An early fifth-century Athenian revolution in aulos music

Harvard Studies in Classical Philology

Volumn 101, Issue , 2002, Pages 73-92

  Wallace, Robert W ^a  

^a NORTHWESTERN UNIVERSITY   (United States)

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EID: 70449794543     PISSN: 00730688     EISSN: None     Source Type: Journal    
DOI: 10.2307/3658525     Document Type: Review

References (75)

1. Thanks to Peter Wilson, Timothy Moore, HSCP's editor, and its excellent readers for comments on this text. Rich in ideas and also bibliography, Peter Wilson's essay "The aulos in Athens," in The Performance Culture of Athenian Democracy, ed. S. Goldhill and R. Osborne (Cambridge 1999) 58-95, is in many respects complementary to the present discussion. I am grateful to its author for sending me an advance copy
2. Is this Phrynichus the comic poet? So, e.g., B.F. Grenfell and A.S. Hunt, The Oxyrhynchus Papyri XIII (London 1919) 146, and K.J. Dover, Aristophanes Clouds (Oxford 1968) 215 ad loc
3. D. Holwerda, "De novo Chamaeleontis studiorum testimonio," Mnemosyne iv 5 (1952) 230 n. 2 (the Peripatetic Chamaeleon knew of a different tradition about this poem: see next note) and Prolegomena de comoedia scholia in Acharnenses, Equites, Nubes, Fasc. 3. 1 (Groningen 1977) 185 ad loc
4. W.J.W. Koster, "Ecce iterum Chamaeleon," Mnemosyne iv 6 (1953) 63
5. On the tendency of ancient biographical traditions to confuse fathers and teachers (including our example of Lamprocles' Midon), see L. Lehnus, "Scopelino 'padre' di Pindaro," Rend. Ist. Lomb. 111 (1977) 78-82. Nothing else is known about Midon
6. Dover, Clouds 215, also setting out the variants and different attributions of this verse
7. See also G. Arrighetti, "II POx XIII 1611: alcuni problemi di erudizione antica," SCO 17 (1968) 85-89, and Page PMG p. 379
8. Despite Abert's suggestion (RE 12 [1924] 587
9. the possibility is countenanced, apparently independently, by D. A. Campbell, Greek Lyric IV, Loeb Cl. Lib. 1992, p. 321), there is no justification for identifying Lamprocles with Lampros ho mousikos. Lampros is said to have been the teacher of Sophocles (Ath. 20f) and was regarded as "highly reputable" (eudokimos, along with Pindar, Pratinas and Dionysius of Thebes) by Aristoxenus ([Plut.] De mus. 1142b = fr. 76 Wehrli, see also Nep. 15.2)
10. G. Else, " 'Imitation' in the fifth century," CP 53 (1958) 89 n. 55 (contrast J. S. Morrison, CQ 5 [1958] 205 ["all quite plausible"]). Lehnus, "Scopelino" 81, conjectures a late fifth-century source, possibly Damon, for these and other musical relationships. However, no written work by Damon (if he wrote anything) seems to have been accessible after his lifetime (see R. W. Wallace, "Damone di Oa ed i suoi successori: un'analisi delle fonti," in R. W. Wallace and B. MacLachlan ed., Harmonia Mundi. Music and Philosophy in the Ancient World, QUCC Suppl. 5 [1991] 32-45, esp. 42-45). For a different suggestion concerning the source of these statements, see next note
11. On the doubtful value of ancient claims of student-teacher relationships and the possibility that such claims were narrative metaphors for hypotheses of influence, see J. Fair-weather, "Fiction in the biographies of ancient writers," AncSoc 5 (1974) 262-263
12. M. R. Lefkowitz, The Lives of the Greek Poets (Baltimore 1981) 128-133
13. and below. The views of the harmonikoi as recorded in PHibeh 13 (see Barker, Musical Writings I, pp. 183-185) are close to those of Damon (see, e.g., W. Anderson, Ethos and Education in Greek Music [Cambridge, Mass., 1966] 149-150
14. Blass believed that Damon himself was the subject of this text: see B. F. Grenfell and A. S. Hunt ed., The Hibeh Papyri, Part 1 [Oxford 1906] 45-46)
15. See M. R. Lefkowitz, "The Poet as Athlete," SIFC 3.2 = 77 (1984) 5-12
16. C. del Grande, Espressione Musicale dei Poeti Greci (Naples 1932) 86-101
17. E. Roos, Die tragische Orchestik im Zerrbild der alt-attischen Komödie (Lund 1951) 228-229
18. M. L. West, Ancient Greek Music (Oxford 1992) 34
19. W. Anderson, Music and Musicians in Ancient Greece (Ithaca 1994) 149
20. For the Peloponnese, see esp. Clonas of Tegea ([Plut.] De mus. 1132c, 1133a, 1134b, Poll. 4.79)
21. For the aulos's Spartan associations, see Roos, Orchestik 219 with reff
22. H. Guhrauer, "Zur Geschichte der Aulodik bei den Griechen," Progr. Waldenburg 1879, provides a brief survey of these early figures
23. 2, rev. T. B. L. Webster (Oxford 1962) 17-20
24. I hope to consider Lasos in detail in a subsequent publication. For preliminary remarks see R. W. Wallace, "The sophists at Athens," in D. Boedeker and K. A. Raaflaub ed., Democracy, Empire, and the Arts in Fifth-Century Athens (Cambridge, Mass., 1998) 212-213
25. See schol. Pl. (?) Alc. I 118c 6 and Vit. Pind. Ambros., quoted earlier in this essay
26. see also D. A. Campbell, The Golden Lyre (London 1983) 183-184
27. Pind. Vit. Ambr. I p. 1.2-5, 11-15
28. For Agathocles, see n. 6 above and Lehnus, "Scopelino." Apollodorus is otherwise unknown
29. Lefkowitz, Lives 59-60
30. Barker, Musical Writings I, p. 59 n. 20
31. and other sources listed in H. Huchzermeyer, Aulos und Kithara in der griechischen Musik bis zum Ausgang der klassischen Zeit (diss. Emsdetten 1931) 14 n. 57
32. For the myths about Marsyas, see B. Leclercq-Neveu, "Marsyas, le martyr de I'aulos," Metis 4 (1989) 251-268
33. See A. Köhnken, "Perseus' Kampf und Athenes Erfindung," Hermes 104 (1976) 263-265
34. On Pindar's use of the myth in Pyth. 12, see C. Segal, "The Gorgon and the Nightingale: The Voice of Female Lament and Pindar's Twelfth Pythian Ode," in Aglaia. The Poetry of Alcman, Sappho, Pindar, Bacchylides, and Corinna (New York 1994) 85-104
35. On the aulos in this text, see B. Gentili and F. Luisi, "La Pitica 12 di Pin-daro e l'aulo di Mida," QUCC 49 (1995) 7-31
36. This may be significant in the present context even if Corinna was not an early fifth-century poet but Hellenistic and archaizing. See M. L. West, "Corinna," CQ 20 (1970) 277-287 (3rd century B.C.)
37. and C. H. Segal, "Pebbles in Golden Urns: The Date and Style of Corinna," Eranos 73 (1975) 1-8, Aglaia 315-326 (perhaps inclining toward the late 3rd century)
38. (In Camb. Hist. Class. Lit. I Gk. Lit. [1982] 240, Segal remarks that the question "remains open.")
39. See F. Frontisi-Ducroux, "Athena et l'invention de la flûte," Musica e Storia 2 (1994) 242
40. Some of these developments are briefly discussed by Schneider, Flöte 37
41. Huchzer-meyer, Aulos 57-63
42. and B. Zimmermann, "Überlegungen zum sogenannten Pratinas-fragment," MH 43 (1986) 152-153
43. Cf. Barker, Musical Writings I, pp. 93-98 ("The musical revolution of the later fifth century"), not however focused on the aulos
44. See T. B. L. Webster, The Greek Chorus (London 1970) 132-133
45. J. Boardman, "Some Attic Fragments: Pot, Plaque, and Dithyramb," JHS 76 (1956) 18-20 (with further references)
46. e siècle (Paris 1951) 58-68
47. A. Stewart, Greek Sculpture: An Exploration (New Haven 1990) 147
48. See also Roscher, Myth. Lex. S.V. "Marsyas." Metzger notes that these Marsyas scenes were especially popular in the last quarter of the fifth century
49. West, Greek Music 357, ca. 440-415 (West's terminal date is presumably supplied by the destruction of Melos, Melanippides' native island)
50. R. Seaford, "The 'Hyporchema' of Pratinas," Maia 29-30 (1977-1978) 84-94
51. and Zimmermann, "Pratinasfragment" 145-146
52. A. Barker, "Heterophonia and Poikilia: Accompaniments to Greek Melody," in Mousike. Metrica ritmica e musica greca in memoria di Giovanni Comotti, ed. B. Gentili and F. Perusino (Pisa and Rome 1995) 46-47, shows that in part "Pratinas" objects to the aulos playing heterophonic notes which are "obtrusively different from those proper to the melody."
53. see also H. Lloyd-Jones, "Problems of Early Greek Tragedy: Pratinas and Phrynichus," Cuadernos de la Fundación Pastor 13 (1966) 16-18 (repr. with minor updates and changes in Greek Epic, Lyric, and Tragedy. The Academic Papers of Sir Hugh Lloyd-Jones [Oxford 1990] 227-230)
54. Webster, Chorus 132-133
55. For the earlier dating see, e.g., Picard-Cambridge, Dithyramb 65-66
56. Seaford, "Hyporchema" 81-84
57. For his change from aulodia, see Souda s.v. Victory in Panathenaia: schol. Ar. Clouds 971. Bendings: Ar. Clouds 971. Extra strings: Poll. 4.66, Plut. Agis. 10, Plut. Inst. Lac. 17, Ion fr. 3 B, Proclus Chrest. 320a
58. See also Barker, Musical Writings I, p. 94
59. Pherecrates' Chiron (quoted below)
60. Ath. 636e, Plut. Inst. Lac. 238c-d
61. On the text, see G. Comotti, "Atena e gli auloi in un ditirambo di Teleste," QUCC 5 (1980)47-54
62. O. Taplin, Comic Angels and Other Approaches to Greek Drama through Vase-Paintings (Oxford 1993) 70-71
63. For the aulos in sacrifice, see J. Haldane, "Musical Instruments in Greek Worship," G&R 13 (1966) 98-107
64. For the sounds and emotional effects of the aulos, see West, Greek Music 105-106
65. See Aristid. Quint. 91.27-92.3 W.-I., Iambi. De myst. 3.9, and contrast Ath. 184e. Plutarch tells of a party he attended that got seriously out of control because of aulos music (Quaest. Conv. 704c-706e)
66. See F. Zeitlin, "Thebes: Theater of Self and Society in Athenian Drama," in Nothing to Do with Dionysos? Athenian Drama in its Social Context, ed. J. Winkler and F. Zeitlin (Princeton 1990) esp. 144-150
67. Huchzermeyer, Aulos 47-48
68. See I. Kasper-Butz, Die Göttin Athena im klassischen Athen: Athena als Repräsen-tantin des demokratischen Staates (Frankfurt a. M. 1990) 184
69. Compare Plut. De Alex. fort. 334b: Ismenias played before the Scythian king who rudely and ignorantly swore that his own horses sounded better-presumably when farting
70. See R. W. Wallace, "Speech, song and text, public and private. Evolutions in communications media and fora in fourth-century Athens," in Die athenische Demokratie im 4. Jahrhundert v. Chr. Vollendung oder Vetfall einer Verfassungsform?', ed. W. Eder (Stuttgart 1995) 210-212
71. See, e.g., G. F. Brussich, "Un auleta del IV sec. a C: Timoteo di Tebe," in Mousike, ed. Gentili and Perusino, 145-155
72. T. Reinach, s.v. "tibia," in Daremberg and Saglio, Dict. antiq. 5. 321-322, 329
73. and see West, Greek Music 87
74. On the disappearance of early fifth-century classics by the end of the century, see G.Nagy, Pindar's Homer (Baltimore 1990) 107-108, 112-115
75. On "ant-crawlings" associated with Agathon and new music, see Ar. Thesm. 100 and Barker, Musical Writings I, 95 and 109 n. 39