek creative and
reflective discoul'SC. 1 And it 1nr1y well luwc been the very first are.1
of Greek Clllturnl practice thm 1>roduccd ,nore or less sysccmatic
descriptive and explanatory nccounts of itself: µ.0W1.,KT) seems to be
the first of the <teklmai' nouns fonncd in -uol, reflecting its early
conccptu;llization as a craft with established pracc.ices ,md prin
ciples. In short. musicnl <rheory' w11s apparent(~, born ,vith mousihe
itsdf, ,me.I the persistent scholad y h:abit of loc.acing its bcgi1,oings
rnthcr in the J-lellcnistic period (Mld in p;lrticuha with rhe activities
1 <.>o (0\1:si.:;:11 myth ;_;.cc c,t.!, Aben (1910): Jtes1M1i (1995) with l\u·thcr biblio~
rnphy ,it.:d tlu:m;; I .;UH.k l$ { I 99()) 14:-i-(>2; Caiai,klo (2000) from an i¢()1)l">f,;'l'~phict,I
l)(;rgpc<:t ivc.
2 .,
Penelope :Hurray mu/ Perer T·Vilson I 111 rodut:1 fou •
of A l'istoxcno$ of 1":-ircntum) reflects il narrow vie\.\' of whac counts of this divine medium consol'ted with kings and tyn1nl'S on some
.as musicnl thinking. 2 thing approaching an et.1u~I footing: the gr<:;H war-lord of cl;i~sic;1)
:.11ou:dkiishtipcd the w11y indiviciwlls ,ind communities liv<.:d and \\.'e~cern Gn::(~ce) llic:ron of Syracuse, engaged Pindar, B{lk.khy
soughr ro reproduce 1hctn::;clves. 1t was a m<:diu1n thro~1gh ,vhid) li<..lcs, nnd Aiskhylos jo Ml orgy of mousihiF desjgn<..:d (among other
ideals <>f bchowimir ,vcrc dew::lopcd <.md enforced-the morality of things) co bem1tify the brutnli.cy of his t·lctivitie$, which induded
individuals and collectives, notions of proper or ide;1J corpore,ll ethnic cleansing nnd forced migration <>r1 H grand scale. 7 Even so,
types, politic:11 principles ,rnd pragm;lcjcs. Consid<:r for in$1;11)cc.' th<: poet t·oulc.J mobilize rhe power of nunuikeco ac:1 as :.'.t <..:ontrol on
1:he ,vay the /\du,dians sou,g-ht ac1ivcly co mould their nHtional the megalomi,rniac: 'no lyre~ in banquet h~Us wcJcome him l\:iz the
(:haracter by rnc,ms of rtl(msihc. frxing it at ch<: heart of cheir polici<':(JI bad tyrant] in genrle fellowship with boys' voices., (Ol. 1.97-8).
life (st<; r1lv OArw 'TTe>A1..7i.:Lco, 7ilv µ.Ol.Xrt1<:l)11 '1To.po:X.cxf3r.iv Polyh. And this prestige 11nd so<:inl p()wcr of mousihoi di.d not ,vither <lway
4.20.7) Their state-rondccl programme of soci,·lliiacion on a grand with the classical f)(:riot.l, ;;1::; is sometime~ SuJ)POScd. 1t is becoming
scak: included n1mdcal l't·ajning for m::1lcs uncil the age of thirty, increasingly ck::)r th.it ,malogous negotiatluns of power contin1,1ed
demanding instruction ,md (l(;n1onstraclon in instrumenrnl per throi.:1ghout th<..· hellenistic and hH(~r periods berween gencrnls,
fonn,111ce ;)lld dance ;is wc.:11 a::; voc~I cxpertisi.~.J T he.~ centr;ilirv of kings, and <.:rnperors cm the one hnnd and thos<: cnnny musicjans,
,m;usikt to Greek notions and pracrices of paidcio t.krnonstn\t<:c'i by evcnt-org~nizers, nnd ili'>}lgc~1uakers who forrn<.:d thcn>sclves into
the Ark;ldi11ns is reflected at the thcorctic;.ll k:vcl bv P(Mo>s use of po\1o:ed\1( nssod;1tions and operated on H wide intern.ltionnl scen<.-
mous£f?C in the La1.t•,1o> where thc ideal cicy is cffec1'i~·ely to he sung the Dionysiac l\rtists.
and dt-mced inc<> cxisrenc<:. · To delimit the poten1i;illy vost tcrrnin for the CXJ)loration of
;\:lousihewns also •• vital medium through v,:hiclt societjes <:r<..·ated mousihe we have focused m<linly on classical Athens. This choice
:ind related to their past: one need only point to the <,hsolutely of time and ph1ce is not simply determined Uy the fact that it is
<..'entral position ocn1pied by the ;letiologici)I reflex in n1usical for Athens that H (relative) abund;lnce of evidence survives. Jt
myth and p1.~rform,mc<:> or sin,ply to th<: parcnrage :)ccorded the is rather driven hy :1 recognition of the special, and in many w11ys
~.,fuses chemsdvc:; by the Greeks, daughters of Zeus ,md i\1kmorv unusut-11, place that wousi/.:e"occupicd there. Fa,nous for its elabor
(A111htr<>sy11C).-1 .
ate festival c;ilendar \>i.·ith its numerous .:lgonistic events, this city
Such parentage for those who Jook over th<! 1·e11Jm of mousihe
provided itself and its many visitors with a more extended fange
betokens not only total and privileged access to the past. I c illso
of ',nusical' :ictiviries thnn any other. Yet classical Athens also
registers the fact of 111ousike's enonno\1S po\.ver in the world of
develop(:d its musical culcure jn directions not ;lpp;irently taken
n1en. s The victory song-dance pcrfonned hy a hhoros (the e/Ji11i
else,)vhere in G reece. 'J'his distinctiv(:ncss c.in productively be
hiou)- onc of the nrtistic 1>enks of late an.:haic mousiMI-could s<:rv(: related to its political (and sociuJ) culture of dcmocrncy, to ics
the colonial and milira1·y ~hipirntions of cicy-stutcs <lS 1nuch as it massive siie and to its unique position within the wider ,:'~igean
:jerved to pn1ise the athletic achievements of its commissio11crs.<» If
we arc to believe their ovi.'Jl publicity, in the <:arlier period 111:lscers
'
2 l{1wwn major CC>llnnission:;. of Ilic.•ron: O:tkkh. )·..' f,in. +, fr. 20c, :m culwmirm,
:vi..1thicscn (1999; ch. 4 is u rcccm. tx~unplc c'lf 1his habit. Pind. J>yth. I, Pyth. 2, Pinct. fr. l05:1, a l1y/"'r!~J1twM (posi-ibly :lll l'o1· the charit1t
~ P<ilyb. •l•.20-1. The fu1)~tional incerpn;tation is 1h~11 of Pol;•hi,)$ himself, wlh) ;)i; vict1>ry ;1.1; the Pythiu of +70: Gcn1ili ct al. (19\JS) 43-'i}. Pintl. 01. l. llnkkh. E,r,in. 5
~• i\:kP.'fll(>(>o)itnn :1lrnos1 ccrrninlr ..:xpc1foncttl it ni ri,·:i1 h;mJ. Sec Vis,x>oti (l')I)<)} (for lhe ho1*c-r:-)<:C ~)I Olrm1)fr1 in 47(1); .U<1ldd1. Epi11. 3 (for chc chilriot•n:ice ,1t
68;7 3; Stehle (1997;! 6; Kowt1b-.ig io this volum~. Olympia in 46X). ()1h<;,·s: AiskhrJos Aitmtfr,i •m, :i.n augUl'y of JWOSJ)erity for those
,; H<.~. TJw,.f{. $4-, I. Sec U<1rl.cr ( I <J<J4); t11.!m Vto~.-.m (196.5) ch. 3. who w~,·e \11\itiug in the scttlcmc,,1 of 1he <:i~y·: Lift qf AisJd1yfoi:; er. Douuhc:ny
· ;'Joce the hicrn,·,:;hr (If pow(:r implied hy 1llt: l1mmiric N,rn1,1 25 (:Vluses, Apollo): ( 1993) ch. S; Pind. Pyrh. 3 perhnps rd:ttcd tc'l ~m uni-occcssl'ul 1.m1rr ;lt the Pythia of
<"u>idoi ,rnd Mtluui.<1tri de1·ive their wordly (k'll'l xtiovl) m1rhol'ity from 1hc THuSl\S im<l 47+: Pind. frr. 12•1c.l- 126: :m mlum,i,)n; <;f. t,lso Pi111l. iVem. I nnd 9, for Hie1·<,n's
A1wllo, wliifo kings rcccivl~ 1heiri. from i~us. <;<>mrn;lndcr f{hromi,·>ii. h<'11h <;;l$C$ Cr<Jwncd ~s 'Aimaifln' al\d so ~ftt,· :ll'ld renect
i1)
'' Scl~ nvughc:rtr (1<)93): also C<Jfo (1992); l luhh::wd (1992). int his t11)p()in1 inent Ht-g,,\·c.·rnor of 1\itna in 4i6. I .ur;lglli ( l 994) 3$4-68.
4 Penelope ;\:/,ar11y and Peler 1,f/ilson Int rodurl ion s
8
,;vorld. 'T'hc fott chat Athens bcca1T)c the dominating c<.:ntrc of .lnd 'new' visjons of /J<ridtio, and of uunuih;; a::; a co1·c clen1<:nt of
perfo1·rrn1ncc over the course of the fifth century, a place to which paideia. 1·'he ethical ;lnd edu<.;,1tional aspects of ...\. thcnian 11w11iihC
poets, rnusicians, acmrs, and spccnnors frorn nll over and beyond and its moment of major· eris.is- arc anoth<.:r <.:.entral concern of this
the Greek 'iNOrld gr;wirnted, also n1Mfc of it .a place or vibr<int book (l'llr< IV).
critical reflection and ext.~hangc, \Vher<~ rhe thcoretic*1I analysis of Paideia and th<· politi<.:.al sphere are never for ,lpart> ~nd one of
mousih.lJflourished in ;)I) intellectually heterogeneous environment, the core aims of this volume is to explore the relations hctw<.:en
alo1)gside tm.d in active competition with other trends ()f so<.;i;ll .and m<msike and politics in Athens. 'T'his w~lS a sociery of \;,,.•hich PIMo
phiJosophic:·11 thought.9 ~l'his coltun.: of criticism .-.lso rook phlcc ar could ;lllegc th<H a 'd<:mocnHiz~nion' of musical prnctice hnd .lCtu
the prim:1ry level of perfonn.mcc, for the scrong thread of self~
all>· Jed lo the incre.lse of clemocnltjc liberty (Laws 701.t-b), and in
aw,weness nnd reflection on its corH<:xts of production :ind socinl which r, lc?lding theorist of 111,m.<:ih;;, friend and adviser of the most
;.l
effects th.at characterizes all periods of Greek poetic <.:ulture """ti powcful man in chc.:~ city, w,1s ostn1cizcd for his musico-politicnl
especi;l1ly virok:nt in the musical C\1hurc of Athens.
nctivities (ns \V,..llace argues here). A fas<:inating but curiously
:.l1ousil?li is also <lt che he~lrt of Greek religion. Not only ,vas thh•
n<:glc<:t<~d ;irca of Athenian uuru.tiht', in which major issues of int<:l-
terrain the provi1)Ce of a special and in mHny ,v~ys mystel'ious
1<:.ct1rnl, politjc;1)> and sociH) debate intcrwc:1vc, receives serious
group of divinities, the .·Wr,ust1i thcmticlves, but the pnl(:tkes
treatment in this volume for the fil'st cime (fr<nn Cs~po; sec ,1lso
of v,.,ere also a signjficanc- indeed cn;ici::ll- co1nponent of
111.()rt:iike. Biu·ket nnd \Vilson)- thc so-cfillcd <Nt·w l'vlusical .Kevolution'.
worship: frorn the simple inst1·1.,1rnentol n1utiie that accompanied
T his con1plex :;et of c1<:velopme1Hs, <)t the level o( rnusic,11 pri1cticc,
every $:lCrifice (cf. Hdt. 1.132.4) to hym1)S o( greater or lesser
jnstru1ncornl and economic resource, and perfonnnnce conditions>
complexity, to efaUor.1te chor..ll pel"fornHlnccs (paeans, dithyrnl'nbs,
generated immensely heated interventions f.ronl partis~1ns •·md
prosodia> pltrtheneia, and so on) and the hyper-s<,phistit.':ation of
critics rllike. i-\nd yct no compr<::ht·osive scudy of its profoundly
<.'.omie and tragic dran1:1 for Dionysos. 'T'he deeply rnusicHI and
ideologized character and ::;ociological ~ignifica.nce h<lS hitherto
pedormative dimension of Greek religion has n1rdy been an,..Jysed
been }H t<:mpt(:d. 1t ls possible to r<.:~1d the. major ,vorks on Creek
in irn own righc. lt is a !'ecorrent the.me of this voh11))(: }°Ind the
rnusi<.:, as well ;ls much of the current scholarship o.n the 'J)ew
1
central <.:oncern of its first set of chapcers (Pi•rt l; :::H:c also Stehlo1)
mu~icians' themselves. \'.vicho\H· being required seriously to engage
}l:lousi/~f[nrther encompassed a large pare of wh}H we \.vOuld c~ill
wi1h 1-he questjon of wh:1t mndc this 1nusical revoh:1tion so
Greek 'educMion', or more b1·o;)()Jy1 socialization (pahtefo). ,..:\. sour chrentening, excitjng find import*lnt--tls if (to use the ilpt compari
glance at the sclf-i1nproving Arkadinns shows, the \VOl'd s of che son made hy Simon Coldhill)- the phenomenon of l"OCk ~lnd roJJ
poets were routinely regarded as containing the ethical :ind moral was best approached through the tuning of the bass guirnr~ or ns
m.lteri::ll suitable for the forrmu ion of cirizens as individuals and though the violence tlrnt erupted i:lt the pre1niC:rc of Stnwin$ky's
colkctives. So too were the p:1rticular tunes and rhythms used to and C'Jijinsky's Le Sa.:r6 du pri11U:t11{>s on 29 JVI»y 1913 sho<ild he
deliver them . .> \ll these were absorbed in contexts of perfonll;lnce. e~p Ia.,ned, u, y r<~ f ercncc to .1ts sc.orin g a Io ne. JO
The fissurns thin secrncd to be opening up in Atheninn society in \Vithout ,my douht the most consJ)icuoos and idiosyncratic
the last third of the fifth century-under pressure of r.-lpid socjHI fe~uure of the m.usici:il culture of Athens is its dc,'clopmcnt and
:md political ch.-lnge, the inteJlcctual revolution centred in the city promotion of drtlma, especially tragedy. Drama hns beneficed most
and the esc,:ilating effects of the clm;scro1)hobic conditions of v,;al' fro1n recent developments in the study of Gl'eek literature as
fam<msly found one of their clearest expressions .in terms of 'old' performance rather thnn literary text, nnd fro1n the excnvation of
ics original contexts (lS> effeccively, a prjze ,nanifcstation of mousike
11
See G(>ldhiU and Oshet1·n<; ( 1999); llocdckcr :\n<I H:i:iO:,~Jh (L 998j; c$~lpo
:md Miller (I 1J<)Sj; \Vl~1$ti (2000); {\ifo,:i~oni (2000): Ct1})JH•, \V:tll:1<..'C, \Vil$vl'I, mtd
Rulllc:rft>rd in this volume. 1o:i Goldhill (J<)991,), l·fordern (2002) s:hows thc degree 10 which the sociul and
~ Sc\' V•/~111:\l'.:l~ (1998); F<.1rd {2002) ch. $; Murrny in this volum\'. idw logicnl imp-0rt.'u)CC of~ 1>t)C1 like Tirno1hcos cominuC$ t-0 cs~ip<· litcrarr critics.
6
Pe11elopt! :Hurray aud PtU!r Uliflm, {nf rr,dut1 .i1m 7
11 ""cl
on r1 gr:md !tcttlc. This volume builds on these developments (P:,n theatrical other rerformcrs, ulONYZIAKOI TEXNITAI
11. sec olso Cs:tp()), but we also aim to bring to ~reater prominence n (1988), is an invaluuh]e \\'<Wk of refcrcuce th;.1t will grendy aio$ist
numh~I' or other pCrfflrm;incc-typt.s thn1 rook pb1cc in che cicy the sociolugicnl study or nncitrH performers and J)Crfonnrmccs.
olongs,de drnm11 (•e<: <'8p<:cially Rutherford on the thcoric khonn, And lllOre l'C.t.:(.'.nlly .Origittc Le Gut n htlS made av:iilnhlc l·he
~cccnrelli on pyrrhic dnncc). ~nd *o to set: dranw as one-hugely difficull corpus or (hugely inl'criptional) evidence rcl;..hnR 10
1m1>0rt~nt--:-derncnt o~l a highl)• \"tlriegatcd rnusical lOJ>0gnti>hy. the acl1v1t1<:s of the 1\$soci(lcions of Oionys>i,c Artii::rn
. Dt$p1te 1ts ccntn1lity, few studi<.:s huve ~,,')proachcd ,ncmsikl! (oL 'IT&pt tOv L\L6vt.'O'ov 7£Xl1lTaL) in her mag~terial TA:$ AsstKin1jn,1$
m the .111anncr pro1>os.ed here. Jtafoin scholarshi,, wi1h irs ~trong <h: tcdwile$ ,Jitmysioques d I ',,>{H>qufl helll11ii1iqu(' (20()1). 14
1
'.·oots It'! culcural makrinlisn,, hns led the w11y in the sort of The t<.·ndency lO\\;irdi,. nromiY.ation in the stu<ly of m1m.'Ulle hos.
mtegratcd culcurnl anulysis espoused: the~ work of Gentili however~ bee.:,, ten,1cious. ll is of (;Ou1·sc hwgcly the l':tct of our hcing
l-'rcta~osti~1i, Comotti, und Rossi srnnds out in partlCular; aoci irrc,·ocnbly sundered fron, the ocoustic worlds of the past that ht-1~
1here 1s cvu.lcntly n younger 14cncn11ion continuing the trndition.12 encouraged the con1inued divorce in our ~tudic~ of the poetic
Claud<; Cf!l!lme'i,. magistcrfrtl l.e:,~ Clu:r.urt cle jeunes fillr.t en Crier wf)rd---as 'lite1"aturc'-from its origintil n1usic, chc hurcr hcing
11rclwi'que ( 1977) pioneered a fully inregratcd approach to 1/HmsU<li, consjg1,cd to rhe rnthcr r<:condite worlds of 1nusicology and recon
especially -~r chornl mousiltC. It also remnins the n10st i,nponant scruction.1s Greek ,nusic 1n the modern sense of ins1n11ne1,wl
practice imd scoring continuC'S to he studied in curious isolation,
Sludy of srwrta r)s a musicnl society, and as such crves ;ls a
8
valuable foil to our focus on .. \thens. Two important volumes of largely ignored by nll buc cxp<.·rl' musicologists ,md orgrnw1ogists.
Another renson for this unhelpful divorce of rnusic from mousik~is
nnglo?hone _schola_rship ~H'C 1..: va Stl:hlc's exemr>lary P,ujonnonce
ll11d Gender III A·11<1e11t Gre«e of 1997 :ind Performo11cr C11/t11rt mu{ co he found in the historical dcvelopm<~nt of mm~ic in the p08t
Enligfurnmenr western tradition, and in its concon,irnnt lccadc111ic
llthe11ic111 Demot:l'f1cy edited by Goldhill ,,nd Osbo,·ne in 19?9,
though the latter udopts the more malleable ,nodern conccp1 of study j" musicology. ft i$ only very recent(~, chm the discipline of
'performance' ~1s ic~ guiding foc.:us and so extendMw c.:11 bevonJ chc musicology acquired a critical orientation~ some decades IHter than
mo:;.;t of the othcr hum*ln :,;;eicl'lces. 'l'he 4:ffecr trn~ hccu to dis
urbit of 111ousiki.. \,Vhat the ~nglophone tntditioo hns ;hove all
cuntrihucecl arc fuod:Hnental works dcwHcd ro the sourtc~ anrl lodge-1·uthel' late in 1he day-n1usic1s sovereign position in the
histor~· of Gree]< music.13 In :1ddi1ion to provld ing the basi<.· (pO$t-)11.omantic iniagin;ttion ns thHt realm of Hrt Ooruing r),ost
marermls and frnmew<>rk for all sul>se<rueot studv or ancienr freely abt>vc ideology. the expression or pure spirit and c.:motior1.
mus~c. these olso lnckle some of 1·hc n,orc daunti1;g aspects of And it hn:,;; sh,Htercd the mirage thm music is little more than m<.m's
~us,cnl the~?' and tt·t·hnical ,n,nten; of imnnJmcnrncion and prnc genius :'lcting upon n phcno1ncn<>n of the nfltural world. At l:li:tt le
ttce. In udd1t1on to thcsv fundurncn111I wodrn then: is 11 soliU and too trns been ~ccn ;ts a cultural S)"51cm, an en1irdy human artifice
g~O\\.·in~ h~dy of dt>cun1cn1ar}' rcsour<.-cs for broadening ~he s1ud}' t)lbeit the one that disguises itself mosc bril Ii antly ns mlturc. fo.11u :;.;ic
01· num.r,MJtnto new 1l1·eas.. 8 tephanis'~ cxh1H1$civc prosopugrilJ)hy of hns been well described by one of the lct1ding lights of rhis
'new musicology~ HS 'the ultimiHc.: hidden pcrsmtdl!r'-hut thnt is
II A t1clcctinn frum I\ \•fl.$1 hibliogr,ll')hr: Taplir, (IIJ77)· \·Vinkl..:r (1990 >) Na.i::,
1
(1J'JO); C11,1tpo mu.I Sl,1h'r (199S); (;n-:cn (199·1); .E,1$ht1lin~ (Jl)IJi)· Fu1il~i~li; , a;l~
11,11 (2l~l2~ ' 11. ' 14
An i1~kp,cndtm full~t1-n1k ~nu<ly c>I tho..: 1el.l111iMi i11, til~o 1)1'muised by Ao,. .1 ,iri:
i;; (;~ntili (t9~HJ~: G.ontili ru\t1 Pre1:1Jtostini (1988); (:1:ntili :ind P..:rutioo (199$); $cc- An~in (1997) A rm,h« (kn'~ro1N1t1 "-'OUltl he a t.flllccrklfl ,,f tht- c,•idcnct' for
(',,1~lo111 (1989a): C~s~11), .\'h,s1i, Hns:s.i (2000). 'J'h~ 1.111..:r include$ wo,k of )'fuil\ger olh'!r inui,i..:nl :'l!lliU<:iatiou~ a,,<l p..;rformmu.;eA rh11t hrmq;lit 1ht Stud~· 11( l'al.md
hnlum,v 6·C hoJ.:irs; h.-c ;lf!lO C«car..-lli .(1 998);, lteA1:ini (I !195) . (1'}0'1) up lo) datlj,
i l . 11lnmgton.to,;trnrn (11tJt.); H:lfl<cr (19::t•I). {J9H\I); W'1,11 (l992u): Aodl.'•'t!(•n 11 'IM cnrl~· com:l!('lm;1I ff(X'lf,1tfun oi l1t1;r.uurt· from n'K~ d11.'""t"net ch,~, uu<l,-· .
( J 994). l"(• .1lso J...andds ( 1' J99J :.nll i\,fa1h1,.:sc1"1 ( I <J99) in the ::,,n,c tradition. :Vfontion • rhc Ml)hiMii w(:1·,•l' .u_,f, .i .trenr irn(,,wrnn<:~ i,; thi:. u•.1<11rd: H1•nncilCl·i (2001) I <H; s('t" .,1,o
~f'l<lt1IJ ~llw be 111:h:Je h~,~ of tM work b)· A. Udr.,,. t\\'H\ Fa1-d (2U()l) 4.