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La parola delle muse :
la formazione del lessico tecnico musicale nella Grecia classica /

Eleonora Rocconi
2003
Italian Book 147 p. ; 24 cm.
Roma : Quasar, ; ISBN: 8871402456
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Title: La parola delle muse :
la formazione del lessico tecnico musicale nella Grecia classica /
Author(s): Rocconi, Eleonora.
Publication: Roma : Quasar,
Year: 2003
Description: 147 p. ; 24 cm.
Language: Italian
Series: Quaderni dei seminari romani di cultura greca ;; 5;
Standard No: ISBN: 8871402456
Note(s): Contains bibliography, place index, glossary and notes./ Includes bibliographical references.
Class Descriptors: Dewey: 780
Responsibility: Eleonora Rocconi.
Vendor Info: Casalini Libri (CASA) 30.99 EUR
Document Type: Book
Entry: 20040614
Update: 20040615
Accession No: OCLC: 55652325
Database: WorldCat

The Classical Review Volume 53, Issue 1, April 2003: pp. 69-71 Review Documents of Ancient Greek Music. The Extant Melodies and Fragments Edited and Transcribed with Commentary Reviewed by Eleonora Rocconi1 1University of Pavia E. Pöhlmann and M. L. West, eds. Documents of Ancient Greek Music. The Extant Melodies and Fragments Edited and Transcribed with Commentary. 222 pp. Oxford, Clarendon Press, 2001. Hardback £40 0-19-815223-X. Table of Contents Full-Text PDF (73 KB) http://www3.oup.co.uk/clrevj/hdb/Volume_53/Issue_01/530069.sgm.abs.html

Rocconi, Eleonora : The development of vertical direction in the spatial representation of sound (389-392). Die Entwicklung der senkrechten Dimension in der räumlichen Darstellung des Klanges. Terzes, Chrestos : The Ancient Hellenic Tonal System: The View of Dionysios (393-401). Das Tonsystem der griechische Antike: Betrachtungen aus den Werken des Dionysios. http://www.vml.de/d/autoren.php?autor=R092 nach dem Stand vom 27 ??t 2004 20:41:38 GMT.

Eleonora Rocconi ... ist Autor bzw. Co-Autor des folgenden Beitrages: [ OrA 10 ] Studien zur Musikarchäologie III. I. Archäologie früher Klangerzeugung und Tonordnung. Vorträge des 2. Symposiums der Internationalen Studiengruppe Musikarchäologie im Kloster Michaelstein, 17.-23. September 2000. II. Musikarchäologie in der Ägäis und Anatolien. Vorträge des Internationalen Musikarchäologischen Kolloqiums des Deutschen Archäologischen Instituts (Istanbul) in Zusammenarbeit mit der ICTM-Study Group on Music Archaeology und dem Institut Français d?Archéologie (Istanbul) Mimar Sinan Universität, Istanbul, 12.-16. April 1993. Studies in Music Archaeology III. I. The Archaeology of Sound: Origin and Organisation. Papers from the 2nd Symposium of the International Study Group on Music Archaeology at Monastery Michaelstein, 17 ? 23 September 2000. II. Music Archaeology in the Aegean and Anatolia. Papers from the Colloquium on Music Archaeology organised by the Deutsches Archäologisches Institut (Istanbul) in cooperation with the ICTM-Study Group on Music Archaeology and the Institut Français d?Archéologie (Istanbul) Mimar Sinan University, Istanbul, 12 - 16 April, 1993. Ellen Hickmann, Anne D. Kilmer und Ricardo Eichmann (Hrsg.) [Texte: englisch, deutsch] Rahden/Westf. 2002 ISBN: 3-89646-640-2 Preis: 95,00 € (fPr) Gefundener Beitrag: 1. S. 389-392 Die Entwicklung der senkrechten Dimension in der räumlichen Darstellung des Klanges. [Text: englisch] Eleonora Rocconi VML Verlag Marie Leidorf GmbH · Stellerloh 65 · D-32369 Rahden/Westf. · eMail: info@vml.de http://www.vml.de/d/autoren.php?autor=R092

http://www.dismec.unibo.it/musichegreci/web2001/currocconi.htm

DOTT.SSA ELEONORA ROCCONI Qualifica Ricercatore E-mail eleonora.rocconi@unipv.it Tel. Interno 214 Orario di ricevimento Curriculum http://spfm.unipv.it/scuola/personale/curricula/rocconi.html INSEGNAMENTI :: Drammaturgia antica a (settore L-FIL-LET/05, crediti 5) :: Greco di base (settore L-FIL-LET/02, crediti 5) :: Storia della musica greca, romana e bizantina (settore L-ART/07, crediti 5)

Az Erasmus program kereteben nemcsak diakok, hanem tanarok is ellatogatnak mas egyetemekre, igy majd Eleonora Rocconitol is hallgatnunk ozene orakat. Rocconi Aristoteles es Aristoxenos kapcsolatatol fog majd beszelni. http://spfm.unipv.it/scuola/personale/curricula/rocconi.html Eleonora Rocconi Curriculum essenziale Dopo un percorso di studi classici e musicali compiuti presso l’Università degli studi di Urbino e il Conservatorio di Musica «G. Rossini» di Pesaro, si è specializzata nel campo della musica greca antica in Inghilterra con il Prof. Andrew Barker (University of Birmingham). Dal 1999 lavora presso la Facoltà di Musicologia di Cremona (Università degli studi di Pavia), dove è attualmente ricercatore in Lingua e Letteratura greca (L-FIL-LET/02) e ricopre gli insegnamenti di Storia della musica greca, romana e bizantina e Drammaturgia antica. Dal 2000 è membro dell’International Study Group on Music Archeology (ISGMA), diretto dai Proff. Ellen Hickmann e Ricardo Eichmann. PUBBLICAZIONI: Harmoniai e teoria dei gene musicali nella Grecia antica, «Seminari Romani di cultura greca» I, 2 (1998), pp. 345-363 Terminologia dello ‘spazio sonoro’ negli Elementa Harmonica di Aristosseno di Taranto, «Quaderni Urbinati di Cultura Classica» n.s. 61 (90), N. 1 (1999), pp. 93-103 Eracle mainomenos e katauloumenos: appunti sulla rappresentazione tragica della follia, «Rudiae. Ricerche sul mondo classico» 11 (1999), pp. 105-112 Il ‘canto’ magico nel mondo greco. Sulle origini magiche del potere psicagogico della musica, «Seminari Romani di cultura greca» IV, 2 (2001), pp. 279-287 A. Barker, Euterpe. Ricerche sulla musica greca e romana, a cura di Franca Perusino e Eleonora Rocconi, Firenze, edizioni ETS 2002 LGGA. Lessico dei grammatici greci antichi (LGGA: http://www.lgga.unige.it), voci: Aristoxenos e Aristides Quintilianus (ottobre 2002); Heliodorus (ottobre 2003); Bacchius [2], Cleonides, Nicomachus (settembre 2004) The Development of Vertical Orientation in the Spatial Representation of Sound, in The Archeology of Early Sound: Origin and Organization (Ancient Orient, Mediterranean Antiquity, European Pre- and Protohistory, Precolumbian Latin America). 2nd Symposium of the International Study Group on Music Archeology, Stiftung Kloster Michaelstein, Sept. 17-24, 2000, eds. Ellen Hickmann, A. Kilmer and R. Eichmann, Serie Studien zur Musikarchäologie, Orient-Archäologie (Deutsches Archäologisches Institut Berlin, Orient-Abteilung), Berlin, Verlag Marie Leidorf GmbH 2003, pp. 389-392 Le parole delle Muse. La formazione del lessico tecnico musicale nella Grecia antica, «Quaderni dei Seminari Romani di Cultura Greca» 5, Roma, edizioni Quasar 2003 Un manuale al femminile: l’Introduzione Pitagorica alla musica di Tolemaide di Cirene, in Ars/Techne. Il manuale tecnico nelle civiltà greca e romana (Chieti, 29-30 ottobre 2001), a cura di M.S. Celentano, Alessandria, Edizioni dell’Orso 2003, pp. 99-114 Colours in Music: Metaphoric Musical Language in Greek Antiquity, in Music-Archeological Sources: Excavated Finds, Oral Transmission, Written Evidence (Ancient Near and Far East, South and Southest Asia, Mediterranean Antiquity, European Pre- and Protohistory, Precolumbian Latin America), 3rd Symposium of the International Study Group on Music Archeology, Stiftung Kloster Michaelstein, June 9-16, 2002, eds. Ellen Hickmann and R. Eichmann, Serie Studien zur Musikarchäologie, Orient-Archäologie (Deutsches Archäologisches Institut Berlin, Orient-Abteilung), pp. 29-34 (in corso di stampa) Theatres and Theatre Design in the Graeco-Roman world: theoretical and empirical approaches, in Identifying Intentionality on Ancient Use of Acoustic Space and Structure, Conference/Working Party, McDonald Institute for Archeological Research, Cambridge, June 27-29, 2003, in corso di stampa Women players in ancient Greece. The context of symposium and the socio-cultural position of psaltriai and auletrides in the classical world, in Music Archaeology in contexts: archaeological semantics, historical connections, socio-cultural connotations and other implications, 4th Symposium of the International Study Group on Music Archeology, Stiftung Kloster Michaelstein, September 19-26, 2004, eds. Ellen Hickmann and R. Eichmann, Serie Studien zur Musikarchäologie, Orient-Archäologie (Deutsches Archäologisches Institut Berlin, Orient-Abteilung), in corso di stampa RECENSIONI: John J. Landels, Music in Ancient Greece and Rome, London and New York, Routledge, 1999, in «Philomusica on line. Rivista informatica del Dipartimento di scienze musicologiche e paleografico-filologiche della Facoltà di Musicologia di Cremona (Università degli Studi di Pavia)» annata 2001-2002 Thomas J. Mathiesen, Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages, Lincoln and London, University of Nebraska Press 1999, «Journal of the American Musicological Society» 54/3 (2001), pp. 645-650 E. Pöhlmann-M.L. West, Documents of Ancient Greek Music. The Extant Melodies and Fragments, «Classical Review» 53/1 (2003), pp. 59-61 PARTECIPAZIONI A SEMINARI E CONVEGNI: 2nd Symposium of the International Study Group on Music Archeology: The Archeology of Early Sound: Origin and Organization (Ancient Orient, Mediterranean Antiquity, European Pre- and Protohistory, Precolumbian Latin America, Stiftung Kloster Michaelstein, Sept. 17-24, 2000 (relazione: The Development of Vertical Orientation in the Spatial Representation of Sound) II seminario di primavera "Le musiche dei greci: passato e presente. valorizzazione di un patrimonio culturale" (22 maggio 2001, relazione: Lo sviluppo della ‘verticalità’ nella rappresentazione spaziale del suono presso i Greci e i Romani) Convegno internazionale: Ars/Techne. Il manuale tecnico nelle civiltà greca e romana, Chieti, 29-30 ottobre 2001 (relazione: Un manuale al femminile: l’Introduzione Pitagorica alla musica di Tolemaide di Cirene) 3rd Symposium of the International Study Group on Music Archeology: Music-Archeological Sources: Excavated Finds, Oral Transmission, Written Evidence (Ancient Near and Far East, South and Southest Asia, Mediterranean Antiquity, European Pre- and Protohistory, Precolumbian Latin America), Stiftung Kloster Michaelstein, June 9-16, 2002 (relazione: Colours in Music: Metaphoric Musical Language in Greek Antiquity) Conference/Working Party: Identifying intentionality on ancient use of acoustic space and structure, McDonald Institute for Archeological Research, Cambridge, June 27-29, 2003 (relazione: Theatres and Theatre Design in the Graeco-Roman world: theoretical and empirical approaches) Program in Classical Philosophy, Classical Philosophy Colloquium: Aspects of Ancient Science: Medicine, Mathematics, and Music, Princeton University, December 6-7, 2003 (commentator) 4th Symposium of the International Study Group on Music Archeology: Music Archaeology in contexts: archaeological semantics, historical connections, socio-cultural connotations and other implications, Stiftung Kloster Michaelstein, September 19-26, 2004 (relazione: Women players in ancient Greece. The context of symposium and the socio-cultural position of psaltriai and auletrides in the classical world) V seminario "Le musiche dei greci: passato e presente. Valorizzazione di un patrimonio culturale" (3-5 ottobre 2004, relazione: Il tempo musicale nelle fonti dell’antica Grecia) E-mail eleonora.rocconi@unipv.it Didattica Pagina aggiornata in data 13/10/2004 Università degli Studi di Pavia - Facoltà di Musicologia Corso Garibaldi 178 – 26100 Cremona - Tel. 0372-25575 – Fax 0372-457077 - E-mail webmaster.musicologia@unipv.it Orari di apertura: dal lunedì al venerdì ore 8.30-18.30 – Segreteria ore 9.30-12 - Informazioni tecniche

Den einai afirimeni, exo pragmatiki, Paradigma o Pythikos nomos, perigrafi to synkrousi to Apollona me ton Pythona.(Michailides limma)

Kai pos kano etsi kai tis blepo... tis simeioseis apo to mathima tou Steliou:) O opoios paromoiazei to tetraxordo me mia kafetiera: piesi/enarmonion/pyknon... Milontas mas gia tis xroes ton genon tou tetraxordou exigei oti i metabasi ginetai bathmiaia. Apo mia stigmi kai meta i mera ginetai nyxta. kai ayto kathorizetai me basi ti psyxosynthesi: oria/Aristoxenos/metabasi apo ti mia katastasi stin alli... Alla emeis eimaste akoma sto diatonikon, sto opoio i parypati den kineitai. Ti tha pei oti i arxaia mousiki einai entona programmatiki?

REFERENCES ----------

Aristoxenus. c 330 BC. _Harmonika stoicheia_. Athens?

Cleonides. c 100 AD. _Eisagoge_. [English translation in Strunk 1950.]

Plutarch. _de Musica_. [English translation in Volume 1 of Barker 1989]

Boethius, Anicius Manlius Severinus. c 505 AD. [English translation in Bower 1989]

M - Codex Venetus. c 1150. Constantinople. (with corrections from many hands) Ma - the original script Mb - corrections before 1300 Mc - corrections 1300 or later Mx - unidentified corrections In Library of St Mark, Venice.

V - Codex Vaticanus. 1200-1400. Va - original script Vb - corrections by another hand

H - Codex from Protestant Seminary, Strassburg. 1400s? Destroyed in war 1870.

Valla, Georgius. 1497. Cleonides: _Eisagoge_. Latin translation of Cleonides. Venice.

S - Codex Seldenianus. c 1500. In Bodleian Library, Oxford.

R - Codex Riccardianus, 1500-1600. Florence.

B - Codex Berberinus. 1500-1550. Bibliotheca Berberina, Rome.

Meibom, Marcus. 1652. _Antiquae musicae auctores septem, Graece et Latine_. Apud Ludovicum Elzevirium, Amsterdam. (Contents: Vol. 1: I. Aristoxeni Harmonicorum elementorum libri III. II. Euclidis Introductio harmonica. III. Nicomachi Geraseni, Pythagorici, Harmonices manuale. IV. Alypii Introductio musica. V. Gaudentii Philosophi, Introductio harmonica. VI. Bacchii senioris Introductio artis musicae Vol. 2: Aristidis Quintiliani De musica libri III & Martiani Capellae de musica liber IX.) [Contains Greek texts and Latin translations.]

Marquard, Paul. 1868. _Die Harmonischen Fragmente des Aristoxenus_ Greek text and German translation. With critical notes and explanatory commentary. Berlin.

Westphal, H. 1883 (volume 1), 1893 (volume 2). _Aristoxenos von Tarent: Melik und Rhythmik des Classischen Hellenentums_. Translated and explained. [Attempted reconstruction of Aristoxenus's alleged original work] Leipzig. Reprint: 1965, Georg Olms Verlagsbuchhandlung Hildesheim.

Macran, Henry Stewart. 1902. _The Harmonics of Aristonexus_. Edited with translation, notes, introduction, and index of words. Clarendon Press, Oxford. Reprinted 1974, Hildesheim; New York: G. Olms Verlag. [Contains complete English translation.]

Laloy, L. 1904. _Aristoxθne de Tarente et la musique de l'Antiquitι_. (Includes _Lexique d'Aristoxθne_.) Paris.

Strunk, Oliver. 1950. _Source Readings in Music History_. Selected and annotated [and translated]. W. W. Norton. New York. [English translation of Cleonides on p 34-46.]

da Rios, R. 1954. _Aristoxeni Elementa harmonica_, edited. Rome. [Includes Latin introduction and Italian translation.] [Text of Aristoxenus used by Barker 1989.]

Crocker, Richard L. 1966. 'Aristoxenus and Greek Mathematics'. In _Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese_. Ed. Jan LaRue. W. W. Norton, New York. p 96-110.

Burkert, Walter. 1972. _Lore and Science in Ancient Pythagoreanism_. English translation by Edwin L. Minar, Jr. Cambridge, Harvard University Press. (original German edition 1962)

Mathiesen, Thomas J. 1976. 'Problems of Terminology in Ancient Greek Theory: `APMONIA', in _Festival Essays for Pauline Alderman: a musicological tribute_. Ed. Burton L. Karson. Brigham Young University Press; Provo, Utah. p 3-17.

Barker, Andrew. 1978. 'Music and Perception: A Study in Aristoxenus'. _Journal of Hellenistic Studies_, v 98, p 9-16.

Litchfield, Malcolm. 1988. 'Aristoxenus and Empiricism: A Reevalutation Based on his Theories'. _Journal of Music Theory_, v 32 # 1, p 51-73.

Barker, Andrew. 1989. _Greek Musical Writings_, volume 1: volume 2: 'Harmonic and Acoustic Theory'. Translated and edited. Cambridge University Press, New York. [Contains complete English translation of Aristoxenus _Elementa harmonica_ in vol 2, p 126-184.]

Bower, Calvin M. 1989. Boethius: _Fundamentals of Music_. English translation of Boethius. Yale University Press, New Haven.

Landels, John G. 1999. _Music in ancient Greece and Rome_. Routledge, London and New York.

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[1.25.26-30]
> He de barytate diatonos ... epi men gar ten tou hemioliou chromatos
> lichanon | hemitonion en ap' autes,
>
>> The lowest diatonic _lichanos_ ... is a semitone from the _lichanos_
>> of the hemiolic chromatic

[1.24.31] > hekton de to ex hemitoniou kai tonou. > >> sixthly, [consider] that [_systema_] composed of a semitone and a tone.

> [2.51.29] syntonou de, > en he to men hypates kai pa-[30]rypates hemitoniaion; > ton de loipon to-[31]niaion hekateron estin. > >> [2.51.29] [The division] of the tense diatonic is that >> in which the interval between _hypate_ and [30] _parhypate_ is a semitone, >> and each of the others [31] is a tone.

> [2.51.11 ...] Mechri men oun tautes tes di-[12]aipeseos > amphoteroi kinountai hoi phthon-[13]goi. > meta tauta d' he men parypate me-[14]nei; > dieleluthe gar ton hautes topon; > he de [15] lichanos kineitai diesin enarmonion. > kai [16] gignetai to lichanou kai hypates > diaste-[17]ma ison toi lichanou kai meses. > hoste me-[18]keti gignesthai pyknon en tautei tei diai-[19]pesei. > symbainei d' hama payesthai to py-[20]knon, > synistamenon en tei ton tetrachor-[21]don diairesei > kai archesthai gignomenon to [22] diatonon genos. > >> [2.51.11 ...] Up to [the tonic chromatic] division, >> [12] both the notes [_lichanos_ and _parhypate_] move, >> [13] but after this _parhypate_ stays still, >> [14] since it has travelled through its whole range, >> while [15] _lichanos_ moves through an enharmonic diesis, >> and [16] the interval between _lichanos_ and _hypate_ >> [17] becomes equal to that between _lichanos_ and _mese_, >> so that [18] in this division the _pyknon_ no longer occurs. >> [19] The _pyknon_ disappears [20] in the division of the tetrachord [21] simultaneously >> with the first occurrence of the [22] diatonic genus.

> [2.51.24 ...] malakou men oun esti diatonou diai-[25]pesis, > en he to men hypates kai parypa-[26]tes hemitoniaion esti; > to de parypates kai [27] lichanou trion dieseon enarmonion; > [28] to de lichanou kai meses, pente dieseon. > >> [2.51.24 ...] The division of the soft diatonic is that >> [25] in which the interval between _hypate_ and _parhypate_ [26] is a semitone, >> that between _parhypate_ and [27] _lichanos_ is three enharmonic dieses, >> and [28] that between _lichanos_ and _mese_ is five dieses.

[1.25.26-30]
> He de barytate diatonos ... epi men gar ten tou hemioliou chromatos
> lichanon | hemitonion en ap' autes,
>
>> The lowest diatonic _lichanos_ ... is a semitone from the _lichanos_
>> of the hemiolic ch

[1.24.28-30] > pempton de pros toi autoi, to ex hemitoniou kai hemioliou > diastem|matos synestekos systema eilephtho; > >> fifthly, from the same note [_hypate_] take the _systema_ composed >> of a semitone and an interval one and a half times as great, ...

[1.25.26-28] > He de barytate diatonos tes barytates chromatikos hemitonioi > kai dodekatemorioi tonou oxytera estin. > >> The lowest diatonic _lichanos_ is higher than the lowest chromatic >> by a semitone and a twelfth part of a tone.

[2.51.8-11]
> toniaiou de chromatos diaipesis estin en he to men pyknon
> ex hemi|tonion duo synkeitai to de loipon triemitonion estin.
>
>> The division of the tonic chromatic is that in which the
>> _pyknon_ consists of two semitones and the remainder is
>> three semitones.

> [2.51.1 ...] hemioliou de chromatos di-[2]aipesis estin,
> en he to te pyknon hemiolion [3] esti, tou [t'] enarmoniou,
> kai ton dieseon heka-[4]teras ton enarmonion.
>
>> [2.51.1 ...] The division of the hemiolic chromatic [2] is that
>> in which the _pyknon_ is one and a half times [3] that of the enharmonic,
>> and each of its dieses is [4] one and a half times the corresponding enharmonic diesis.

> [2.50.28] malakou men oun chromatos esti diai-[29]pesis,
> en he to men pyknon ek duo chro-[30]matikon dieseon elachiston synkei-[31]tai;
> to de loipon duo metrois metrei-[32]tai;
> hemitonioi men tris, chromatikei [33]de diesei hapax.
> hoste metreisthai trisin hemitoniois, kai tonou tritei merei hapax.
> [34]esti de ton chromatikon pyknon elachiston,
> kai lichanos haute barytate tou [2.51.1] genous toutou.
>
>> [2.50.28] The division of the soft chromatic is that
>> [29] in which the _pyknon_ consists of two of the [30] smallest chromatic dieses,
>> [31] and the remainder is measured by two units of measurement,
>> [32] by the semitone three times, and by the chromatic [33] diesis once [,
>> so that the sum of it amounts to three semitones and the third of a tone].
>> [34] It is the smallest of the chromatic _pykna_,
>> and this _lichanos_ is the lowest in [2.51.1] this genus.

([] Indicates translation omitted by Barker 1989.)

[2.51.4-8]
> [4...] Hoti d' esti [5] meizon to hemiolion pyknon
> tou malakou, [6] rhadion synidein.
> to men gar enarmo-[7]niou dieseos leipei tonos einai;
> to de, [8] chromatikos.
>
>> It is easy to see that the hemiolic pyknon
>> is greater than that of the soft chromatic,
>> for the former falls short of being a tone by an enharmonic diesis,
>> the latter by a chromatic diesis.

[1.25.11-14] > He men oun barytate chromatike lichanos tes enarmoniou > barytates hektoi merei tonou oxytera estin, > >> the lowest chromatic _lichanos_ is higher than the lowest >> enharmonic by a sixth part of a tone, ...

[1.25.32-33] > apo de tes enarmoniou epi ten barytaten chromatiken hektemorion, > >> from the enharmonic to the lowest chromatic _lichanos_ is a >> sixth part of a tone, ...

[1.25.14-16] > epeideper he chro|matike diesis tes enarmoniou dieseos > dodekatemorioi tonou meizon esti. > >> ... since the chromatic diesis is greater by a twelfth part of >> a tone than the enharmonic diesis.