Free download bell krater8/31/2023 ![]() Within the imagery of late-fifth-century painted pottery from Athens, a whole range of visual contexts can be made out, where dithyramb is referred to, if in a distinctively oblique manner. ![]() In this, his myth reflected and shaped the debate over the rise of aulos and the "new music" known from music history in all its complexity. Furthermore, he also occurs in less irreputable musical contexts, notably with Olympos. Moreover, he plays not only the aulos but other instruments too, even the kithara. Images of the contest mostly show the satyr performing. They do not simply depict Marsyas as the doomed opponent of Athena and Apollo. Even the Attic vases in themselves display a variety of traditions. ![]() The Italiote vases are quite independent of the Attic ones. However, we can achieve a more nuanced picture by taking a closer look at the iconography, because visual sources are more numerous and specified in time and pace. In classical mythology, with its primary literary orientation, the myth of Marsyas is widely regarded as an ultimate mythical expression of typical "Greek" dichotomies such as of aulos-kithara, Apollo-Dionysos, Greece-barbarians, etc. In particular, this paper integrates approaches researchers can take in studying the Greek myth of Marsyas. The general aim is two-fold: (a) to demonstrate the relative autonomy and complementary value of textual and visual sources in study of ancient Greek myth and music (b) to establish the reciprocity of the disciplines involved in studying visual representations of musical myths, notably musical and mythological iconography. This paper explores the iconographical approaches to the ancient Greek aulos and its myths.
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