Notes on the Aulodic nomoi Apothetos and Schoinion

in Greek and Roman Musical Studies
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Abstract

Notes upon aulodic nomoi, particularly the Apothetos and the Schoinion: the first one was probably so named after the claim of its supposed inventor, Clonas, to have made the larger public know a not (or not yet) widely-circulated melody, perhaps on the occasion of a great festival; the second one was perhaps so called because it resembled in some way the Grey Wagtail’s call (in Greek Schoiniōn or Schoiniklos), recognized by Greeks as a melody characterized by a well defined rhythm.

Notes on the Aulodic nomoi Apothetos and Schoinion

in Greek and Roman Musical Studies

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References

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TunisonJ.S. van der WeidenM.J.H. The dithyrambs of Pindar 1991 Amsterdam

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5

See e.g. Flach 1883258-260; Del Grande 1932 26 and 1960 425; Lasserre 1954 23; Barker 1984 252f.

9

See also Volkmann 185676in agreement with Burette.

10

For this interpretation see also Tunison 189617; Lasserre 1954 23; Nobili 2011 31.

12

See Labarbe 1949378-83 (with an examination of all the occurrences); Andersen 2011 366.

14

Cf. also Burette 1735122 and Weil-Reinach 1900 17. Contra Volkmann 1856 76.

16

For this interpretation see also Barker 1984252 and Ballerio 2000 24. On the σχοινίων or σχοινίκλος (in Latin motacilla) see Arist. HA 8.593b1-6 and 610a8f.

20

Cf. Bakola 201040.

21

On both the fragments see Gentili 1971.

22

On this dance see Ercoles 20128f. with further bibl.

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