How the dithyramb got its shape

D’Angour, Armand

doi:10.1093/cq/47.2.331

Cited by 109 publications

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“…105 Speculatively, then, the picture looks like this: Sacadas originally made his musical innovations; these were propagated more widely and encouraged experimentation in other forms of vocal sibilance, which were then subjected to censure; Lasus intervened and rejected the purists' counterclaims; Pindar followed suit, both in his second Dithyramb, where his allusion to Lasus' emancipation of musical sound is couched in terms of an allusion to Sacadas' musically inspired practice, and in other places where he adopts sigmatism for the sheer sake of the sound. 106 (The presence or absence of the sigma is in fact only one small, principally symbolic, aspect of this new poetics and dynamics of sound, as we saw earlier. 107 ) Later generations lost sight of the original allusions, and confusions set in over the nature of the polemics named only in Pindar's verses.…”

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confidence: 80%

“…The first is Lasus' emphatic emphasis on the subjective impression of sound as something phenomenally perceived, which has clear implications for the arrangement of the circular chorus, if that was indeed meant to eliminate vocal dissonances. 78 In this respect, Lasus would have anticipated Aristoxenus' phenomenalism by nearly two centuries. 79 The second is Lasus' relentless drive to fractionalize the interval, creating new microintervals, ever smaller harmonic divisions, and finer grades of polyphony.…”

Section: The Search For New Soundsmentioning

confidence: 99%

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LASUS OF HERMIONE, PINDAR AND THE RIDDLE OF S

Porter

2007

The Class. Q.

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I wish to thank Armand D'Angour for the extraordinary generosity he showed at the end of the summer of 2005 when I first gave him parts and then the whole of this essay as it was evolving, abetted in no small part by lively exchanges with him. I am also grateful to John Franklin, Richard Janko, and to an anonymous reader for detailed comments, suggestions, and face-saving corrections, which I have tried to incorporate as best I could. Finally, thanks to Miriam Griffin for her editorial guidance. 1 See Privitera, Laso di Ermione, a full-length study, with fragments and discussion; GMW 1, s.v. 'Lasus' in the index; West, Ancient Greek Music, 342-3, for a convenient summary of Lasus' achievements; and D'Angour, 'Dithyramb' for a striking reappraisal of some of the key evidence. 2 West, Ancient Greek Music, 40. 3 See G. Perec, 'Histoire du lipogramme', in Oulipo (Association) (ed.), La Littérature potentielle (créations, re-créations, récréations) (Paris, 1988), 73-89, esp. 77-8 (on Lasus). 4 'Oulipo' is an acronym for 'Ouvroir de littérature potentielle' ('Workshop of Potential Literature'), a literary movement founded in 1960 by R. Queneau and F. Le Lionnais in the name of the unlimited production of literature under limiting constraints. Other members have included M. Duchamp, I. Calvino and G. Perec. See their site: http://www.oulipo.net/. 5 Ath. 11.467a = fr. 87 Wehrli. 2 JAMES I. PORTER 6 Comp. 14; trans. Usher. 7 Fr. 70b Snell-Maehler; trans. after GMW 1.59-60. 8 Cf. D'Angour, 'Dithyramb', 338 and 342. 9 'In song' is surely wrong; that would be , vel sim. See also Privitera, Laso di Ermione, 31: 'fu usata nella melopea' (his other variant misrenders ; cf. n. 21, below.) 16 PMG 702 = Ath. 14.624e.

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confidence: 80%

Section: The Search For New Soundsmentioning

confidence: 99%

LASUS OF HERMIONE, PINDAR AND THE RIDDLE OF S

Porter

2007

The Class. Q.

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“…61 For the problem of dating Pratinas, see n.62. 63 Here I follow the argument of A. d' Angour (1997) who reads the opening of Pindar fr. 70b as a reference to one among Lasus' choral reforms, that of moving the piper to the centre of the choral circle so as to achieve better vocalization on the singers' part; on the debated question of the originator of this formation, see the discussion in section III.…”

Section: Steiner 140mentioning

confidence: 99%

“…64 Hedreen (2007) 183. 65 D' Angour (1997). 66 386-87; see too Fileni (1987) 52-53;d'Alessio (1997) [44][45], who thinks a paean most likely.…”

Section: Steiner 140mentioning

confidence: 99%

Harmonic Divergence: Pindar's Fr. 140B and Early Fifth-Century Choral Polemics

Steiner

2016

J. Hell. Stud.

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Abstract:This article offers a close reading of Pindar's lacunose fr. 140b S.-M. and explores the evidence it includes for Pindar's contributions to contemporary debates and polemics in late sixth- and early fifth-century musical culture concerning, among other things, harmonics, tonal ranges, instrumentation and the boundaries between different genres. By reading the contents of the fragment against the backdrop of other works from the period that similarly engage in these issues and the later revisionary accounts of the questions first raised by the author-musicians of the early classical age, I show how the diction, imagery and structure of the work are designed to position Pindar as one among the current choral innovators. In the discussion's final part, I address the question of the genre to which the piece belongs and propose some fresh ways of addressing this still outstanding matter. At several points, the article also considers some relevant visual evidence.

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“…As multiple articles by classicists document, these dances were group dances in which dancers joined themselves together by forming a circle and holding another's hand or wrist. Armand D'Angour () documents the historical derivation of these group dances, tracing out in meticulous detail the establishment of the dithyramb in fifth century B.C. as a circular chorus.…”

Section: The Power Of Kinetic Silencementioning

confidence: 99%

A Jungian perspective on the unity of mind and body and its relevance to 21^st‐century politics

Sheets‐Johnstone

2019

Psychother Politics Int

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This article begins by putting basic themes in Jung's psychoanalytic in the context of present-day conceptual predilections that warrant questioning, specifically in relation to feeling and to being a body. The questioning leads to insights into the dynamic congruency of emotions and movement, to the political reality of demonstrations, protests, marches and so on, and from there to Jung's notion of a "psychic epidemic," an epidemic that takes hold by way of a "totalitarian mass state." At one point, Jung states that such epidemics can be mitigated only by "collective therapy." Jung does not describe this form of therapy. On the way to specifying and describing just what practice might constitute "collective therapy," the article focuses on what Jung specifies as the interconnected nature of the self, the living body, symbolic thought and the basic unity of psyche and body. The article's specification and description of "collective therapy" is anchored first in a real-life, real-time 20th-century description of the international power of kinetic silence. The article then documents the historical nature of that power by way of classicists' descriptions of real-life, real-time community circle dances that silently attest to the value of moving in concert. K E Y W O R D S circle dances, collective hysteria and collective therapy, emotions, feeling, living body and symbols of the self, our mother tongue, spirit and matter

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How the dithyramb got its shape

Cited by 109 publications

References 3 publications

LASUS OF HERMIONE, PINDAR AND THE RIDDLE OF S

LASUS OF HERMIONE, PINDAR AND THE RIDDLE OF S

Harmonic Divergence: Pindar's Fr. 140B and Early Fifth-Century Choral Polemics

A Jungian perspective on the unity of mind and body and its relevance to 21^st‐century politics

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How the dithyramb got its shape

Cited by 109 publications

References 3 publications

LASUS OF HERMIONE, PINDAR AND THE RIDDLE OF S

LASUS OF HERMIONE, PINDAR AND THE RIDDLE OF S

Harmonic Divergence: Pindar's Fr. 140B and Early Fifth-Century Choral Polemics

A Jungian perspective on the unity of mind and body and its relevance to 21st‐century politics

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A Jungian perspective on the unity of mind and body and its relevance to 21^st‐century politics