Music in the Time of Vergil

Insights from a Symposium

in Greek and Roman Musical Studies
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The twenty-eight papers delivered at a symposium entitled “Music in the Time of Vergil”, sponsored by the Vergilian Society in June 2016, suggest a number of areas where promising research can continue to be done in the field of Roman music. These include the Realien of Roman music, the role of musical imagery in Latin poetry, Greek elements in Roman music, Roman attitudes to music and musical change, musical responses to political developments, and the influence of Rome on the music of the modern world.

Music in the Time of Vergil

Insights from a Symposium

in Greek and Roman Musical Studies



Alonso FernándezZ. (2017). Epic in Motion: La Didone by Salvatore Viganò and Virgil’s Aeneid 1-4. Classical Receptions Journal 9 pp. 400-425. doi: 10.1093/crj/clw021

BarkerA. (2017). Dionysius of Halicarnassus on Rome’s Greek Musical Heritage. Greek and Roman Musical Studies 5 pp. 63-81. doi: 10.1163/22129758-12341290

BaudotA. (1973). Musiciens romains de l’antiquité. Montreal: Les Presses de l’Université de Montréal.

BeckD. (2018). Music, Craft, and Technology in the Similes in Vergil’s Aeneid. Greek and Roman Musical Studies 6 pp. 61-78. doi: 10.1163/22129758-12341312

BettsE. ed. (2017). Senses of the Empire: Multisensory Approaches to Roman Culture. New York: Routledge.

BruléP. and VendriesC. (2001). Chanter les dieux: Musique et religion dans l’Antiquité grecque et romaine. Rennes: Presses Universitaires de Rennes.

ButlerS. (2015). The Ancient Phonograph. New York: Zone Books.

CastaldoD. (2012). Musiche dell’Italia antica: Introduzione all’archeologia musicale. Bologna: Ante Quem.

CastaldoD. (2018). Musical Themes and Private Art in the Augustan Age. Greek and Roman Musical Studies 6 pp. 96-114. doi: 10.1163/22129758-12341314

CosgroveC.H. (2006). Clement of Alexandria and Early Christian Music. JECS 14 pp. 255-282. doi: 10.1353/earl.2006.0049

CurtisL. (forthcoming 2017). War Music: Soundscape and Song in Vergil, Aeneid 9. Vergilius 63.

DelattreD. (2004). Vergil and Music, in Diogenes of Babylon and Philodemus. In: D. Armstronget al. eds Vergil Philodemus and the Augustans. Austin: University of Texas Press pp. 245-263.

DunbabinK.M.D. (2016). Theater and Spectacle in the Art of the Roman Empire. Ithaca, NY: Cornell University Press.

FleischauerG. (1964). Etrurien und Rom. Leipzig: Deutscher Verlag für Musik.

GarelliM.-H. (2007). Danser le mythe: La pantomime et sa réception dans la culture antique. Louvain: Peeters.

HabinekT. (2005). The World of Roman Song: From Ritualized Speech to Social Order. Baltimore: Johns Hopkins University Press.

HallE. and WylesR. eds (2008). New Directions in Ancient Pantomime. Oxford: Oxford University Press.

HorsfallN. (2003). The Culture of the Roman Plebs. London: Duckworth.

JohnsonW.A. (2016-2017). Imperial Pantomime and Satoshi Miyagi’s Medea. Didaskalia 13 pp. 76-90 (

KettererR.C. (2009). Ancient Rome in Early Opera. Urbana: University of Illinois Press.

LyonsS. (2010). Music in the Odes of Horace. Oxford: Aris & Phillips.

MarshallC.W. (2006). The Stagecraft and Performance of Roman Comedy. Cambridge: Cambridge University Press.

ManuwaldG. (2013). Nero in Opera: Librettos as Transformations of Ancient Sources. Berlin: de Gruyter.

MeliniR. (2007). Archeologia musicale: Per uno studio sull’orizzonte sonoro degli antichi romani. Trento: UNI Service.

MeliniR. (2008). Suoni sotto la cenere: La musica nell’antica area vesuviana. Pompei: Flavius.

MochK.E. (forthcoming 2017). Certamen Magnum: Competition and Song Exchange in Vergil’s Eclogues. Vergilius 63.

MooreT.J. (2012). Music in Roman Comedy. Cambridge: Cambridge University Press.

MooreT.J. (2016a). Music in Roman Tragedy. In: S. FrangoulidisS.J. Harrison and G. Manuwald eds Roman Drama and its ContextsBerlin: de Gruyter pp. 345-361.

MooreT.J. (2016b). Music in the Time of Vergil: Symposium Cumanum, 21-24 June 2016. Vergilius 62 pp. 167-169.

MorganH. (2017). Music, Sexuality and Stagecraft in the Pseudo-Vergilian Copa. Greek and Roman Musical Studies 5 pp. 82-103. doi: 10.1163/22129758-12341291

PéchéV. and VendriesC. (2001). Musique et spectacles à Rome antique et dans l’Occident romain sous la République et le Haut-empire. Paris: Errance.

PöhlmannE. (2017). Ambrosian Hymns: Evidence for Roman Music of Late Antiquity? Greek and Roman Musical Studies 5 pp. 104-122. doi: 10.1163/22129758-12341292

PowerT. (forthcoming 2017). Vergil’s Citharodes: Cretheus and Iopas Reconsidered. Vergilius 63.

QuastenJ. (1973). Musik und Gesang in den Kulten der heidnischen Antike und christlichen Frühzeit. 2nd ed. Munster: Aschendorff.

RocconiE. ed. (2010). La musica nell’Impero Romano. Testimonianze teoriche e scoperte archeologiche. Pavia: Pavia University Press.

ScodittiF. (2009). Solisti ed esecutori nella cultura musicale romana. Galatina: Congedo.

VendriesC. (1999). Instruments à cordes et musiciens dans l’Empire romain. Étude historique et archéologique (IIe siècle av. J.-C.-Ve siècle ap. J.-C.). Paris: L’Harmattan.

VendriesC. (2015). Du bruit dans la cité. L’invention du « paysage sonore » et l’Antiquité romaine. In: S. EmeritS. Perrot and A. Vincent eds Le paysage sonore de l’Antiquité: Méthodologie historiographie et perspectivesLe Caire: Institut français d’archéologie orientale pp. 209-258.

VincentA. (2016). Jouer pour la cité: une histoire sociale et politique des musiciens professionnels de l’Occident romain. Rome: École Française de Rome.

WebbR. (2008). Demons and Dancers: Performance in Late Antiquity. Cambridge, MA: Harvard University Press.

WebbR. (2013). Professional Musicians in Late Antiquity. In: S. Emerit ed. Le statut du musician dans la Méditerranée ancienne: Égypte Mésopotamie Grèce RomeLe Caire: Institut Français d’Archéologie Orientale pp. 279-296.

WilleG. (1967). Musica Romana. Die Bedeutung der Musik im Leben der Römer. Amsterdam: P. Schippers.

WysluchaK. (2016). Cano versus lego: A Characteristic of Some Augustan Poetic Genres in Connection to the Manner of Their Performance. In: L. BraviL. LomientoA. Meriani and G. Pace eds Tra lyra e aulos: tradizioni musicali e generi poeticiPisa: Fabrizio Serra pp. 119-137.

WysluchaK. (2018). Why is a Wedding Tibia Sadder than a Funeral Tuba? Greek and Roman Musical Studies 6 pp. 79-95. doi: 10.1163/22129758-12341313


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