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1. Introduction In his London Times article of May 25th 1981 on the Daphnē excavation, Mario Modiano made no mention of the wooden aulos found in Grave IΙ together with all other artifacts contained in it. 1 A year later, Gilles Touchais does mention the aulos, describing it as a “wooden

In: Greek and Roman Musical Studies
Author: Stefan Hagel

1. The Aulos Greek aulos finds so far can be classified according to various criteria: material, shape, bore diameter, number and placement of finger holes. The various pitches that an instrument can produce are primarily determined by the last, while the diameter of the bore (together with

In: Greek and Roman Musical Studies
Author: Stefan Hagel

students were engaged in public competitions involving various sorts of musical activities including not only playing the lyre and the aulos , bot notably also rhythmographia and melographia , terms that most probably referred to instrumental and vocal composition. 12 All in all, we would therefore

In: Greek and Roman Musical Studies
Author: Kamila Wyslucha

Although ubiquitous in Graeco-Roman musical culture and indispensable in the performative context, the aulos 1 became an object of fervent critique, as late fifth-century Athenian intellectual elites decided to strip the instrument of its previous distinguished cultural status. 2 While this

In: Greek and Roman Musical Studies

[German version] Aulos, see  Musical instruments [German version] Stonemason of the 1st cent. BC, son of  Alexas, brother of Quintus. Signed works: Eros bound to tropaion (amethyst, London, BM), nailing down butterfly (hyacinth, The Hague, MK), bound (cameo, lost), with Aphrodite (carnelian, London

In: Brill's New Pauly Online
Author: Timothy Power

This original-language production of Euripides’ Herakles , 1 billed on the Barnard Columbia Ancient Drama website as “the first modern staging of a Greek tragedy with a fully reconstructed score on the historic double-pipes or aulos ”, represents a major scholarly and artistic achievement, one

In: Greek and Roman Musical Studies

presence in Greek life, and their expressive and affective powers lent themselves very naturally to exploitation as points of reference by speakers and singers on the tragic stage. But Euripides gives some of his references to the aulos an unexpected twist by presenting it with a geographical epithet

In: Greek and Roman Musical Studies
Author: Pierre Destrée

been accompanied by an energetic aulos blast). The plural then in our expression should not prevent our considering that Aristotle must be indeed talking about what he typically calls the pleasure proper to tragedy. But how does this work? And what does this mean concretely? One more passage from our

In: Greek and Roman Musical Studies

Among Pindar’s epinikia there is only one whose addressee is a musician—one Midas of Acragas, the victor in an aulos-playing competition at the Pythian Games in 490 BC . The nature of the competition determines the content of the ode: the central section of the epinikion (lines 6-23) is

In: Mnemosyne

Kerameikos cemetery is presented here separately due to its special and interesting finds that include an aulos and a lyre (see Figure 6). The second individual Grave 63, found in the same cemetery contains a carapace and a tailpiece and was presented in the Conference organized by MOISA in 2016 at the

In: Greek and Roman Musical Studies