Relevant bibliographies by topics / Greek and Roman Music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Greek and Roman Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Greek and Roman Music"

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Ascher, Leona, Rosaria Munson, and Giovanni Comotti. "Music in Greek and Roman Culture." Classical World 84, no. 3 (1991): 233. http://dx.doi.org/10.2307/4350770.

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Solomon, Jon, Giovanni Comotti, and R. V. Munson. "Music in Greek and Roman Culture." American Journal of Philology 111, no. 1 (1990): 109. http://dx.doi.org/10.2307/295266.

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Moore, Timothy J. "Music in the Time of Vergil." Greek and Roman Musical Studies 6, no. 1 (March 22, 2018): 51–60. http://dx.doi.org/10.1163/22129758-12341311.

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Abstract The twenty-eight papers delivered at a symposium entitled “Music in the Time of Vergil”, sponsored by the Vergilian Society in June 2016, suggest a number of areas where promising research can continue to be done in the field of Roman music. These include the Realien of Roman music, the role of musical imagery in Latin poetry, Greek elements in Roman music, Roman attitudes to music and musical change, musical responses to political developments, and the influence of Rome on the music of the modern world.
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Klavan, Spencer A., James Lloyd, and Harry Morgan. "New Voices in Ancient Music." Greek and Roman Musical Studies 7, no. 2 (August 20, 2019): 342–45. http://dx.doi.org/10.1163/22129758-12341354.

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Abstract This report provides a conspectus of the nine papers presented at ‘The Graduate Workshop in Ancient Greek and Roman Music’, held at the University of Oxford in June 2018. The workshop was organised with the intent of showcasing the innovative work of postgraduates in the field of ancient Greek and Roman music. Based around the themes of theory and practice, drama, and ritual, the papers reflect current areas of focus within the field and suggest promising avenues for further enquiry.
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Laferrière, Carolyn M. "Moving to the Music." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 3–12. http://dx.doi.org/10.1163/22129758-12341375.

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Abstract This paper serves as a brief introduction to a recent MOISA-sponsored panel at the Annual Meeting of the Society of Classical Studies, held in Washington, D.C. from January 2–5, 2020. Three of these papers will appear in the current and subsequent issues as articles that, together with two additional contributions, are broadly dedicated to the theme of music and dance in Greek and Roman antiquity.
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Johnson, William A. "Musical evenings in the early Empire: new evidence from a Greek papyrus with musical notation." Journal of Hellenic Studies 120 (November 2000): 57–85. http://dx.doi.org/10.2307/632481.

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With disarmingly open conceit, the Younger Pliny tells Pontius Allifanus that ‘my hendecasyllables are read, are copied, are even sung, and Greeks (who have learned Latin out of love for my poetry book) make my verses resound to cithara and lyre’ (Epist. 7.4.9). By Pliny's time, Greek musicians (and actors) were widely distributed and organized in a worldwide guild centred at Rome, so it will not surprise us that Greeks are the ones setting the verses to music. But what sort of music? When Pliny went out to hear his beloved poems sung to cithara and lyre, what did it sound like? Or, more generally, what did Pliny, or Martial, or, in an earlier generation, Horace see and hear when out for an evening's musical entertainment at the hands of a Greek troupe? Until fairly recently, we have known precious little. Literary sources give the odd anecdote, such as the reports of Nero's performances, but in general tell us little specific about the content or style of musical entertainment in the Roman era. And sources speaking more technically about music itself lend the impression that nothing significant happened after the ‘New Music’ was introduced in the fourth century BC.
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Bellia, Angela, and Antonella Bevilacqua. "Rediscovering the Intangible Heritage of Past Performative Spaces: Interaction between Acoustics, Performance, and Architecture." Heritage 6, no. 1 (December 29, 2022): 319–32. http://dx.doi.org/10.3390/heritage6010016.

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The relationship between the shape and social use of Greek and Roman theatres has always been overshadowed by the technical and acoustic analyses of these performance spaces. Relevant ruins illustrate the relationship between performance typology, acoustics, and construction development of ancient theatres, which were mainly determined by the requirements of artistic venues. The music in tragedies and comedies, the dances, and the public speeches performed in the same places helped to shape the constructions according to the requirements of the events. In addition to the need to satisfy social and political interactions, the functions of musical performances and public speeches in theatres were maintained across generations so that they organically coexisted in both Greek and Roman times. This paper presents new insights into the relationships between sound and architecture, focusing on the case study of the Greek–Roman theatre of Katane and its evolution through the centuries. Architectural features have been described in terms of the social functions of the theatre rather than as mere results of geometric rules. A brief comparison with the neighboring odeion of Katane and other Greek–Roman theatres has been made regarding destination use.
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MORAN, NEIL. "A second medial mode Palestinian chant in Old Roman, Beneventan and Frankish sources." Plainsong and Medieval Music 19, no. 1 (March 11, 2010): 1–19. http://dx.doi.org/10.1017/s096113710999012x.

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ABSTRACTChants based on Crucem tuam in the second medial mode are examined in Greek, Slavonic and Latin sources. Central to the discussion is the role of Jerusalem in the dissemination of the modal system. On the Latin side, the emphasis is on Old Roman melodies, showing how they reproduce the prototypes more faithfully than Beneventan or Frankish melodies. The analysis does not support certain conclusions regarding the origins of the modal system and the relationship of Old Roman and Gregorian melodies advanced by Robert Snow, Helmut Hucke and Leo Treitler.
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Pöhlmann, Egert. "Fifteen Years of Enquiries in Ancient Greek and Roman Music (2004–2018)." Greek and Roman Musical Studies 7, no. 1 (March 21, 2019): 1–20. http://dx.doi.org/10.1163/22129758-12341331.

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Abstract Every summer, from July 2004 to July 2011, the Music Department at the Ionian University in Corfu (Greece) held a week-long Seminar on Ancient Greek and Roman Music, attended by students and scholars from all over the world, contributing to the formation of younger generations of researchers in the field. In 2012, because of the financial crisis in Greece, the annual seminar had to be cancelled: but in 2014 it was revived in Riva del Garda (Italy) thanks to the joint support of the MOISA and the ARION Societies and has taken place every year since then.
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KETTERER, ROBERT C. "Why early opera is Roman and not Greek." Cambridge Opera Journal 15, no. 1 (March 2003): 1–14. http://dx.doi.org/10.1017/s0954586703000016.

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During the seventeenth and eighteenth centuries, the models of Greek tragedy and Aristotelian theory were appealed to repeatedly, first to invent the dramatic genre we call opera, and then in an effort to use theory to rid that genre of what were perceived to be its self-indulgent excesses. This essay argues that despite these theoretical claims, influences from classical Rome were so thoroughly ingrained in European librettists that it was the experience of the Latin that prevailed. Roman subject matter, dramatic structure, philosophical fashion and imperial performance-context produced a musical theatre that was in essence Roman rather than Greek.
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Dissertations / Theses on the topic "Greek and Roman Music"

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Lynch, Tosca. "'Training the soul in excellence' : musical theory and practice in Plato's dialogues, between ethics and aesthetics." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4290.

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This thesis offers a technically informed examination of Plato's pervasive, though not innocent, use of musical theory, practice and musical concepts more generally within the ambitious ethical project outlined in many of his dialogues: fostering the ‘excellence' of the soul. Starting from Republic 3, Chapter 1 will focus specifically on music stricto sensu in order to assess Plato's interpretation of the basic ‘building blocks' of musical performances, creating a core repertoire of musical concepts that will prepare the way to analyse Plato's use of musical terms or categories in areas that, at first sight, do not appear to be immediately connected to this art, such as politics, ethics and psychology. Chapter 2 examines a selection of passages from Laws 2 concerning the concept of musical beauty and its role in ethical education, demonstrating how Plato's definition is far from being moralistic and, instead, pays close attention to the technical performative aspects of dramatic musical representations. Chapter 3 looks first at the harmonic characterisation of the two central virtues of the ideal city, sophrosyne and dikaiosyne, showing how their musical depictions are not purely metaphoric: on the contrary, Plato exploited their cultural implications to emphasise the characteristics and the functions of these virtues in the ideal constitution. The second half of Chapter 3 analyses the Platonic portrayal of musical παρανομία, studying both its educational and psychological repercussions in the dialogue and in relations to contemporary Athenian musical practices. Chapter 4 looks at how different types of music may be used to create an inner harmonic order of passions in the soul in different contexts: the musical-mimetic education outlined in the Republic, the musical enhancement of the psychological energies in the members of the Chorus of Dionysus in the Laws, and finally the role of the aulos in the Symposium.
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Thomas, Maureen E. "The Divine Communion of Soul and Song: A Musical Analysis of Dante's Commedia." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450117394.

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Eilers, Claude. "Roman patrons of Greek cities /." Oxford [u.a.] : Oxford University Press, 2002. http://www.loc.gov/catdir/enhancements/fy0615/2003276954-d.html.

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Burrell, Barbara. "Neokoroi : Greek cities and Roman emperors /." Leiden ; Boston (Mass.) : Brill, 2004. http://catalogue.bnf.fr/ark:/12148/cb39078101m.

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Pollard, Alison. "Carmen heroum : Greek epic in Roman friezes." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:1bd394a8-200e-48c7-b7b4-e1e7cabd39e0.

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Roman wallpainting has been the subject of innumerable studies from the eighteenth century to the present day, but the epic-themed friezes of Late Republican and Early Imperial Italy have been comparatively neglected throughout this history of scholarship. This thesis therefore seeks to examine the three painted and stucco Iliad friezes from Pompeii, all found on the Via dell'Abbondanza, and the Odyssey frescoes from a house on the Esquiline in Rome, as four examples of a type which had a long history in the Graeco-Roman world, even if their survival in the archaeological record is scant. The primary aim of the study is to understand each frieze in the knowledge of how they might have been regarded in antiquity, as elucidated in Pausanias' commentaries on Polygnotus' Iliupersis and Nekyia frescoes in Delphi, and to understand their extra-textual insertions and spelling discrepancies not as artistic errors but as reflections of the geographical and chronological contexts in which the friezes were displayed. Through detailed study of their iconography and epigraphy, alongside contemporary writers' discussion of the epic genre and its specific concerns for a Roman audience, this study aims to show that the most fruitful course of enquiry pertaining to the friezes lies not in an argument about whether they are entirely faithful to the Homeric epics or depart from them in puzzling ways, but in the observation that reliance on the text and free play on it go hand in hand as part of the epic reception-culture within which these paintings belong.
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Feltovich, Anne C. "Women's Social Bonds in Greek and Roman Comedy." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1311691038.

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Pinckernelle, Kathia. "The iconography of Ancient Greek and Roman jewellery." Connect to e-thesis. Edited version, 2008. http://theses.gla.ac.uk/318/.

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Thesis (MPhil(R)) - University of Glasgow, 2008.
MPhil(R) thesis submitted to the Department of History of Art, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
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Vaahtera, Jaana Johanna. "Derivation : Greek and Roman views on word formation /." Turku : Turun Yliopisto, 1998. http://catalogue.bnf.fr/ark:/12148/cb39233991x.

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Carter, Michael J. D. "The presentation of gladiatorial spectacles in the Greek East : Roman culture and Greek identity /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0032/NQ66197.pdf.

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Kelly, Michael. "Jealousy in love relations in Greek and Roman literature /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18555.pdf.

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Books on the topic "Greek and Roman Music"

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Moore, Timothy J. Music in Roman comedy. New York: Cambridge University Press, 2012.

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Landels, John G. Music in ancient Greece and Rome. London: Routledge, 1999.

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Pöhlmann, Egert. Documents of ancient Greek music: The extant melodies and fragments edited and transcribed with commentary. Oxford: Clarendon Press, 2001.

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Hagel, Stefan. Ancient Greek Music: A New Technical History. Leiden: Cambridge University Press, 2009.

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Dentice, Luigi. Duo dialoghi della musica. Lucca: Libreria Musicale Italiana Editrice, 1988.

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Hagel, Stefan. Ancient Greek music: A new technical history. Cambridge: Cambridge University Press, 2010.

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Jacobson, Dr Jeffrey. Greco-Roman Music in Context; Bringing Sound and Music to Virtual Pompeii. Boston, MA: PublicVR, 2011.

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Rocconi, Eleonora. Le parole delle Muse: La formazione del lessico tecnico musicale nella Grecia antica. Roma: Quasar, 2003.

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1960-, Walde Christine, ed. Schriften zur Geschichte der antiken Musik: Mit einer Bibliographie zur antiken Musik 1957-1987. Frankfurt am Main: P. Lang, 1997.

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Prauscello, L. Singing Alexandria: Music between practice and textual transmission. Leiden: Brill, 2006.

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Book chapters on the topic "Greek and Roman Music"

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Moore, Timothy J. "Ludic Music in Ancient Greek and Roman Theater." In Ludics, 181–211. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7435-1_9.

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von Falkenhausen, Vera. "A dance to the music of time: Greeks and Latins in Medieval Taranto *." In Italy and the East Roman World in the Medieval Mediterranean, 324–52. London: Routledge, 2021. http://dx.doi.org/10.4324/9781315108094-18-24.

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Beare, W. "Greek New Comedy." In The Roman Stage, 50–55. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003482192-6.

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Beare, W. "Music and Metre." In The Roman Stage, 219–32. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003482192-26.

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Eleanor Irwin, M. "Greek and Roman Botany." In A Companion to Science, Technology, and Medicine in Ancient Greece and Rome, 263–80. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118373057.ch16.

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Thibodeau, Philip. "Greek and Roman Agriculture." In A Companion to Science, Technology, and Medicine in Ancient Greece and Rome, 517–32. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118373057.ch32.

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Irby, Georgia L. "Greek and Roman Cartography." In A Companion to Science, Technology, and Medicine in Ancient Greece and Rome, 817–35. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118373057.ch49.

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Roisman, Joseph. "Greek and Roman Ethnosexuality." In A Companion to Greek and Roman Sexualities, 398–416. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118610657.ch24.

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Glazebrook, Allison, and Kelly Olson. "Greek and Roman Marriage." In A Companion to Greek and Roman Sexualities, 69–82. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118610657.ch5.

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Moore, Timothy J. "Meter, Music, and Memory in Roman Comedy." In Music and Memory in the Ancient Greek and Roman Worlds, 234–58. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108917858.010.

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Conference papers on the topic "Greek and Roman Music"

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Makris, Dimos, Ioannis Karydis, and Spyros Sioutas. "The Greek Music Dataset." In the 16th International Conference. New York, New York, USA: ACM Press, 2015. http://dx.doi.org/10.1145/2797143.2797175.

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Albarede, Francis, François de Callataÿ, Pierluigi Debernardi, and Janne Blichert-Toft. "Kaplan-Meier analysis of Greek and Roman coinage production." In Goldschmidt2021. France: European Association of Geochemistry, 2021. http://dx.doi.org/10.7185/gold2021.5088.

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Wang, Keyang. "Comparison of Ancient Greek Art and Ancient Roman Art." In 2021 International Conference on Public Art and Human Development ( ICPAHD 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220110.041.

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Fotiadou, Eftychia, Nikoletta Bassiou, and Constantine Kotropoulos. "Greek folk music classification using auditory cortical representations." In 2016 24th European Signal Processing Conference (EUSIPCO). IEEE, 2016. http://dx.doi.org/10.1109/eusipco.2016.7760425.

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Raimi, Sunaj. "Metaphysical dialogue between philosophy and music in ancient Greek." In University for Business and Technology International Conference. Pristina, Kosovo: University for Business and Technology, 2015. http://dx.doi.org/10.33107/ubt-ic.2015.4.

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Coanca, Mariana. "EDUCATION IN ANCIENT GREEK AND ROMAN CIVILIZATIONS. CREATION OF MEDICAL TERMINOLOGY." In 12th International Technology, Education and Development Conference. IATED, 2018. http://dx.doi.org/10.21125/inted.2018.2361.

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Dinnissen, Karlijn, Isabella Saccardi, Marloes Vredenborg, and Christine Bauer. "Looking at the FAccTs: Exploring Music Industry Professionals' Perspectives on Music Streaming Services and Recommendations." In CHIGREECE 2023: 2nd International Conference of the ACM Greek SIGCHI Chapter. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3609987.3610011.

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BEVILACQUA, A., and W. FUCHS. "FROM GREEK FOOTPRINT TO THE ROMAN AGE THE ACOUSTICS RESPONSE OF THE ROMAN THEATRE OF TYNDARIS AND VOLTERRA." In Auditorium Acoustics 2023. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/15996.

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Wang, Ruishu, and Wanbing Shi. "Teaching Objectives and Strategies of Greek and Roman Mythology for College Students*." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.141.

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Garbrecht, Jürgen D., and Guenther K. H. Garbrecht. "Sedimentation of Harbors and Counter-Measures in the Greek and Roman Era." In Water Resources and Environment History Sessions at Environmental and Water Reources Institute Annual Meeting 2004. Reston, VA: American Society of Civil Engineers, 2004. http://dx.doi.org/10.1061/40738(140)3.

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Reports on the topic "Greek and Roman Music"

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Seamans, Thomas, and Allen Gosser. Bird dispersal techniques. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, August 2016. http://dx.doi.org/10.32747/2016.7207730.ws.

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Conflicts between humans and birds likely have existed since agricultural practices began. Paintings from ancient Greek, Egyptian, and Roman civilizations depict birds attacking crops. In Great Britain, recording of efforts at reducing bird damage began in the 1400s, with books on bird control written in the 1600s. Even so, the problem persists. Avian damage to crops remains an issue today, but we also are concerned with damage to homes, businesses, and aircraft, and the possibility of disease transmission from birds to humans or livestock. Bird dispersal techniques are a vital part of safely and efficiently reducing bird conflicts with humans. The bird must perceive a technique as a threat if it is to be effective. No single technique can solve all bird conflicts, but an integrated use of multiple techniques, each enhancing the other, generally provides relief.
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Melnyk, Andriy. «Ареопагітика» Джона Мілтона і теорія вільного ринку ідей. Ivan Franko National University of Lviv, March 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11732.

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The article is dedicated to one of the most famous rationales for the right to free expression of views and opinions, the marketplace of ideas theory, as well as John Milton’s pamphlet “Areopagitica” which is considered the first example of systematic protection of freedom of speech and the primary source for the theory. The combination of the author of the 17th century and the thinking that was finally formed in the 20th century should not be surprising, because Milton is considered the forerunner of marketplace arguments. Given the fact that freedom of speech is threatened today by authoritarianism amplified by modern technologies, as well as identity politics and political correctness, the actualization of arguments in its favor seems more relevant than ever. When covering the main topics of “Areopagitica”, emphasis is placed on the historical conditioning of Milton’s arguments. His position on freedom is based on ancient Greek models and seems rather elitist today, and his perception of heresy is pagan rather than Christian. It’s also worth remembering that Milton opposed pre-publication censorship but did not object to the persecution of dangerous ideas and books after publication, and also definitely excluded Roman Catholicism from the free circulation of ideas. Today, this kind of restriction is considered unacceptable. A fundamentalist interpretation of the free market of ideas which excludes any regulation is obviously not conducive to such a discussion. Utopian ideas about absolute freedom of speech rather harm it, give rise to inflated expectations and, as a result, disappointment in its capabilities or demonization. In this context, reading John Milton’s “Areopagitica” can be extremely instructive today. Key words: freedom of speech; marketplace of ideas; “Areopagitica”; censorship; identity politics; political correctness.
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