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Journal articles on the topic 'Greek musicians'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Southcott, Jane, and Renee Georgoulas. "Heritage and adaptation: Greek Australian musicians in Melbourne." International Journal of Community Music 12, no. 2 (2019): 189–205. http://dx.doi.org/10.1386/ijcm.12.2.189_1.

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2

Borthwick, E. "Review. Greek music and musicians. Music and musicians in ancient Greece. W D Anderson." Classical Review 46, no. 2 (1996): 259–61. http://dx.doi.org/10.1093/cr/46.2.259.

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3

Romanou, Ekaterini. "Italian musicians in Greece during the nineteenth century." Muzikologija, no. 3 (2003): 43–55. http://dx.doi.org/10.2298/muz0303043r.

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In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original c

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4

Feaver, Douglas, and Denise Davidson Greaves. "Sextus Empiricus: Against the Musicians. Greek and Latin Music Theory." Classical World 81, no. 1 (1987): 58. http://dx.doi.org/10.2307/4350144.

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5

Vendries, Christophe. "Questions d’iconographie musicale: L’apport des terres cuites à la connaissance de la musique dans l’Égypte hellénistique et romaine." Greek and Roman Musical Studies 1, no. 1 (2013): 195–227. http://dx.doi.org/10.1163/22129758-12341243.

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Abstract The Graeco-Egyptian terracottas produced during the Ptolemaic and Roman period provides good material for investigating musical life in Egypt. The majority of the Fayum terracottas have been found in tombs, or in private houses as sources of protection and good luck. Most of the motifs are original by comparison with the other terracotta work of the ancient world. Many musicians (aulos or syrinx players, harp players, women with drum or crotala) and dancers are shown among deities (mainly Harpocrates, Isis and Bès) and other cult celebrants in religious festivals. Cult practice is a c

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6

Dawe, Kevin. "Bandleaders in Crete: Musicians and entrepreneurs in a Greek island economy." British Journal of Ethnomusicology 7, no. 1 (1998): 23–44. http://dx.doi.org/10.1080/09681229808567271.

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7

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 gener

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Ramos, D., J. L. O. Bueno, and E. Bigand. "Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians." Brazilian Journal of Medical and Biological Research 44, no. 2 (2011): 165–72. http://dx.doi.org/10.1590/s0100-879x2010007500148.

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9

Frankenbach, Chantal. "Dancing to Beethoven in Wilhelmine Germany." Journal of Musicology 34, no. 1 (2017): 71–114. http://dx.doi.org/10.1525/jm.2017.34.01.71.

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Early in 1904 the American modern dancer Isadora Duncan, already notorious for her barefoot “Greek dancing” to concert music not intended for the stage, created a scandal in Germany by presenting a program of dances to Beethoven’s Seventh Symphony. Critics and composers responded in music journals and the daily press with a vigorous denunciation of Duncan’s trespass into the inner circle of German musical culture. What most disturbed Duncan’s critics, however, was the success of her Beethoven program with the public. Concern over Duncan’s hold on German audiences reveals the anxieties of profe

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10

Foutakis, Patrice. "Did the Greeks Build According to the Golden Ratio?" Cambridge Archaeological Journal 24, no. 1 (2014): 71–86. http://dx.doi.org/10.1017/s0959774314000201.

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The mathematical number of the golden ratio has long fascinated mathematicians, archaeologists, biologists, architects, engineers, historians, musicians and scholars. Until now, though, there have been only assertions about whether the ancient Greeks employed this ratio in their architecture. To determine whether evidence may have been overlooked, I examined the measurements of 15 temples, 18 monumental tombs, 8 sarcophagi and 58 grave stelae from the fifth century BC to the second century AD. The result is clear: the golden ratio was totally absent from Greek architecture of the classical fif

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Xanthoudakis, Haris. "Composers, Trends and the Question of Nationality in Nineteenth-Century Musical Greece." Nineteenth-Century Music Review 8, no. 1 (2011): 41–55. http://dx.doi.org/10.1017/s147940981100005x.

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The question of a European-type local music was raised in modern Greece as early as during the first years of its independent life, and within the context of a rapid Occidentalizing and modernizing process. The earliest Greek professional musicians to serve this social, as well as ideological, need came from the Ionian Islands, but soon other parts of the national territory saw the birth of some important composers who added specific German, French or Russian components to the basically Italianate flavour of the Ionian musical tradition. In their respective works the main trends of nineteenth-

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Peno, Vesna. "Athens: New capital of traditional Greek music: Testimonies on musical life at the beginning of the twentieth century." Muzikologija, no. 9 (2009): 15–32. http://dx.doi.org/10.2298/muz0909015p.

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During its long Byzantine and Post-Byzantine history Constantinople was the center for church art in general, but especially for music. This old city on the Bosporus maintained its prime position until the beginning of the 20th century when, because of new political and social conditions, the Greek people started to acquire their independence and freedom, and Athens became the new capital in the cultural as well as the political sense. During the first decades of the 20th century the Athenian music scene was marked by an intensive dispute between those musicians who leaned towards the European

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Rasmussen, Anne K. "Made in America: Historical and Contemporary Recordings of Middle Eastern Music in the United States." Middle East Studies Association Bulletin 31, no. 2 (1997): 158–62. http://dx.doi.org/10.1017/s002631840003563x.

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Although Americans of Middle Eastern origin—be they of Arab, Turkish, Armenian, Sephardic Jewish, Assyrian, Greek, or Central Asian heritage—comprise one of the fastest growing groups in the United States, their music may seem invisible to the American musical connoisseur. Many of the recordings of Middle Eastern American musicians are produced and distributed within community networks. Walk into an Armenian grocer in Watertown, Massachusetts or into a Lebanese audio-video store in Dearborn, Michigan, and you will find hundreds of hours of music by Middle Eastern Americans for your listening p

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Ansari, Mohammad Sadegh. "Learning and Patronizing the Science of Music among the Elite of Medieval Baghdad." Journal of Abbasid Studies 6, no. 2 (2019): 123–49. http://dx.doi.org/10.1163/22142371-12340048.

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Abstract Scholarly writings on music during the medieval period were often composed at the request of private patrons or were otherwise dedicated to members of the Baghdadi elite (e.g., caliphs and other rulers) who were not professional musicians. The existence of such treatises suggests that this Baghdadi elite had an interest in learning and/or patronizing the science of music. In this article, I examine the various functions which learning the science of music fulfilled for the elite of medieval Baghdad (third/ninth-seventh/thirteenth century), and which in turn prompted their interest in

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Calvié, Laurent. "Sur la distinction établie par Aristide Quintilien (i, 18) entre rythmiciens συμπλέκοντες et χωρίζοντες". Greek and Roman Musical Studies 3, № 1-2 (2015): 67–93. http://dx.doi.org/10.1163/22129758-12341030.

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The distinction by Aristides Quintilianus (i, 18) between συμπλέκοντες and χωρίζοντες rhythmicians, does not draw a contrast between two rhythmical doctrines or between rhythmicians and metricians, but between the defenders of two methods of classifying rhythms according to two different rhythmical traditions. It is both exact and fruitful : it not only throws light on the lost part of Aristoxenus’ ῾Ρυθμικὰ στοιχεῖα (one of the main χωρίζοντες) and on the sources of Aristides Quintilianus’ rhythmical theory, but also enables us to classify almost mechanically all ancient testimonies about Gree

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Peno, Vesna. "Methodological disputes about interpretation of neum notation in the 20th century." Muzikologija, no. 18 (2015): 15–33. http://dx.doi.org/10.2298/muz1518015p.

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Until the end of the twentieth century in Byzantine musicological science there were two diametrically opposite approaches to the interpretation of the Byzantine neum notation systems and post-Byzantine music heritage after the Fall of Constantinople. Western European scholars, ignoring the post-Byzantine Chant tradition and the last semeography reform from the early nineteenth century, looked at the problems of the musical past only from the perspective of the Middle Ages. Greek researchers have shared the belief that the condition of an adequate understanding of the mid-Byzantine notation, o

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17

Kurke, Leslie. "Gender, politics and subversion in the Chreiai of Machon." Proceedings of the Cambridge Philological Society 48 (2002): 20–65. http://dx.doi.org/10.1017/s0068673500000821.

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I would like to consider the Greek poet Machon, whose extant fragments pose a problem of genre that opens out to a historical problem. At issue is the historical – or at least historicising – reading of literary texts. Machon, who hailed from Corinth or Sicyon, wrote comic dramas and Chreiai, anecdotes and witty sayings of Athenian musicians, parasites, and courtesans. All that we have of Machon, and almost all that we know about him, comes from Athenaeus in his discursive, encyclopaedic Deipnosophistai (written in the 2nd or 3rd c. CE). Athenaeus quotes nearly 500 lines of Machon's verses – a

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Todorovic, Predrag. "The mysterious Misirlou." Muzikologija, no. 15 (2013): 61–89. http://dx.doi.org/10.2298/muz1315061t.

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My article deals with an unusual story on the roots of a song that has left a significant imprint on the twentieth century popular music all over the world. It is the song Misirlou, created somewhere on the territory of the Ottoman Empire, probably in Asia Minor. The author of this song is unknown. It was created in the so-called rebetiko musical style, typical of the Greeks from Asia Minor, who developed that style after the World War I. The first recordings of this song were made in the 1930s by Greek musicians Tethos Demetriades and Mihalis Patrinos. In no time, there was a true proliferati

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Sandu-Dediu, Valentina. "The Beginnings of Romanian Composition: Between Nationalism and the Obsession with Synchronizing with the West." Nineteenth-Century Music Review 14, no. 3 (2017): 315–37. http://dx.doi.org/10.1017/s1479409817000179.

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Romanian composition in the nineteenth century went through rapid changes, moving from a Greek-oriental sound world to a Western European one. It is interesting to examine, in this context, the musicians’ quest for a ‘national’ sound and identity. Analysis of piano miniatures or vaudeville, the favourite genre of the Romanian audience in the first half of the century, shows eclectic combinations of urban folk music with sources of inspiration borrowed from popular foreign melodies. The second half of the century seems to be marked in modern scholarship by premieres: some composers are included

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20

Wright, Ruth, and Panagiotis Kanellopoulos. "Informal music learning, improvisation and teacher education." British Journal of Music Education 27, no. 1 (2010): 71–87. http://dx.doi.org/10.1017/s0265051709990210.

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This paper1 explores firstly the sense in which improvisation might be conceived of as an informal music education process and, secondly, the effects of a course in free improvisation on student teachers' perceptions in relation to themselves as musicians, music as a school subject and children as musicians. The results of a study conducted in two Greek universities are presented. Using a narrative methodology, examples of data from the reflective diaries or learning journals which 91 trainee teachers kept as part of their participation in an improvisation module are presented and discussed. T

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21

Vespa, Marco. "A Voice without a Muse." Greek and Roman Musical Studies 5, no. 2 (2017): 159–77. http://dx.doi.org/10.1163/22129758-12341298.

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Ancient sources often describe non-human primates as imitative animals, i.e., living beings able to reproduce, with different degrees of perfection, gestures and movements carried out by human beings. Indeed monkeys are often characterized asmimeloi, mimetikoi, terms coming from the same semantic field of the nounmimos(< *mim-).But what about the world of sounds? Are non-human primates regarded as good imitators and performers also when it comes to music and singing? Ancient evidence clearly indicates that other animal species (like nightingales or partridges), and not monkeys, were mainly

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22

Goh, Wilson, Leonard Tan, and Hui Xing Sin. "Developing the Inner Musician: Practical Strategies for Large Ensembles." Music Educators Journal 107, no. 3 (2021): 31–37. http://dx.doi.org/10.1177/0027432121998481.

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Nearly fifty years ago, Timothy Gallwey published The Inner Game of Tennis, which left an indelible mark on sports psychology; subsequently, Barry Green used similar principles to author The Inner Game of Music. As far as can be determined, there lacks a concise guide that translates key insights from sports and music psychology into practical strategies for large ensembles. To address this gap in the professional literature, we draw on the sports and music psychology literature, as well as our own professional applied experience, to discuss the benefits of psychological skills for musicians,

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23

Dunbabin, Katherine M. D. "The agonistic mosaic in the Villa of Lucius Verus and the Capitolia of Rome." Journal of Roman Archaeology 28 (2015): 192–222. http://dx.doi.org/10.1017/s1047759415002469.

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The 3rd-c. interventions in the Villa of Lucius Verus on the Via Cassia included the laying of a black-and-white mosaic in the irregular space 32 in Sector D, which forms a passage or vestibule between exedra 24/25 to the north and the small baths (41–48) to the south (fig. 1). The mosaic shows a series of figures and small groups; most are athletes of various sorts, but they also include musicians, comic and tragic actors, and a prize-table with crowns or wreaths and busts of the three Capitoline deities, as well as other figures whose identification is sometimes not immediately obvious (fig.

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24

Gintsburg, Sarali, Luis Galván Moreno, and Ruth Finnegan. "Voice in a narrative: A trialogue with Ruth Finnegan." Frontiers of Narrative Studies 7, no. 1 (2021): 1–20. http://dx.doi.org/10.1515/fns-2021-0001.

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Abstract Ruth Finnegan FBA OBE (1933, Derry, Northern Ireland) took a DPhil in Anthropology at Oxford, then joined the Open University of which she is now an Emeritus Professor. Her publications include Oral Literature in Africa (1970), Oral Poetry (1977), The Hidden Musicians: Music-Making in an English Town (1989), and Why Do We Quote? The Culture and History of Quotation (2011). Ruth Finnegan was interviewed by Sarali Gintsburg (ICS, University of Navarra) and Luis Galván Moreno (University of Navarra) on the occasion of an online lecture delivered at the Institute for Culture and Society a

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25

Malm, Tobias. "The ambivalence of becoming a small business: Learning processes within an aspiring rock band." Popular Music 39, no. 3-4 (2020): 585–99. http://dx.doi.org/10.1017/s0261143020000471.

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The process of becoming a rock musician strongly relates to the organisational form of the band (Bennett 1980; Green 2002; Behr 2010). At all levels of ambition and success, membership of a band provides the musician with a natural entry point for performing to an audience and forging a potential career (Smith 2013a). The ‘micro-organisational’ (Bennett 2001) development of a band, therefore, is an important career prerequisite for rock musicians (Behr 2015). However, the social and practical challenges of musicianship seem to be continuously underemphasised within the field of popular music s

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26

Peno, Vesna. "Common scale features of the recent Greek and Serbian church chant traditions." Muzikologija, no. 8 (2008): 101–25. http://dx.doi.org/10.2298/muz0808101p.

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This paper is an attempt to show the similarity between the Serbian and Greek Post-Byzantine chanting traditions, especially those which relate to the scale organization of modes. Three teachers and reformers from Constantinople, Chrisantos, Gregorios and Chourmousios, established a fairly firm theoretical system for the first time during the long history of church chant. One of the main results of their reform, beside changes relating to neums, was the assignment of strict sizes to the intervals in the natural tonal system. There are three kinds of natural scales: diatonic, chromatic and ench

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Vasic, Aleksandar. "An unintended dialogue between “materialists” and “idealists”. The essays on west European art music in the "Zvuk" magazine (1932-1936)." Muzikologija, no. 14 (2013): 77–92. http://dx.doi.org/10.2298/muz1314077v.

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The Zvuk magazine, one of the best Serbian and Yugoslav music reviews, was published in Belgrade from 1932 to 1936. It was founded and edited by a pianist, music historian and music critic Stana Ribnikar (1908-1986). Her closest collaborators in the magazine were leftist musicians. Nevertheless, the editorial board was open for collaboration with writers who had different ideas on the relationship between art and society. This article deals with numerous essays on the nineteenth-century West European art music in the Zvuk magazine. Their topics are very diverse: some of the essays deal with in

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Peno, Vesna, and Marija Obradovic. "On the chanting space and hymns that were sung in it. Searching for chanting-architectural connections in the middle ages." Muzikologija, no. 23 (2017): 145–73. http://dx.doi.org/10.2298/muz1723145p.

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The search for the unexplained interactions of domestic medieval liturgical music and sacred architecture of the Moravian style has not been the subject of interdisciplinary study so far. A reflection on the potential relationg between church chanting and architecture is absent from the largest part of the existing literature on the development of medieval sacral art. The scarcity of written historical sources, and especially musical ones, made it particularly difficult to define the connection between the chanting circumstances and the changes in the architectural form of the late Byzantine p

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29

Protsiv, L. Y. "Music education in Ukraine: meetings in history." Musical art in the educological discourse, no. 2 (2017): 73–77. http://dx.doi.org/10.28925/2518-766x.20172.717.

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The article describes main features of human civilization as metahistory, substantiates a view on the history of music pedagogy in Ukraine as metahistory, the contents of which is constant values, spiritual constants of the humanity, and also synchronous section of history, including such things as coincidence, similarity of certain “spiritual epochs”, meetings in history. An example of such “synchronous” dramaturgy in the history of the Ukrainian music education is seen in M. Dyletskyi’s creative activity and pedagogical legacy. In musical thinking this personality was ahead of representative

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Kovtun, Natalia. "The Intertextual Game in Ulitskaya’s Novel Medea and Her Children." Respectus Philologicus 22, no. 27 (2012): 70–86. http://dx.doi.org/10.15388/respectus.2012.27.15338.

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This article attempts to present a reading of Ulitskaya’s novel as a metatext of world culture, as an encrypted message through which the author inveigles “a shrewd reader” into the guessing of discourses (from ancient mythology to works of social realism and postmodernism) in order to detect traces of the initial scenarios proposed to humanity by the Creator. The conceptual basis of the work was the myth of Sophia Wisdom Divine, an artist painting the primary blueprint of the universe and inviting other artists to co-create (the muse and the artist). Ulitskaya’s Sophiology is based on the ide

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Despina Michael. "The Aesthetic Imperative: The Musician's Voice in Modern Greek Culture." Journal of Modern Greek Studies 27, no. 2 (2009): 375–416. http://dx.doi.org/10.1353/mgs.0.0062.

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32

Lee, M. Owen, and Andrew Barker. "Greek Musical Writings: Volume 1; The Musician and His Art." Phoenix 40, no. 1 (1986): 121. http://dx.doi.org/10.2307/1088977.

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Perrot, Sylvain. "The Musical Culture of the Western Greeks, according to Epigraphical Evidence." Greek and Roman Musical Studies 2, no. 1 (2014): 99–123. http://dx.doi.org/10.1163/22129758-12341254.

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AbstractInscriptions concerning musicians in and from Magna Graecia illuminate the musical life of the Western Greeks. There are chronological restrictions; all the inscriptions were written in the Hellenistic and Roman periods, none in Archaic and Classical times. We shall consider resemblances and differences between them and those of mainland Greece and Asia Minor, and relationships between Magna Graecia and Rome. Many inscriptions are honorific decrees for victors in local and Panhellenic musical contests, notably at Delphi. Others are lists of participants, whose commonest musical special

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Karamanou, Ioanna. "The Papyrus from the ‘Musician’s Tomb’ in Daphne (MΠ 7449, 8517-8523)". Greek and Roman Musical Studies 4, № 1 (2016): 51–70. http://dx.doi.org/10.1163/22129758-12341267.

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The author explores the evidence for the earliest Greek papyrus discovered so far (430/425 bc). It was unearthed as part of a collection of writing implements along with musical instruments in a tomb in Daphne in 1981. She attempts to situate the available evidence in context, by investigating how it could be mapped onto the framework of papyrological research and its contemporary literary and cultural milieu.

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Gusāns, Ingars. "CHARACTERISTICS OF LATGALIAN POPULAR MUSIC (2005–2016)." Via Latgalica, no. 10 (November 30, 2017): 113. http://dx.doi.org/10.17770/latg2017.10.2768.

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Looking at the events of the last decade in the life of Latgalian popular music, there may be twofold feelings; one will feel that in the field of popular music life is in full swing; another will feel that everything is stunted and hopeless. The purpose of the research is to describe the situation of Latgalian popular music (success, problems) between 2005 and 2016. The object of the research is Latgalian groups and performers. In the given study, the concept of the popular Latgalian music is presented, which includes pop music, rock music, jazz, rap, and other styles of popular music that ma

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Hess, Juliet. "Finding the “both/and”: Balancing informal and formal music learning." International Journal of Music Education 38, no. 3 (2020): 441–55. http://dx.doi.org/10.1177/0255761420917226.

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This article explores the informal and formal learning experiences of 20 activist-musicians. Multiple activist-musicians utilized the informal learning strategies Green identifies. More than half of the participants, however, bemoaned the lack of more formal music education. They noted that they valued informal musical learning practices and also wished that they had experienced more of a balance between formal and informal music learning strategies in their music education. Many of the participants identified as being self-taught. In interviews, they shared ideas about teaching themselves and

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Firth, Ian C. "Musical Key Perception in Relation to Color." Psychological Reports 115, no. 3 (2014): 748–65. http://dx.doi.org/10.2466/03.49.pr0.115c30z3.

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A link between musical keys and colors is common among musicians, although there has never been any agreement about which color matches which key. This study tested two alternative key-color associations: E is red and E b is green, or vice versa. 21 participants (10 men, 11 women; M age = 20 yr., SD = 3.3) with absolute pitch listened to melodies beginning with an anacrusis and a perfect cadence which were played through in C major. Then the melodies began in another key, while four or two colored squares were displayed (in Experiments 1 and 2, respectively). Participants were asked to chose t

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Janković-Beguš, Jelena. "Playing the game with aleatorics and narrativity: Linaia-Agon by Iannis Xenakis." New Sound, no. 48-2 (2016): 109–30. http://dx.doi.org/10.5937/newso1648109j.

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In this article I examine the piece Linaia-Agon for brass trio (1972) by Greek-French composer Iannis Xenakis, one of only three pieces by this composer, which are commonly referred to in literature as "game-pieces", from the perspective of Roger Caillois' typology of games, stemming from the social sciences, as well as from the framework of the mathematical game theory and its branch probability theory. Xenakis' "game pieces" belong to the field of controlled aleatorics, because they employ a certain level of indeterminacy; here I argue that it is precisely in this aspect of indeterminacy tha

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Georgoulas, Renee, and Jane Elizabeth Southcott. "Multiple Musical Identities: An Autoethnographic Study of a Greek-Australian Popular and Traditional Musician and Teacher." International Journal of Humanities Education 11, no. 4 (2014): 49–60. http://dx.doi.org/10.18848/2327-0063/cgp/v11i04/43813.

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LUNDE, INGUNN. "Footnotes of a Graphomaniac: The Language Question in Evgenii Popov'sThe True Story of “The Green Musicians”." Russian Review 68, no. 1 (2009): 70–88. http://dx.doi.org/10.1111/j.1467-9434.2009.00513.x.

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Battezzato, Luigi. "Techniques of reading and textual layout in ancient Greek texts." Cambridge Classical Journal 55 (December 2009): 1–23. http://dx.doi.org/10.1017/s1750270500000166.

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This proverb, attributed to Menander in a Byzantine collection, points to the simple paradox of reading: readers are able to see both the shape of letters and the meaning conveyed by them. How does mind get from visual recognition to the recognition of meaning? The step sounds incredibly simple when we make it, but becomes exceedingly complex to explain. Strangely enough, the step is not executed in the same way for all languages and scripts.The ability to recognise shapes must be assisted by the interpreting activity of specific parts of the brain. A famous nineteenth-century medical case tel

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Blake, David K. "University Geographies and Folk Music Landscapes." Journal of Musicology 33, no. 1 (2016): 92–116. http://dx.doi.org/10.1525/jm.2016.33.1.92.

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By examining folk music activities connecting students and local musicians during the early 1960s at the University of Illinois at Urbana-Champaign, this article demonstrates how university geographies and musical landscapes influence musical activities in college towns. The geography of the University of Illinois, a rural Midwestern location with a mostly urban, middle-class student population, created an unusual combination of privileged students in a primarily working-class area. This combination of geography and landscape framed interactions between students and local musicians in Urbana-C

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Nektarios, Peter Yioutsos. "Order in ancient Greek dance rituals: The dance of Pan and the Nymphs." Dramaturgias, no. 5 (October 27, 2017): 211–34. http://dx.doi.org/10.26512/dramaturgias.v0i5.8439.

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 Dance maintained an important role in antiquity and was believed to be a ritual act that should be treated and performed with the outmost respect, regardless of its severe or ludicrous character. Despite the lack of adequate data, ancient sources now and again provide enough details on dance rituals, so as to be able to recognize and even more reconstruct the structure and order of an ancient performance, the so-called “τάξις” of Alkman. The cult of Pan and the Nymphs was deeply connected to dance and music. They were mostly celebrated in outdoor shrines and sacred grottos throughout t

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Hewitt, Donna. "Constructing Informal Experiences in the Elementary General Music Classroom." Music Educators Journal 104, no. 3 (2018): 46–53. http://dx.doi.org/10.1177/0027432117745361.

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Children often spontaneously yet purposefully sing songs or create rhythms outside the formal classroom setting to reflect the ways in which they naturally engage with music. Researchers have studied these informal music learning practices to incorporate these experiences into the classroom to offer lessons that are engaging and better reflective of children’s out-of-school musical worlds. This article offers strategies for teachers to incorporate these practices into an upper elementary general music classroom through combining elements of constructivism and the research of Lucy Green on info

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Alexopoulou, Athena A., та Ioanna Karamanou. "The Papyrus from the ‘Musician’s Tomb’ in Daphne: MΠ 7449, 8517-8523 (Archaeological Museum of Piraeus)". Greek and Roman Musical Studies 2, № 1 (2014): 23–49. http://dx.doi.org/10.1163/22129758-12341251.

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AbstractIn Section 1 Athena Alexopoulou presents the imaging documentation techniques and the non-destructive investigation methodology applied to the papyrus-fragments from the “Musician’s Tomb” in Daphne (MΠ 7449, 8517-8523). They were used to learn more about the script rescued on the papyrus, and to find ways of improving its legibility. The high resolution and optical quality of the photomacrographs enables the detection of lines containing letter-sequences and syllables on the surface and underneath, improves readability and allows further philological interpretation. In Section 2 Ioanna

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Pöhlmann, Egert. "Reading and Writing, Singing and Playing on Three Early Red-Figure Vases." Greek and Roman Musical Studies 7, no. 2 (2019): 270–83. http://dx.doi.org/10.1163/22129758-12341350.

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Abstract The tools for reading and writing, the writing tablets and the papyrus scroll, were inherited by Greece from the East together with the Phoenician alphabet. The oldest papyrus scroll and writing tablets with Greek text were found in the tomb of a musician in Daphne dated to 430 BC. After 700 BC writing tablets were ubiquitous in Greece. However, black figure vases do not depict them. The first writing tablet appears on a red figure kylix of the Euergides Painter from Vulci (520). The first papyrus scrolls appear, together with writing tablets and the lyre, on a kylix from Ferrara (c.

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Campioni, Giuliano. "Nietzche, Wagner y el Renacimiento italiano." Theoría. Revista del Colegio de Filosofía, no. 10 (June 1, 2001): 85–106. http://dx.doi.org/10.22201/ffyl.16656415p.2000.10.252.

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The purpose of this essay is to redefine Nietzsche’s relationship with the Renaissance, beyond some outstanding and terrible simplifications, and the literary and aesthetic creations of myths focused on the constellation superman, Renaissance-will-of-power, and Antichrist. Richard Wagner strongly conditions Nietzsche’s ideas with his valuations of the Renaissance. There is, in the young author of The Birth of Tragedy, a strong diffidence on the footsteps of the German ideology of the musician and of his rooted aversion to the Renaissance. The Italian Opera seems to be a false revival of the Gr

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Pitts, Stephanie. "How Popular Musicians Learn. By Lucy Green. Aldershot and Burlington: Ashgate, 2001. 238 pp. ISBN 0-7546-0338-5." Popular Music 23, no. 2 (2004): 237–39. http://dx.doi.org/10.1017/s0261143004270118.

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Karkabi, Nadeem. "Staging Particular Difference: Politics of Space in the Palestinian Alternative Music Scene." Middle East Journal of Culture and Communication 6, no. 3 (2013): 308–28. http://dx.doi.org/10.1163/18739865-00603004.

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In recent years, an alternative popular music scene has emerged among young Palestinians on both sides of the Green Line. Musicians and their audiences produce a politicized counterculture that innovatively fuses local and international musical expressions as a form of protest that aims to challenge external and internal impositions of structural oppression and othering. This scene constitutes the struggle of young Palestinians against civil marginalization in Israel and military occupation in the occupied territories, as well as against social and religious controls within their own communiti

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Dawe, Kevin. "How Popular Musicians Learn: A Way Ahead for Music Education by Lucy Green. Aldershot: Ashgate, 2001. xii + 238 pp, £42.50 hardback." British Journal of Music Education 19, no. 3 (2002): 305–22. http://dx.doi.org/10.1017/s0265051702220380.

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