Gli agoni poetico-musicali nella storia della musica e della lirica greca disegnata da Eraclide Pontico ap. Ps. Plut. De musica

ItIl De musica attribuito a Plutarco costituisce una fonte importante per ricostruire la storia della musica e della poesia greca antica. Il trattato è diviso in due parti: 1) la storia della musica e della poesia dalle origini mitiche al IV secolo a.C.; 2) la funzione etica e sociale dell'educazione musicale. Questo saggio intende focalizzare la prima parte. In essa si discute principalmente sulla citarodia, a partire dalla sua invenzione ad opera di Anfione, confrontandola con le strutture metrico-ritmiche dei componimenti di Terpandro e Stesicoro; sui nomoi citarodici e aulodici, sulle due scuole musicali fondate a Sparta, anche in relazione alla definizione dei generi poetici. Eraclide Pontico è la fonte di questa sezione. Dal testo emerge che l'erudito peripatetico si avvaleva di testimonianze scritte consistenti in iscrizioni e cataloghi di vincitori di competizioni poetico-musicali: l'Anagraphé di Sicione, la lista dei vincitori dei Pythia, la Graphé delle Panatenee, i Vincitori delle Carnee di Ellanico e altre cronache agonali.EnPs. Plutarch's De musica is an important source for reconstructing the history of ancient Greek music and poetry. The treatise is divided into two parts: the first one is the history of music and poetry from their mythical origins to the 4th century BC; the second one is about the ethical and social function of musical education. This essay intends to focus on the first part. The discussion is mainly about kitharody, starting from its invention by Amphion and comparing it with the metric-rhythmic structures of the compositions of Terpander and Stesichorus; on kitharodic and aulodic nomoi; on the two musical schools founded in Sparta, also in relation to the definition of poetic genres. Heraclides of Pontus is the source of this section. From the text it emerges that the peripatetic scholar made use of written evidence consisting of inscriptions and catalogues of winners of poetic-musical competitions: the Sicyonian Anagraphe, the list of the Pythian victors, the Graphe of the Panathenaea, the Carnean Victors of Hellanicus and other chronicles of poetic-musical competitions

Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica

The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season

Some Aspects of the Theban Myth in the Lille Stesichorus

[site under construction] <!--EndFragment--

Il termine comune nei commenti antichi a Omero

Dottorato di ricerca in Scienze letterarie, retorica e tecnica dell'interpretazione, Ciclo XXV, a.a. 2011-2012Università della Calabri

Porfirio : commento agli Harmonica di Claudio Tolemeo: introduzione, testo critico, traduzione e note

Dottorato di ricerca in Scienze letterarie, retorica e tecnica dell'interpretazione, Ciclo XXVI, a.a. 2013-2014Università della Calabri

Premessa

Miscellanea di studi in ricordo di Bruna Marilena Palumbo Stracc

Music and Medicine

The relationship between music and medicine involves the notions of affinity between the human body and musical structures, relief, catharsis and therapy. The Homeric poems attest to the use of healing songs (paeans) and spells (epaoidai). The early Pythagoreans used musical catharsis for both the soul and the body. The doctrine of musical ēthos (whose main source is Plato) presupposes a relationship between music and character based on mimēsis, also establishing a link between therapy and ēthos. According to Aristotle, melodies performed in the rites are able to arou-se the emotions and purify from their excesses (the same dynamics appear in Theophrastus). The musical notions first detectable in the Hippocratic On Regimen for the development of the embryo, together with Herophilus’ application of the model provided by musical rhythms to the study of the pulse, show a fertile exchange between music and medicine, also attested in Aristides Quintilianus’ De Musica