John C Franklin | University of Vermont (original) (raw)
Books by John C Franklin
Dear Friends and Colleagues, Kinyras: The Divine Lyre is also available online through the CHS... more Dear Friends and Colleagues,
Kinyras: The Divine Lyre is also available online through the CHS website: http://chs.harvard.edu/CHS/article/display/6329. The web version, however, does not have page numbers, so that internal cross-references cannot be easily followed. Hence the PDF here.
The thymele at Epidauros is one of the most enigmatic buildings of the ancient Greek world. At th... more The thymele at Epidauros is one of the most enigmatic buildings of the ancient Greek world. At the center of this book there lies a mystery. It is a mystery that has intrigued scholars for almost two centuries — a mystery that revolves around unique marks, sacred geometries, perplexing architecture, hidden passages, uncertain timelines, and lost rituals. It is a mystery that has yet to be solved.
In this important book, an international, interdisciplinary team has compiled, synthesized, and speculated on a host of new (and old) clues that bring the puzzles circling the thymele at Epidauros into clearer focus. While the ancient ideas and intentions that motivated the construction of this remarkable building remain shrouded by time, the material evidence, the epigraphical record, and the literary testimonia hold numerous potential solutions. Through reexamination of these clues and their contexts, the authors hope to spark fresh debate regarding the form, the function, and the meaning of this unique and mysterious ancient structure.
Papers by John C Franklin
Rudiae Ricerche Sul Mondo Classico, 2010
Hellanicus with those fifth-century historians who wrote regional histories ('$1Ï 17-,2/) rather ... more Hellanicus with those fifth-century historians who wrote regional histories ('$1Ï 17-,2/) rather than chronicles-does not distinguish between Hellanicus' earlier mythographic and ethnographic works, and a developing interest in chronography in the latter part of the Lesbian's career. See further below. 8 The complete obscurity of Kreon, and the fact that there remained a gap between him and the end of the royal period, strongly suggest that the archon-list was authentic throughout, whatever document may have preceded the new inscription of c. 425. See
Summary of the cuts threatening the University of Vermont, the actions taken by the Classics Depa... more Summary of the cuts threatening the University of Vermont, the actions taken by the Classics Department, and an argument that UVM should surrender its motto Studiis et rebus honestis (Horace Epist. 1.2) if it does indeed extirpate the study of Greek and Latin. Published on the Society for Classical Studies blog.
This chapter surveys some key issues in early Greece’s musical interactions with the Near East. T... more This chapter surveys some key issues in early Greece’s musical interactions with the Near East. Topics include kinship of instruments; heptatonic koine in the Late Bronze Age, with vestiges of the Mesopotamian tonal system in the Greek lyre tradition; the Aegean diaspora to Philistia, Cilicia, and Cyprus c.1200–1000; interface with Phrygian, Lydian, and other Anatolian traditions in the Archaic period (c.700–500); reception of Greco-Anatolian and other eastern musics in Classical Athens (c.500–323); and investigations needed for the Hellenistic period and beyond (c.323–).
This paper (in the Giornale italiano di filologia) provides a close reading of Nicomachus’ ‘very ... more This paper (in the Giornale italiano di filologia) provides a close reading of Nicomachus’ ‘very tortuous’ account of Pythagoras’ alleged addition of an eighth string to the seven-stringed lyre. The primary focus is on Philolaus’ anomalous use of the string name τρίτη in fragment 6a. This well-known conundrum is reconsidered in light of the ‘epicentric’ arrangement of the Archaic lyre’s seven strings. It is argued that τρίτη and παραμέση were originally alternative names for the same string (as Nicomachus implies). This ambivalence was later bifurcated when lyres began to have eight strings around 480–460 BCE, a musical development that is plausibly reflected in a minority tradition about Simonides; the Pythagorean legend is a secondary development.
This paper presents core evidence supporting the thesis, argued in my 2002 UCL dissertation, that... more This paper presents core evidence supporting the thesis, argued in my 2002 UCL dissertation, that vestiges of the classical Mesopotamian tuning system, going back at least to the Old Babylonian period (c.2000–1600 BCE), can be detected in the earliest Greek material relating to the seven-stringed lyre — one standard configuration from Mycenaean times (at least in the East Greek world) until the fifth century. Independent development is ruled out by the shared conceptual and practical emphasis on a middle string in both systems. Collation of the two sets of evidence permits reconstruction of the following common features (mutatis mutandis): 1) All strings named or arranged in reference to middle string (Arist. Metaph.4.1018b26 ff, cf. Pl. Resp. 4.443d). 2) Middle string first to be tuned, others tuned to it ([Arist.] Pr. 19.36; Dio Chrysostomus 68.7), thereby deriving tonal ‘meaning’ or capacity (Aristoxenian dýnamis). 3) Middle string alone to remain unchanged from one tuning to the next (cf. [Arist.] Pr. 19.36). 4) Middle string often repeated in performance to create a tonal center (cf. [Arist.] Pr. 19.20, Hurrian hymn from Ugarit with ‘notation’, c.1300). Moreover, both traditions are intimately allied with heptatony/diatony, which Aristoxenus considered the oldest of the génē (Harm. 19). The early, exalted status of ‘epicentric tonality’ lingered on in the treatment of the middle and outer boundary strings as Muses at Argos (SEG 30.382, 3rd cent. BC), Delphi (Plut. Quaest. conviv. 745A–B, 744c), and probably elsewhere; and as a structuring device for the mapping of planets to lyre strings in formulations of the Harmony of Spheres (Nicom. Ench. 3, 241.18-242.11 Jan MSG). Vis-à-vis ‘Music and Text’, this material imposes a well defined set of tonal parameters for imagining (or recomposing) the music of archaic poetry or later work that consciously maintained or alluded to those early conventions (Pindar, Aeschylus; amateur symposium songs [cf. Song of Seikilos]; technical allusions in Plato, Aristotle, Aristotelian Problems; citharodic pieces by Mesomedes).
This paper on Classical Inquiries (May 5, 2016) is an epitome of a book-in-progress called The St... more This paper on Classical Inquiries (May 5, 2016) is an epitome of a book-in-progress called The Stormy Seas of Cyprus: The Poetics of Eastern Wandering in Early Greek Epic. It discusses the ancient sources that underlie a pedagogical boardgame (also called the Stormy Seas of Cyprus) that I am developing with Glynnis Fawkes, and which we discuss this week on Eidolon.pub.
Published on Eidolon: https://eidolon.pub/the-stormy-seas-of-cyprus-974ebf390722#f4e7
Study of Kinesias, the Athenian "New Dithyrambist" often satirized by the Old Comic poets; in par... more Study of Kinesias, the Athenian "New Dithyrambist" often satirized by the Old Comic poets; in particular I examine the intersection of New Dithyramb and pre-Socratic philosophy, and the allegation that Kinesias "defecated on the Hekataia". Pre-print PDF, in proceedings of conference organized by A. Gostoli: Gli agoni poetico-musicali nella Grecia antica: Storia, religione, letteratura, Convegno Internazionale di Studi, Università degli Studi di Perugia Dipartimento di Lettere-Lingue, Letterature e Civiltà antiche e moderne October 27–29, 2015.
Review of THE GREAT GODDESS OF CYPRUS The Worship of the Great Goddess in Cyprus from the Chalcol... more Review of THE GREAT GODDESS OF CYPRUS The Worship of the Great Goddess in Cyprus from the Chalcolithic Period to the Roman Era. Documentary directed by Stavros Papageorghiou Jacqueline Karageorghis, Scientific Advisor Running time: 80 minutes. Tetraktys Films Ltd., Nicosia (Cyprus), 2015
Conference paper, APA/SCS 2015.
Excerpted from Chapter 21 of Kinyras: The Divine Lyre
See also Chapter 11 of Kinyras: The Divine Lyre.
For a more developed version of this paper, please see Chapter 2 of Kinyras: The Divine Lyre
This conference paper continues to languish in press, and is basically obsolete with the publicat... more This conference paper continues to languish in press, and is basically obsolete with the publication of Kinyras: The Divine Lyre. But it may be useful as a more succinct statement of the key issues and evidence. But for the Ugaritian material one should now prefer Chapters 1 and 7 of Kinyras: The Divine Lyre.
A more developed version of this material now appears in Chapter 8 of Kinyras: The Divine Lyre
Dear Friends and Colleagues, Kinyras: The Divine Lyre is also available online through the CHS... more Dear Friends and Colleagues,
Kinyras: The Divine Lyre is also available online through the CHS website: http://chs.harvard.edu/CHS/article/display/6329. The web version, however, does not have page numbers, so that internal cross-references cannot be easily followed. Hence the PDF here.
The thymele at Epidauros is one of the most enigmatic buildings of the ancient Greek world. At th... more The thymele at Epidauros is one of the most enigmatic buildings of the ancient Greek world. At the center of this book there lies a mystery. It is a mystery that has intrigued scholars for almost two centuries — a mystery that revolves around unique marks, sacred geometries, perplexing architecture, hidden passages, uncertain timelines, and lost rituals. It is a mystery that has yet to be solved.
In this important book, an international, interdisciplinary team has compiled, synthesized, and speculated on a host of new (and old) clues that bring the puzzles circling the thymele at Epidauros into clearer focus. While the ancient ideas and intentions that motivated the construction of this remarkable building remain shrouded by time, the material evidence, the epigraphical record, and the literary testimonia hold numerous potential solutions. Through reexamination of these clues and their contexts, the authors hope to spark fresh debate regarding the form, the function, and the meaning of this unique and mysterious ancient structure.
Rudiae Ricerche Sul Mondo Classico, 2010
Hellanicus with those fifth-century historians who wrote regional histories ('$1Ï 17-,2/) rather ... more Hellanicus with those fifth-century historians who wrote regional histories ('$1Ï 17-,2/) rather than chronicles-does not distinguish between Hellanicus' earlier mythographic and ethnographic works, and a developing interest in chronography in the latter part of the Lesbian's career. See further below. 8 The complete obscurity of Kreon, and the fact that there remained a gap between him and the end of the royal period, strongly suggest that the archon-list was authentic throughout, whatever document may have preceded the new inscription of c. 425. See
Summary of the cuts threatening the University of Vermont, the actions taken by the Classics Depa... more Summary of the cuts threatening the University of Vermont, the actions taken by the Classics Department, and an argument that UVM should surrender its motto Studiis et rebus honestis (Horace Epist. 1.2) if it does indeed extirpate the study of Greek and Latin. Published on the Society for Classical Studies blog.
This chapter surveys some key issues in early Greece’s musical interactions with the Near East. T... more This chapter surveys some key issues in early Greece’s musical interactions with the Near East. Topics include kinship of instruments; heptatonic koine in the Late Bronze Age, with vestiges of the Mesopotamian tonal system in the Greek lyre tradition; the Aegean diaspora to Philistia, Cilicia, and Cyprus c.1200–1000; interface with Phrygian, Lydian, and other Anatolian traditions in the Archaic period (c.700–500); reception of Greco-Anatolian and other eastern musics in Classical Athens (c.500–323); and investigations needed for the Hellenistic period and beyond (c.323–).
This paper (in the Giornale italiano di filologia) provides a close reading of Nicomachus’ ‘very ... more This paper (in the Giornale italiano di filologia) provides a close reading of Nicomachus’ ‘very tortuous’ account of Pythagoras’ alleged addition of an eighth string to the seven-stringed lyre. The primary focus is on Philolaus’ anomalous use of the string name τρίτη in fragment 6a. This well-known conundrum is reconsidered in light of the ‘epicentric’ arrangement of the Archaic lyre’s seven strings. It is argued that τρίτη and παραμέση were originally alternative names for the same string (as Nicomachus implies). This ambivalence was later bifurcated when lyres began to have eight strings around 480–460 BCE, a musical development that is plausibly reflected in a minority tradition about Simonides; the Pythagorean legend is a secondary development.
This paper presents core evidence supporting the thesis, argued in my 2002 UCL dissertation, that... more This paper presents core evidence supporting the thesis, argued in my 2002 UCL dissertation, that vestiges of the classical Mesopotamian tuning system, going back at least to the Old Babylonian period (c.2000–1600 BCE), can be detected in the earliest Greek material relating to the seven-stringed lyre — one standard configuration from Mycenaean times (at least in the East Greek world) until the fifth century. Independent development is ruled out by the shared conceptual and practical emphasis on a middle string in both systems. Collation of the two sets of evidence permits reconstruction of the following common features (mutatis mutandis): 1) All strings named or arranged in reference to middle string (Arist. Metaph.4.1018b26 ff, cf. Pl. Resp. 4.443d). 2) Middle string first to be tuned, others tuned to it ([Arist.] Pr. 19.36; Dio Chrysostomus 68.7), thereby deriving tonal ‘meaning’ or capacity (Aristoxenian dýnamis). 3) Middle string alone to remain unchanged from one tuning to the next (cf. [Arist.] Pr. 19.36). 4) Middle string often repeated in performance to create a tonal center (cf. [Arist.] Pr. 19.20, Hurrian hymn from Ugarit with ‘notation’, c.1300). Moreover, both traditions are intimately allied with heptatony/diatony, which Aristoxenus considered the oldest of the génē (Harm. 19). The early, exalted status of ‘epicentric tonality’ lingered on in the treatment of the middle and outer boundary strings as Muses at Argos (SEG 30.382, 3rd cent. BC), Delphi (Plut. Quaest. conviv. 745A–B, 744c), and probably elsewhere; and as a structuring device for the mapping of planets to lyre strings in formulations of the Harmony of Spheres (Nicom. Ench. 3, 241.18-242.11 Jan MSG). Vis-à-vis ‘Music and Text’, this material imposes a well defined set of tonal parameters for imagining (or recomposing) the music of archaic poetry or later work that consciously maintained or alluded to those early conventions (Pindar, Aeschylus; amateur symposium songs [cf. Song of Seikilos]; technical allusions in Plato, Aristotle, Aristotelian Problems; citharodic pieces by Mesomedes).
This paper on Classical Inquiries (May 5, 2016) is an epitome of a book-in-progress called The St... more This paper on Classical Inquiries (May 5, 2016) is an epitome of a book-in-progress called The Stormy Seas of Cyprus: The Poetics of Eastern Wandering in Early Greek Epic. It discusses the ancient sources that underlie a pedagogical boardgame (also called the Stormy Seas of Cyprus) that I am developing with Glynnis Fawkes, and which we discuss this week on Eidolon.pub.
Published on Eidolon: https://eidolon.pub/the-stormy-seas-of-cyprus-974ebf390722#f4e7
Study of Kinesias, the Athenian "New Dithyrambist" often satirized by the Old Comic poets; in par... more Study of Kinesias, the Athenian "New Dithyrambist" often satirized by the Old Comic poets; in particular I examine the intersection of New Dithyramb and pre-Socratic philosophy, and the allegation that Kinesias "defecated on the Hekataia". Pre-print PDF, in proceedings of conference organized by A. Gostoli: Gli agoni poetico-musicali nella Grecia antica: Storia, religione, letteratura, Convegno Internazionale di Studi, Università degli Studi di Perugia Dipartimento di Lettere-Lingue, Letterature e Civiltà antiche e moderne October 27–29, 2015.
Review of THE GREAT GODDESS OF CYPRUS The Worship of the Great Goddess in Cyprus from the Chalcol... more Review of THE GREAT GODDESS OF CYPRUS The Worship of the Great Goddess in Cyprus from the Chalcolithic Period to the Roman Era. Documentary directed by Stavros Papageorghiou Jacqueline Karageorghis, Scientific Advisor Running time: 80 minutes. Tetraktys Films Ltd., Nicosia (Cyprus), 2015
Conference paper, APA/SCS 2015.
Excerpted from Chapter 21 of Kinyras: The Divine Lyre
See also Chapter 11 of Kinyras: The Divine Lyre.
For a more developed version of this paper, please see Chapter 2 of Kinyras: The Divine Lyre
This conference paper continues to languish in press, and is basically obsolete with the publicat... more This conference paper continues to languish in press, and is basically obsolete with the publication of Kinyras: The Divine Lyre. But it may be useful as a more succinct statement of the key issues and evidence. But for the Ugaritian material one should now prefer Chapters 1 and 7 of Kinyras: The Divine Lyre.
A more developed version of this material now appears in Chapter 8 of Kinyras: The Divine Lyre
Φόρµιγξ, Homer's usual wordfor "lyre", having two symmetrical arms (πήχεις, Merc. 50, Mycenaean/G... more Φόρµιγξ, Homer's usual wordfor "lyre", having two symmetrical arms (πήχεις, Merc. 50, Mycenaean/Geometric representations), joined by a crossbar (ζυγόν, Il. 9.187, Merc. 50) and inserted into a hollow (γλαφυρή, formulaic, cf. 8.257, Ap. 183, Merc. 65) resonator; this was round-based until c.600 and generally wooden, although tortoise-shells, typical of amateurs 485f.), are known from Mycenaean times (Phylakopi). Strings (χορδαί) were of (female?) sheepgut (Merc. 51), bound at the yoke around pegs/leather strips (κόλλoπες: Od. 21.406 with Eust.), and secured to the resonator by a tailpiece (χορδοτόνον [Arist.] De audib. 803a41) of metal (excavated iron remains). Easily replaced (Od. 21.406-9) their sound, struck by a pick (πλῆκτρον, Merc. 53) of bone, ivory (Menidi tholos) or even metal (gold, Ap. 185), was bright (λίγεια: formulaic, verse-final: Od. x 7, cf. Merc. 478), almost metallic (καναχή, Ap.3.185; κονάβησε, Merc. 454), carried a distance (βοή, Il. 18.495; ἰωή, Od. 17.261, ἠπύει Od. 17.271), and held its own amidst revellers, choruses, and double-pipes (*αὐλός) -yet was still lovely (ἱμερόεσσαν, Ap. 185; ἐρατόν, Merc. 515). String-number remains controversial: a palatial heptatonic tradition (Merc. 51) may have coexisted with epic song on a few pitches (Terp. 4 Gostoli remains crucial); Geometric representations with three-or four-strings need not be taken literally for that hypothesis. Depending on context (see below), a φόρµιγξ-player could sit (Od.8.
Double reed-pipes, widely distributed since Early Bronze Age. Mycenaean representations are lacki... more Double reed-pipes, widely distributed since Early Bronze Age. Mycenaean representations are lacking, and Homer omits in some expected contexts. But the aulos was probably not an Iron Age parvenu. The word itself (lit. 'tube', so at Il. 17.297) is found in Mycenaean names; a musical sense not excluded here (Ilievski 1972, 268 f., 276). The Haghia Triada sarcophagus shows pipes and *lyre during *sacrifice/*libation, an important aulos-function in historical Greece; the lyre's striking resemblance to *Pylos throne room instrument suggests Minoan-Mycenaean musical koine in palatial contexts (see Minoan civilization). The Archaic aulete Spendon ('Mr Libation', Plut. Lyc. 28.5), whether historical or symbolic, is perfectly in keeping with Herodotus' statement (6.60) that aulos-playing was a hereditary profession at Sparta. The verb spendein (verse *formula Il. 9.177; Od. 5x) is related to Hittite åipand-, not as Indo-European cognates but via (indirect?) lateral diffusion, probably in the Bronze Age (Burkert 1985, 35-6, 374 n.34). Significantly the aulos was traditionally connected with *'Phrygia' (already anachronistic in tragedy). Importantly aulos and syrinx are played around Trojan campfires (Il. 10.13 [*Doloneia]; cf. Hdt. 1.17 for Lydian military band). Auloi were also typical of Kybele cult (Hymn. Hom. 14.3, with krotala [clappers] and ti[m]pana [frame-drum, Semitic derivation]). Yet auloi and phorminges (see Phorminx) on the *Shield of Achilles (Il. 18.495), accompanying male choral dance, attest the pipes' mainstream position in Homer's world(s); cf. 8th-century Attic vase (Wegner 1968, Taf. Vb, Cat. 75) and early importance of choral poetry. Here the pipes join musical symbolism of peaceful order; cf. rhapsodic interpolation at 18.606a (auloi, syringes, kitharis); [Hes.] Scutum 281-4; Hymn. Merc. 452 (see also *Music). These passages reflect the rich totality of Archaic mousikê, reasonably retrojected into the Late Bronze Age (probable contexts:
Six impressions of ancient Hellenic music, each of which exemplifies a different interplay of ext... more Six impressions of ancient Hellenic music, each of which exemplifies a different interplay of extant evidence and artistic license. By artistic license I do not mean free invention, nor merely invention informed by scholarly supposition—although there is a measure of both. Rather, I have tried to include in the realizations extraneous material—both musical and conceptual—which cooperates or contrasts suggestively with the ancient elements of each. Ancient and modern materials or ideas are freely combined where similar contextual details are mutually illuminating in some way. Computer techniques normally associated with the production of popular and techno music are used to enhance the realism of the realization, and to place known ancient material in diachronic dialogue with contemporary music, and/or synchronic dialogue with anecdotal material from other ancient sources. The sound palette includes ancient fragments, tunings, microtones, samples of reconstructed instruments, samples and loops from ethnomusicological collections, and rhythmic gestures ‘transcribed’ precisely from modern Greek folk music and used to ‘drive’ ancient instruments and tunings.
These are the audio examples referred to in the paper "Hearing Greek MIcrotones"
Design by Tanner Lake (UVM McNair Fellow); supervision by John Franklin; construction by John But... more Design by Tanner Lake (UVM McNair Fellow); supervision by John Franklin; construction by John Butterfield, Butterfield Lutes. Video by Max Freedlund. The Halcyonid Singers are Becky Sahlin, Karyn Greene, Erin Nass, Deepti Menon.
Massaro, Flavio (ed.). Agoni poetico-musicali nella Grecia antica. Vol. 3: Sparta. Testi e commen... more Massaro, Flavio (ed.). Agoni poetico-musicali nella Grecia antica. Vol. 3: Sparta. Testi e commenti 31. Pisa; Roma: Fabrizio Serra Editore, 2018. 232 p. €148,00 (pb). ISBN 9788862279932.
Hagel's overwhelmingly brilliant book is the most important treatment of Greek musical technicali... more Hagel's overwhelmingly brilliant book is the most important treatment of Greek musical technicalities since Ptolemy. With the humanities under attack, it shows clearly the triumphs possible when a great intellect is granted unbroken concentration. Hagel traces the evolution of Greek tonal systems and instrument design from the earliest written and archaeological evidence (Classical period, with literary fragments relating to the earlier centuries) down to latest notated scores. Hagel's treatment of written sources exhibits the highest level of philological competence in every area. But in fulfilling the ideals of Altertumswissenschaft, Hagel also establishes a methodological milestone for the emerging field of music archaeology, with consistent and authoritative reference to iconography, material finds of instruments, statistical analysis (especially on surviving scores and harmonic data from theorists), impressive experimental reconstruction of instruments (delighting conference audiences for years), a superabundance of complex but illuminating diagrams, and judicious use of ethnographic analogy. A priori positions, a weakness of many past (even recent) studies are largely avoided, sometimes refuted (e.g. pentatonic substrate), and if adopted generally supported by independent lines of argument. This holistic approach reveals the benign influence of Ellen Hickmann's International Study Group on Music Archaeology, with its most fruitful meeting of disciplines. The work thoroughly refutes the charges of naivety which musicologists have leveled at Classicists engaged in ancient musical studies. Indeed the techniques developed by Hagel could well be emulated by musicologists and ethnomusicologists generally.
Choral songs and incidental microtonal lyre music from 2001 production at the American Academy in... more Choral songs and incidental microtonal lyre music from 2001 production at the American Academy in Rome. Songs use ancient rhythms, melodic composition by accent, and ancient scales and pitch sets
Audio file of full production, American Academy in Rome 2001. Directed by David Mowat (after Dan ... more Audio file of full production, American Academy in Rome 2001. Directed by David Mowat (after Dan Robb). Translation by Charles Connaghan and John C. Franklin. Cast:
Strepsiades - Benji Ming
Pheidippides - Tim Younger
Xanthias - Gareth Barton
Student - Susan Coleman
Socrates - Paul McCue
Chorus Leader - Helen MacGregor
Clouds - Brigid Allen, Lucy Baker, Jackie Chang,
Susan Coleman
Aristophanes - Tim Younger
Right Argument - Gareth Barton
Wrong Argument - Brigid Allen
Creditor 1 - Brigid Allen
Creditor 2 - Gareth Barton
Includes two versions: Voice + Lyre fingerings; Voice + basic piano harmonies.
Dear Friends and Colleagues, I write to invite you and your students to make the trek up, down or... more Dear Friends and Colleagues,
I write to invite you and your students to make the trek up, down or over to Burlington, Vermont in lovely Mud Season to see our production of Aristophanes’ Clouds (poster attached). The show, generously funded by the Loeb Classical Library Foundation and Vermont Humanities Council (among others), will feature an original collaborative translation; ‘new ancient’ music for all choral lyrics; choreography, costumes, choral masks, and projections; a live 'ancient band’; local-wine tastings; and public lectures by Jeffrey Henderson (BU), Roberta Stewart (Dartmouth), and Pavlos Sfyroeras (Middlebury). The overall formula will be similar to our 2018 production of Euripides’ Helen, recently described in Didaskalia.
As part of our outreach and dissemination efforts, we would also like to offer no-honorarium campus visits during the coming semester, summer, or fall, to talk about our production(s) and perform selections of 'new ancient music’ (from Clouds and/or Helen).
Yours hopefully,
John Franklin
Professor and Chair, UVM Classics
Translation by Charles Connaghan (dialogue) and John C. Franklin (metrical choruses and parabasis... more Translation by Charles Connaghan (dialogue) and John C. Franklin (metrical choruses and parabasis). Performed at the Edinburgh Fringe 2000 and the American Academy in Rome 2001. With new compositions on ancient principles. Audio files of full production and selections available under "Audio Links".
See for now "East Faces of Early Greek Music"
Book abstract. See also "Lady Come Down: The Eastern Wandering of Helen, Paris and Menelaus" above.
Society for Classical Studies Blog, 2022
New MA funding opportunity in Classics at the University of Vermont, and update on the situation ... more New MA funding opportunity in Classics at the University of Vermont, and update on the situation of Classics at UVM.
This paper was written by UVM Emeritus Professor Z. Philip Ambrose, with whose blessing I am maki... more This paper was written by UVM Emeritus Professor Z. Philip Ambrose, with whose blessing I am making it available on this platform. Ambrose, Z. P., “The Curriculum—I: From Traditional to Modern”, in Daniels, R. V. (ed.), The University of Vermont: The First Two Hundred Years 1991), 89–106
1791 Studiis et rebus honestis The University of Vermont (UVM) offers MA, MAT and Graduate Certif... more 1791 Studiis et rebus honestis The University of Vermont (UVM) offers MA, MAT and Graduate Certificate programs in Classics. Our small but vibrant and familial department maintains an old tradition of philological rigor in one of America's most beautiful, progressive, and fun college towns. The two-year curriculum comprises eight literature seminars (four Greek, four Latin), a full year of Prose Composition in each language, one research paper per semester, and a Proseminar. Coursework is enriched by a steady stream of guest speakers, an active Classical Club that brings graduates and undergraduates together (museum fieldtrips, Apician culinary events, films, etc.), an ancient music ensemble and an ancient drama staging in alternate years, a History Gaming Workshop, and more. Our library collection is outstanding, from generations of active curation. Each year we typically fund two MA students with 2-3 years (or more) or preparation in each language). First-year teaching duties normally consist of helping in large lecture courses and running 'fourth hour' tutorials for first year languages; second years teach their own elementary Latin sections and sometimes first-year intensive language in summer. Sufficiently advanced students can pursue a Thesis track, but most use the seminars for maximum reading exposure and philological experience prior to Comprehensive Exams in Greek, Latin, History, Philology, and one modern language (Italian, French, German). Our graduates place well in leading PhD programs in (and beyond) Classics; secure High School posts; or blaze interesting trails of their own. The Certificate of Graduate Study, like a Post-Baccalaureate program, is for those who are not quite MA-ready and desire additional training before further applications; they follow graduate, not undergraduate, curriculum and can apply earned credits towards the MA. For more information, contact Jacques.Bailly@uvm.edu or visit our webpage. MA Greek and Latin • MAT Latin • CGS ROLLING APPLICATION, BUT DEADLINE FOR FALL FUNDING IS FEBRUARY 15.
Dear Friends and Colleagues, We would be very grateful if you would sign our petition to reverse... more Dear Friends and Colleagues,
We would be very grateful if you would sign our petition to reverse the 50% cut to Classics that the University of Vermont has suffered in the last three years through an austerity regime of unreplaced retirements and rolling lecturer terminations. UVM is now undergoing an administrative change—influenced in part by campus-wide protests to humanities cutbacks—and we hope to prevail upon the incoming president (Suresh Garimella, currently Provost at Purdue) to restore us to the 2015 staffing level that was already deemed minimal by our external program review that same year (conducted by Jeffery Henderson and Richard Thomas).
For more specifics, please see the SCS blog: https://classicalstudies.org/scs-blog/university-vermont-classics-department/blog-fighting-future-classics-university-vermont.
The petition is here: https://docs.google.com/spreadsheets/d/1wN1GdE5nKzbTeney7Kp3nZCYkFkblKeur8tu-bHFgig/edit#gid=0
Yours hopefully,
The Department of Classics, Universitas Viridis Montis
This summer Euterpe 2019 school will focus on composing “new ancient music”, with special—though ... more This summer Euterpe 2019 school will focus on composing “new ancient music”, with special—though not exclusive—attention to the lyre, a type of string instrument that was widespread, in various shapes, throughout the ancient European and Mediterranean civilizations. The school is open to all musicians and scholars interested in ancient compositions and instruments. The goal of Euterpe 2019 school is to reach beyond the world of Classicists and Music Archaeologists by attracting musicians and singers who want to perform ancient texts accompanied by lyres; players of ancient lyres who want to collaborate with other musicians; and composers who would like to include ancient instruments and/or tonal material in scores for theatre, soundtracks, music festivals, etc.
Introduction to / overview of the Classics department at the University of Vermont (UVM = Univers... more Introduction to / overview of the Classics department at the University of Vermont (UVM = Universitas Viridis Montis): undergraduate and MA program: https://www.youtube.com/watch?v=mti_cq0vv58
What follows is a Latin translation of the first page or so of the Hobbit. I did this during a La... more What follows is a Latin translation of the first page or so of the Hobbit. I did this during a Latin Prose Composition class at the University of Washington in 1994; so far as I know it was the first time anyone had tried this. At the outset I had dreamed of doing the whole work; but even this much took several weeks of (off and on but mostly on) research on the various words, turns of phrase, constructions, and so on. It is probably not the easiest read, as there is some unusual vocabulary and I made an effort to make it artful. Some may find it overwrought. Nor is it completely flawless. But do note the opening hexameter!
I had this posted on my old site www.kingmixers.com from about 2002–2012, until I discontinued that service. Since Mark Walker has now produced a translation of the whole book, it seemed timely to make it public again for any who may wish to compare. The styles, it will be seen, are very different. I’d like to think that Walker’s choice to make hobbit second-declension, and his use of foramen, terra and habitare in the opening sentence, are an Alexandrian allusion to an obscure predecessor. But maybe these were all just obvious choices.
John C. Franklin, The University of Vermont, April 15, 2016.
Ancient Greek versions of New Ancient Music scores for Euripides' Helen, consolidated in one docu... more Ancient Greek versions of New Ancient Music scores for Euripides' Helen, consolidated in one document (Parodos; Lyric Dialogue; Epiparodos; Reunion Duet; First Stasimon; Second Stasimon; Third Stasimon). With seven-stringed lyre chord fingerings.
VERSIONI TRASLITTERATE: Partiture di "Nuova musica antica" per l'Elena di Euripide, con testo in ... more VERSIONI TRASLITTERATE: Partiture di "Nuova musica antica" per l'Elena di Euripide, con testo in greco antico ed accordi della lira; usare per la Scuola estiva di musica antica di Lecce, settembre 2022.
TRANSLITERATED VERSIONS: Scores of "New Ancient Music" for Euripides' Helen, with ancient Greek text and lyre fingerings; for use in Lecce Ancient Music Summer School, Sept. 2022.
Partiture di "Nuova musica antica" per l'Elena di Euripide, con testo in greco antico ed accordi ... more Partiture di "Nuova musica antica" per l'Elena di Euripide, con testo in greco antico ed accordi della lira; usare per la Scuola estiva di musica antica di Lecce, settembre 2022.
Scores of "New Ancient Music" for Euripides' Helen, with ancient Greek text and lyre fingerings; for use in Lecce Ancient Music Summer School, Sept. 2022.
Euripides Helen—Zoom performance at the Society for Classical Studies annual meeting by the Commi... more Euripides Helen—Zoom performance at the Society for Classical Studies annual meeting by the Committee on Ancient and Modern Performance. Directed by Mary-Kay Gamel, John Franklin and the CAMP players. Artwork by Glynnis Fawkes, Animated by John Franklin. New Ancient Music by John Franklin. Vital production support by Krishni Burns and Amy R. Cohen. Singing by Julia Irons. https://www.youtube.com/watch?v=UHSzbz06OkA&t=5527s
Didaskalia 15, 2019
This paper is a detailed account of the design and production of a 2018 staging of Euripides Hele... more This paper is a detailed account of the design and production of a 2018 staging of Euripides Helen. It describes the various aesthetic and practical aspects of the adventure, both to document this specific production and to provide useful examples and cautions for others. Creative elements covered include new collaborative translation (by UVM faculty, students and alumnae/i); director's vision; design and production of original costumes, scenery, and choreography. Logistical aspects discussed: choice of venue, funding, casting, advertising and promotion, rehearsals and other preparation, wine-tasting and lectures. A second section explains my approach to composing the ‘new ancient music’, with illustrations. A concluding note will reflect on the event’s aftermath and the lessons learned. The paper includes many images and video links.
Playbill, designed by Aaron Robinson, for UVM production of Euripides' Helen (March 2018). Contri... more Playbill, designed by Aaron Robinson, for UVM production of Euripides' Helen (March 2018). Contributions by Phil Ambrose, Glynnis Fawkes, Rachel Cosgrove, Aaron Robinson, Alexis Kamitses, John Franklin, and individual biographies as indicated
Metrical translation by Ken Rothwell / John Franklin. Music by John Franklin, scored for 7-string... more Metrical translation by Ken Rothwell / John Franklin. Music by John Franklin, scored for 7-string lyre and voice. For production of Euripides Helen, Burlington Vermont, March 22–25, 2018 (Ambrose Classical Play). Recording: https://www.youtube.com/watch?v=XILK7PcZynU
Score: "New Ancient Music" for Second Stasimon of Euripides Helen ("Mountain Mother"). Metrical t... more Score: "New Ancient Music" for Second Stasimon of Euripides Helen ("Mountain Mother"). Metrical translation by John Franklin/James Aglio. For production in Burlington VT March 22–25, 2018.
Poster for Production of Euripides Helen, March 22–25, 2018, University of Vermont: Main Street L... more Poster for Production of Euripides Helen, March 22–25, 2018, University of Vermont: Main Street Landing Black Box Theater, Burlington VT.
"Recomposition" of music for production of Euripides Helen. Original rhythms preserved/interprete... more "Recomposition" of music for production of Euripides Helen. Original rhythms preserved/interpreted; melody follows word accents; kithara accompaniment in Dorian tuning, with additional chromatic vocal notes. See video of performance here: https://www.youtube.com/watch?v=E_IizvUhi2A&t=72s
CFP for January 2019 MOISA Panel, Society for Classical Studies
From the biblical tale of Jericho, to Tacitus' "silence of desolation" after the battle of Mons G... more From the biblical tale of Jericho, to Tacitus' "silence of desolation" after the battle of Mons Graupius, sound played a major role in the ancient experience of war. The 2018 MOISA panel at the SCS meeting in Boston seeks papers exploring the interconnection of sound, music, and warfare in all its aspects, from any place or period of the ancient world. We welcome papers from any methodological perspective, including (but not limited to) philological, archeological, musicological, anthropological or historiographical approaches. Topics might include:
Video Performance: musical recomposition on ancient principles of Parodos from Euripides' Helen, ... more Video Performance: musical recomposition on ancient principles of Parodos from Euripides' Helen, as recently performed at the 2018 SCS.
Cultural and historical survey of early 'Celtic' societies as represented in classical sources, w... more Cultural and historical survey of early 'Celtic' societies as represented in classical sources, with initial emphasis on ancient ethnographies (and parallels in early Irish legend), followed by the early political history of the Roman invasions and eventual occupation of Britain (from Julius Caesar through Agricola). We will close with excerpts from early British and English chroniclers (Gildas / Nennius, the Venerable Bede, and Geoffrey of Monmouth) relating to the sub-Roman period and Anglo-Saxon influx; and a glance at early Ireland, St. Patrick, and the marvel-filled Voyage of Saint Brendan.
Coursebook / Materials for Euterpe 2019 Lyre School John Franklin (with additional materials as n... more Coursebook / Materials for Euterpe 2019 Lyre School
John Franklin (with additional materials as noted) for the Euterpe Lyre School organized by Emiliano li Castro and Placido Scardina, Tarquinia, 2019. Lyre kits by Marco Sciascia. Drawings by Glynnis Fawkes.
TABLE OF CONTENTS
The Near East: Diatonic Tuning Circle
Nabnitu XXXII
CBS 10996
UET 7/74
Graphic Representation of Tuning Cycle
Epicentric Features in Mesopotamian Tuning Cycle Epicentric Function in Hurrian Hymn 6
Tuning Cycle Worksheet
History, Theory, Notation
Bronze Age Lyres (from Franklin 2015)
Iron Age Lyres (from Franklin 2015)
Some Bronze Age Chordophones (Aegean) Regional Survival of Bronze Age Lyre Tradition Apollo’s Assimilation of Regional Lyre Traditions Four-Stringed Lyres and Epic Song?
Epicentric Arrangement of the Archaic Heptachord Summary of Epicentric Tonality
Archaic Performance Centers—7th Century Archaic Performance Centers—later 6th Century The Aulos Revolution
Greater Perfect System and Central Lyric Octave
Polychordal expansions by Melanippides, Phrynis, and Timotheus (from Lynch 2018). Blank GPS Diagrams for Reconstructing Tonoi
Mature Notation System (from Hagel 2009)
Limits of Epicentric Octave Tunings Plotted against Mature Notation System
Diagram of the Koine Hormasia (from Hagel 2009)
Ancient Passages for Discussion
Early Tradition of Seven-Stringed Lyres
Did Four-Stringed Lyres Exist?
‘Harmony’ and ‘Symphony’: Resonance as an Aspect of Physical Harmony Tuning / Testing for Resonance
Synécheia: Diatonic / Heptatonic ‘Continuity’, Aristoxenus’ ‘First Principle’ of
Harmonics
Antiquity of Diatonic Tuning
The Archaic Heptachord and its Epicentric Arrangement
The Boundary Strings as Shorthand for the Epicentric Arrangement Epicentric Tonal Function
‘Gapped’ Octaves on Seven Strings
Techniques of Lyric Performance
The Lyre as a Muse / Teacher / Leader
The Boundary Strings as Muses (Argos, Delphi) Epicentric Strings and the Harmony of the Spheres The Rise of Polychordy
Transcription Exercises (Adapted from West 1992 and Pöhlmann/West 2001 = DAGM) Aeide Mousa (DAGM 24)
Paian of Athenaeus (DAGM 20) Song of Seikilos (DAGM 23)
Ancient Greek Pieces with Tablature
Marching Paian (DAGM 52)
Aeide Mousa (DAGM 24)
Mesomedes, Hymn to Nemesis (DAGM 28)
Mesomedes, Invocation of Calliope and Apollo (DAGM 25) Paian of Athenaeus (DAGM 20)
Composing ‘New Ancient Music’
Principles of Accent Melody
Exercise 1: Anacreon fr. 13 Poetae Melici Graeci
Exercise 2: Sappho 2 Lobel-Page
Score for Sappho 1 Lobel-Page
Composing New Ancient Music for Euripides' Helen Talking Points Score for Euripides Helen, Parodos
Managing Introductions and Transitions: Epiparodos
Score for Euripides Helen, Epiparodos
Score for Euripides Helen, First Stasimon
Working Score for Second Stasimon
Issues of Metrical Responsion
Score for Euripides Helen, Second Stasimon
Score for Euripides Helen, Third Stasimon
Lyre Reference Materials
Repertoire of Lyre Tunings and Chords
Blank Tuning-Chord Worksheet
Harmonic Refraction and Resonance
Overtones (Available and Coincident)
Blank Overtones Worksheet
Microtonal Tunings in Greek Sources (from “Hearing Greek Microtones”)
‘Music’, from Finkelberg, M. (ed.), The Homer Encyclopedia (Oxford, 2011).
Literary, cultural, and historical survey of Ancient Lesbos. Readings will cover: Insularity theo... more Literary, cultural, and historical survey of Ancient Lesbos. Readings will cover: Insularity theory; the geography of the island; Hittite texts that mention “Lazpas”; the legendary king Makareus/Makar; Lesbos in the Epic Cycle (sack by Achilles in the ‘Grand Foray’, foundation of Messa sanctuary by Agamemnon and Menelaus, etc.); Aeolic migration and Lesbian dialect, including interrelationship with Homeric epic; Lesbos and the rise of Lydia; Terpander, the Lesbian genos of ‘Muse servants’ (Moisopóloi), and the ‘Orphic’ inheritance; Arion and the Dolphins; Pittacus, Alcaeus, and factional strife in Mytilene; Sappho and her world, including the new Sappho fragments; the Mytilenean Revolt and Debate; and Daphnis and Chloe, a second-century CE novel by Longus—a portrait of rustic life on the island that, while idealized, contains many real-world details of Lesbian cult and culture, as well as sustained allusions to Sappho and others.
Course Description. The AWGW enhances the traditional approach of studying ancient history throug... more Course Description. The AWGW enhances the traditional approach of studying ancient history through primary texts by adding sophisticated simulation boardgames. Games offer unique advantages for understanding complex systems. Essential factors are identified and abstracted, and then 'put into play' in an infinitely variable, interactive environment. Social and historical processes can be modeled very effectively, allowing students to reach a more intimate understanding of historical events, progressing from 'what' and 'when', to 'why' and 'what if'. A game's flaws are equally instructive. Boardgames are preferable to computer simulations because they are more social, and so promote discussion and analysis. This 'edition' of AWGW focuses on a transformative period of ancient history, the so-called Roman Revolution, that is, the series of civil wars—Marius vs. Sulla, Pompey vs. Caesar, Antony and Octavian vs. Brutus and Cassius, and finally Antony vs. Octavian—which led to the downfall of Roman republican government and the establishment of the Empire under Octavian (who was then renamed Augustus). A continuous narrative of this period by Appian (ca. 95–160 CE) will provide a framework for more detailed accounts of specific events by other ancient authors. These will include Julius Caesar (for the Gallic Wars [58– 50 BCE] and the Civil War against Pompey [49–45]), Cicero (orations against Catiline and Mark Antony), Lucan (epic poem on the Civil War), Plutarch (biographies of Marius, Sulla, Cicero, Pompey, Caesar, Antony), and Suetonius (biography of Octavian/Augustus). The first third of each session is spent in reading-quizzes and discussion, the remainder on simulation gaming, normally in groups of 4. Warning: some of these games are pretty complex! If you do not like strategy games, you may not enjoy this class. But then again you may find them surprisingly helpful and enjoyable. The course fills the following distribution/college requirements: CAS Humanities • BSAD Elective credit only •
This ‘edition’ of the Ancient Warfare Gaming Workshop focuses on a transformative period of ancie... more This ‘edition’ of the Ancient Warfare Gaming Workshop focuses on a transformative period of ancient history: the decline of democracy in Athens and its overthrow by Philip of Macedon (ca. 359–336); the astounding career of Philip’s son Alexander (336–323 BCE) which left far-flung imprints in legend for 1000 years and more; and the division of Alexander’s empire by his generals (‘The Successors’). Our main readings will be Demosthenes’ On the Crown; Arrian’s Campaigns of Alexander; Plutarch’s Life of Alexander; and On Siege Warfare by Aeneas Tacticus (fourth-century BCE).
Introductory survey of the complex histories and cultures of Mesopotamia (Sumerians, Babylonians,... more Introductory survey of the complex histories and cultures of Mesopotamia (Sumerians, Babylonians, Assyrians, Amorites), Syria-Levant (Hurrians, Ugarit, Canaanites/Phoenicians, Judea-Israel), Anatolia (Hittites, Hattians), Iran (Persians, Medes), with a brief nod at New Kingdom Egypt. Important Note: Course may be repeated for credit, and normally alternates between the Bronze Age (c.3000–1200) and Iron Age (c.1200–323). Spring 2017 covers the Bronze Age.
Course Description. This class focuses on a single, well defined 'event', the Peloponnesian War (... more Course Description. This class focuses on a single, well defined 'event', the Peloponnesian War (431–404 BCE), and combines the traditional approach of studying ancient political and social history through primary texts (here Thucydides, Xenophon, and Plutarch), with sophisticated board game simulations of the period. It goes well beyond the battlefield itself, combining social history, anthropology, material culture, historiography, and literary analysis. Games permit unique insights into complex systems: essential factors are identified and abstracted, and then 'put into play' in an infinitely variable, interactive environment. Social and historical processes can be modeled very effectively, allowing students to reach a more intimate understanding of historical events, progressing from 'what' and 'when', to 'why' and 'what if'. Up to the first third of each class will be spent in discussion. The remainder will be spent playing games. Warning: Some of these games are VERY COMPLEX. If you do not like strategy games, you may not like this class. BUT, the class also involves a lot of reading (and writing for those taking it at the 195 level), so if you are just in it for the games, you will have a hard time. The course can be used to fill the following distribution/college requirements: CAS Humanities • BSAD Elective credit only • CALS Social Science • CEMS HSS credit.
This is essentially a " Great Books " course centered on Greek mythology, its reception in Roman ... more This is essentially a " Great Books " course centered on Greek mythology, its reception in Roman culture, and later adaptations in various media, especially film (from the dark and serious to the light-hearted and silly). You will meet, or meet again, all the major and many of the minor characters of Greek and Roman myth. They will be encountered in most of the major literary genres of antiquity (including epic, didactic, lyric, epinician, tragedy, comedy, etc.), from roughly 750 BCE to 100 CE. We will also look at the historical and cultural contexts in which these works and myths arose and developed by stages, and various theoretical approaches to the interpretation of myth.
Syllabus and Reading Schedule for The Rise and Fall of Popular Rule—Athens (Integrated Humanities... more Syllabus and Reading Schedule for The Rise and Fall of Popular Rule—Athens (Integrated Humanities Program, History Module, Fall 2018, UVM). Course Description: America's founders, when establishing our political institutions, took elements from those of ancient Athens and Rome, which pioneered representative government in various (and changing) forms. It is natural, after nearly two-and-a-half centuries, to think of our democracy as unshakeable and eternal. But independent popular rule in Athens—the focus of this class—lasted for less than two centuries, during which the city, after playing a leading role in the liberation of Greece from foreign control (The Persian Wars, 490–479 BC), grew into an Empire that imposed democracy on its subjects—some willing and others not—as a means of enriching and empowering itself. Athenian expansionism finally forced Sparta to lead a coalition against her rival (The Peloponnesian War, 431–404). Athens was eventually defeated. Though the city endured as an independent democracy until the conquest of Greece in 338 by Philip of Macedon (father of Alexander the Great), its defeat in the Peloponnesian War marked the end of the Athenian Golden Age. Through key ancient texts we shall follow the rise and fall of this political experiment, and examine the social and economic forces that led to the establishment and gradual corruption of Athenian democracy.
The Euterpe School of ArchaeoMusic is dedicated to the knowledge and rebirth of our most ancient ... more The Euterpe School of ArchaeoMusic is dedicated to the knowledge and rebirth of our most ancient musical roots. This project aims to support musicians and scholars who want to approach the practice of instruments widespread in antiquity, such as the lyre and the aulos, and develop it through an international network of performers, scholars and makers of ancient musical instruments.
The first three editions of Euterpe took place in Tarquinia (Italy), from 3 to 6 May 2018, from 26 to 30 June 2019 and from 17 to 22 August 2020.
The Euterpe School of ArchaeoMusic was organized by Emiliano Li Castro, Placido Scardina and Luca Gufi, in collaboration with the European Music Archaeology Project (EMAP), the Società Tarquiniense d'Arte e Storia (STAS) and the Department of Culture of the Municipality of Tarquinia.
Tutors: Callum Armstrong: https://callumarmstrong.co.uk/
Barnaby Brown: https://barnabybrown.info/
John Curtis Franklin: https://www.uvm.edu/cas/classics/profiles/john-c-franklin
Nikos Xanthoulis: https://www.nikosxanthoulis.com/
Musical assistant: Mirco Mungari
Technical assistant: Marco Sciascia
Participants: Sergio Antonini, Robert Emil Berge, Sir Harrison Birtwistle, Antonio Constenla, Fabio Conti, Anna Dolazza, Ersilia Dolci, Matthew Ellard, Konstantinos Fragkis, Rosa Fragorapti, Mattia Gigliotti, Julia Irons, Heidi Köpp-Junk, Veronica Kuncewicz, Raúl Lacilla Crespo, Tosca Lynch, Melinda Maxwell, Timothy Moore, Laura Noviello, Fredrik Persson, Ana Maria Ribeiro, Daniel Sánchez Muñoz, Caleb Simone, April Spratley, Vanessa Stovall, Olga Sutkowska, Chrēstos Terzēs, Nick Vest, Antonio Vignera, Kamila Wyslucha.
Video producing | shoot | edit : Placido Scardina
Audio: “Seikilos”, performed live by the Trio Euterpe (Nikos Xanthoulis / Callum Armstrong / Mirco Mungari) at the Necropoli dei Monterozzi in Tarquinia (VT), on 22 August 2020, and recorded by Carla Fioravanti.
Additional course materials from past editions:
http://www.emaproject.eu/events/euterpe/resources.html
https://www.academia.edu/43153141/EUTERPE_2019_SUMMER_LYRE_SCHOOL_COURSE_MATERIALS
For information:
Email to: euterpe@emaproject.eu
Facebook: https://www.facebook.com/euterpeschool/
Dear Colleagues, We are pleased to announce that registrations for the Euterpe 2019 Lyre School ... more Dear Colleagues,
We are pleased to announce that registrations for the Euterpe 2019 Lyre School are open. People interested in participating can find detailed information on how to register and the provisional programme in the attached document.
Kind regards,
Placido Scardina
CALL FOR PAPERS EAA 2021. SESSION #152 ANCIENT WEST ASIAN AND EGYPTIAN SOUNDSCAPES IN CONTACT. Up... more CALL FOR PAPERS
EAA 2021. SESSION #152
ANCIENT WEST ASIAN AND EGYPTIAN SOUNDSCAPES IN CONTACT.
Uploaded with permission of Dr Daniel Sánchez Muñozf
The Moisa Research Seminar will take place from 2 to 6 July 2019 in Brixen (Italy) with the commi... more The Moisa Research Seminar will take place from 2 to 6 July 2019 in Brixen (Italy) with the commitment of Padua University and of its Department of Cultural Heritage.
We shall focus on "Music in Pausanias’ Guide to Greece", looking especially the traces of ancient music in the ten books concerning the musical regions and oral tradition. It will be the first time that Pausanias’ text is analyzed from the musicological perspective.
The morning seminars (10am–1pm) will be led by Prof. Egert Pöhlmann (University of Erlangen), Prof. Donatella Restani (University of Bologna), Prof. Daniela Castaldo (University of Salento), Prof. Ian Rutherford (University of Reading), and Prof. Angelo Meriani (University of Salerno).
The evening lectures, which normally start around 6 pm, provide an overview of the most recent developments in the thriving field of ancient Greek and Roman Music and his cultural heritage, as well as a chance to improve current projects thanks to the feedback and questions of the audience.
Call for Papers for this session within next EAA 2021 (Kiel & Online, September 8-11, 2021) about... more Call for Papers for this session within next EAA 2021 (Kiel & Online, September 8-11, 2021) about interactions between Egyptian and West Asian musical and sound worlds. Authors intend to publish the results.