Poster presented on the 3d Annual Meeting of MOISA: International Society for the Study of Greek and Roman Music and its Cultural Heritage. Moisa Epichorios: Regional Music and Musical Regions. Theory and Practice in Text and Image in Ancient Greece. Ravenna, 1-3 October 2009.Poster available for download on http://ssrn.com/abstract=2238601

1. Integrating
Texts
and
Images
in
the
Study
of
the
Ancient
Greek
aulos-­myths
Ellen
Van
Keer
Literature
Introduction
Athena
in
Thebes
Bélis,
A.
2001.
Aulos.
In
Sadie,
S.,
ed.,
Classical
scholarship
is
traditionally
primarily
text-­‐oriented.
We
Many
scholars
have
also
suspected
political
motifs
lie
beneath
the
story
and
New
Grove
Dictionionary
of
Music
explore
contributions
of
iconography
in
view
of
our
knowledge
about
the
Athena’s
rejection
of
the
aulos
involves
an
attack
against
the
city
of
Thebes,
that
was
highly
and
Musicians
(2
ed.)
Vol.
1,
ancient
Greek
aulos-­‐myths.
famed
for
its
aulos-­‐music.
The
Theban
poet
Pindar
(Pyth.
12,6-­‐30)
had
indeed
ascribed
its
178-­‐184.
invention
to
the
skilful
goddess
of
Athena.
Alcibiades,
to
the
contrary,
is
reported
to
have
Bundrick,
S.
2005.
Music
and
Image
in
expelled
the
aulos
to
Thebes,
endorsing
the
Athenian
tradition
that
Athena
rejected
it
and
Classical
Athens.
Cambridge:
Apollo
conquered
it
(Plut.
Alc.
2,5-­‐7).
However,
even
in
Athens
we
should
not
overstate
Cambridge
University
Press.
The
aulos
Athena’s
opposition
against
the
aulos.
In
fact,
on
a
late
6th
century
Attic
black-­‐4igured
Castaldo.
D.
2000.
Il
Pantheon
musicale:
amphora
we
see
her
playing
it
(4ig.
9).
iconograEia
nella
ceramica
attica
tra
The
aulos
was
the
main
Greek
wind
instrument,
but
it
is
regarded
Fig. 9. Heracles, Athena VI
e
IV
secolo.
Ravenna:
Longo.
with
ambiguity
since
antiquity.
Homer
(Il.
10,11-­‐3)
associates
it
with
the
Det. Attic black-figured amphora,
Jurriaans-­‐Helle,
G.
ed.
1999.
Mythen,
Trojans.
Plato
(Resp.
399d)
has
Socrates
ban
it
from
his
ideal
state,
Aristotle
Basel market, private collection, ca. 510 BC.
Mensen
en
Muziek.
Een
expositie
(Pol.
1341a)
disallows
its
use
in
education
for
being
unethical
and
only
Athena
in
Western
Greece
over
muziek
in
de
oudheid.
Fig. 1. Dionysian thiasos arousing
emotions.
Plutarch
(Alc.
2,5)
will
maintain
Alcibiades
refused
to
Amsterdam
Allard
Pierson
Museum,
10/12/1999
-­‐
12/3/2000.
Attic red-figured kylix, Paris, Cabinet des Médailles play
it,
holding
it
an
ignoble
and
illiberal
thing.
Supported
by
a
plethora
of
Neither
should
we
schematize
the
opposition
of
Athens
against
Thebes
re4lected
Mededelingenblad
75-­‐6.
576, ARV² 371.14, attr. Brygos Painter, Athena’s
con4licting
attitudes
towards
the
aulos.
She
will
also
play
the
instrument
on
an
ca. 490-480 BC. vases
that
represent
the
aulos
in
scenes
of
sexual,
social
and
religious
excess
and
revelry
(e.g.
4ig.
1),
the
instrument
gained
the
reputation
mainly
of
an
Apulian
vase
(4ig.
10).
Moreover,
Telestes
of
Selinus,
in
defence
of
the
aulos,
dismissed
the
Maniates,
M.
R.
2000.
Marsyas
Agonistes.
Current
Musicology
68:
118-­‐162.
‘outsider’
and
essentially
‘Dionysian’
instrument,
played
mostly
by
satyrs,
story
of
Athena
throwing
it
away
(Athen.
Deipn.
16,616-­‐7).
We
suspect
these
discrepancies
maenads,
prostitutes,
symposiasts,
foreigners,
slaves,
etc.
but
abandoned
by
are
related
speci4ically
to
the
rise
and
debates
of
the
‘new’
music
that
was
spurred
on
by
Papadopoulou,
Z.
&
V.
Pirenne
2001.
the
aristocratic
elite
who
favoured
to
the
contrary
the
‘Apolline’
lyre.
Theban
aulos-­‐players
and
spreading
over
the
Greek
world
at
the
time.
However,
we
should
Inventer
et
réinventer
l'aulos:
autour
de
la
XIIe
Pythique
de
Pindare.
In
not
polarize
local
and
individual
positions
and
traditions
in
either
pro
or
contra.
The
Italiote
Brulé,
P.,
&
C.
Vendries,
eds.
Chanter
vase
is
favourable
of
aulos-­‐music
at
face
value.
But
the
mirror
in
the
centre
and
the
satyr
to
les
Dieux.
Musique
et
religion
dans
l'
the
side
make
reference
also
to
its
fatal
destiny.
Antiquité
grecque
et
romaine.
Actes
Fig. 10. Maenad, Zeus, satyr, Athena, Olympos? Marsyas? du
colloques
des
16,
17
et
18
Marsyas
and
Apollo
Det. Apulian red-figured crater, Boston, Museum of fine arts décembre
1999
à
Rennes
et
Lorient.
00.348, attr. Boston painter, ca. 370-360 BC. Rennes:
Presses
Universitaires
de
The
musical
contest
between
Marsyas
and
Apollo
ranks
as
the
Rennes,
37-­‐58.
ultimate
mythical
expression
of
this
dichotomy
as
well
as
many
other
Restani,
D.
2005.
Les
mythes
de
la
oppositions
regarded
as
fundamental
to
the
Greeks:
hybris
vs.
punishment,
musique
dans
la
Grèce
antique.
In
emotion
vs.
reason,
east
vs.
west...
The
exemplary
visual
articulation
is
a
Nattiez,
J.-­‐J.
e.a.
eds.
Musiques.
Une
Fig. 2. Apollo, Scythe, Marsyas encyclopédie
pour
le
XXIe
siècle,
Marble bas-relief sculpture. Athens, National Museum 215,
marble
relief
from
Mantinea
attributed
to
circle
of
Praxiteles
(4ig.
2).
Paris:
Editions
Actes
Sud,
163-­‐81.
Mantinea, temple of Leto, Artemis and Apollo, However,
its
Arcadian
location
and
early
Hellenistic
date
already
suggest
attr. circle of Praxiteles, ca. 335 BC. more
ambiguity.
Moreover,
emphasis
on
polarity
is
mostly
characteristic
of
Rocconi,
E.
2008.
Ie
Paian:
Apollinean
Marsyas
in
Athens
vf213525! Music
between
Myth
and
Cult.
the
later
treatments
of
this
myth
(e.g.
Ov.
Met.
6,
389-­‐900;
A.Q.
II,18.23-­‐30).
Studies
in
Music
Archaeology
6:
The
Athenian
evidence
is
equally
more
111-­‐118.
ambiguous.
We
cannot
dispose
of
Marsyas
simply
as
a
negative
paradigm
warning
against
the
aulos.
Van
Keer,
E.
2004.
De
Griekse
Marsyas
mythe:
mythologie
en
iconogra4ie.
A
remarkable
series
of
vases
assured
by
name
Kleio
34:
13-­‐24.
inscriptions
do
not
even
represent
him
in
hostile
‘Apollonian’
contexts
but
in
digni4ied
‘Dionysian’
Van
Keer,
E.
2004.
The
Myth
of
Marsyas
Fig. 12. inscr. Hephaestus, Dionysus, Komoidia,
Fig. 11. inscr. Soteles, Mainas, Posthon, Marsyas in
Ancient
Greek
Art:
musical
and
contexts,
where
he
plays
the
aulos
in
lead
of
a
Attic red-figured crater, Karlsruhe Bad-Land. Mus.
Marsyas Attic red-figured crater, Paris, Louvre G421,
mythical
iconography.
Music
in
Art
ARV² 1037.1, Polygnotus group, ca. 440-430 BC.
solemn
thiasos
(4ig.
11)
or
of
a
procession
with
208, ARV² 618.3, attr. Villa Giulia Painter, ca. 450 BC. 34(1/2):
20-­‐37.
Dionysus
returning
Hephaestus
to
mount
Venizélos,
E.,
ed.,
2003.
Dons
des
Muses.
Olympus
(4ig.
12).
Musique
et
danse
dans
la
Grèce
Marsyas
in
Delphi
anciennne.
Catalogue
d’exposition.
Musées
Royaux
d’Art
et
d’histoire.
In
the
Greek
context,
Marsyas
makes
his
Another
more
rewarding
aspect
lies
in
his
Bruxelles
26/02
–
25/05/2003.
4irst
appearance
in
Polygnotus’
painting
of
the
Athènes:
Ministère
de
la
culture.
relations
to
Olympus
the
musician.
Scholars
Nekyia
in
the
Cnidians’
lesche
at
Delphi
“teaching”
typically
suspect
this
subject
to
be
popular
in
its
Weis.,
A.
1992.
Marsyas.
LIMC
6.1:
Olympus
to
play
the
aulos.
The
painting
was
lost
but
366-­‐376.
Fig. 3. Nekyia own
right
only
in
areas
where
the
music
of
the
Painting, Rec. Stansburry-O’Donnell 1990, orig. Fig. 4. Athena, Marsyas described
by
ancient
travellers
(Paus.
10.30.9)
and
aulos
was
supported
(e.g.
4ig.
13)
and
exploited
Polygnotus of Thasos, Cnidians’ lesche, Delphi , Bronze sculpture, Rec. Frankfurt, Liebighaus, redrawn
by
modern
scholars
(e.g.
4ig.
3).
The
Weis,
A.
1997.
Olympos.
LIMC
8.1:
38-­‐45.
third quarter 5th cent BC. orig. attr. Myron of Eleutherai, ca 450 BC. merely
as
a
pathetic
device
adding
to
Apollo’s
Fig. 13. Marsyas, Olympus, nymph/muse?
original
has
been
dated
to
the
third
quarter
of
the
Wilson,
P.
1999.
The
aulos
in
Athens.
In
glory
in
late
Attic
contest
vases
(e.g.
4ig.
14).
Det. Apulian red-figured crater, Napoli, Mus. Naz.
5th
century
BC
and
we
suspect
the
satyr’s
gloomy
81439, Long Overfalls group, Goldhill,
S.
&
R.
Osborne,
eds.
However,
the
couple
also
appears
together
on
a
Performance
culture
and
Athenian
end
was
widely
known
at
the
time
in
Greece,
where
ca. 380-365 BC. Fig. 14. Leto, Olympus, Nike, Apollo, Artemis,
4ifth
century
Athenian
vase
(4ig
15).
True,
Marsyas Attic red-figured pelike. St. Petersburg, democracy,
ed.
Cambridge:
the
agon
circulated
as
a
traditional
story
told
in
the
Hermitage 179, ARV² 1475.3, attr. Marsyas Painter, Cambridge
University
Press,
58-­‐95.
Olympus
carries
a
lyre
here.
But
a
series
of
Attic
city
of
Celaenae
in
Phrygia
(Hdt.
Hist.
7,26.3;
Xen.
ca. 335 BC.
vases
also
show
Marsyas
playing
the
lyre
or
the
Wilson
,
P.
2004
Athenian
Strings.
In
Anab.
1,2.4).
kithara
(e.g.
4ig.
16).
He
Apollo, Scythe andand gained a
Fig. 2. even
carries
a
lyre
in
Murray,
P.
&
P.
Wilson,
eds.
2004.
Music
and
the
Muses.
The
Culture
of
Dionysiac
scene
(4ig.
17).
These
traditions
their
momentum and they do so in all have
'Mousikè'
in
the
Classical
Athenian
complexity. Marsyas
not
been
preserved
in
literature,
and
their
precise
Marble bas-relief sculpture, Athens, National City.
Oxford:
Oxford
University
literary,
artistic,
musical
or
religious
origins
and
Museum 215, Mantinea, temple of Leto, Press,
269-­‐306.
Fig. 5. Marsyas? aulos, Athena Athena
in
Athens
Attic red-figured fragment,
signi4icance
remain
unknown
until
today.
Imagery
Artemis and Apollo, circle of Praxiteles, ca.
Zschätzsch,
A.
2002.
Verwendung
und
335 B.C.
Athens, Acropolis Museum 632,
In
the
Athenian
context,
Marsyas
enters
the
is
a
relative
autonomous
source.
Bedeutung
griechischer
ARV² 1024.i.3, style Phiale Painter, public
eye
suddenly
around
the
middle
of
the
5th
Musikinstrumente
in
Mythos
und
ca. 450-440 BC. Kult.
Rhaden:
Marie
Leidorf
Verlag.
century,
in
a
storyline
that
has
Athena
throw
the
Fig. 15. inscr. Thaleia, youth, Tybas, Olympos,
aulos
away.
It
appears
broadly
similarly
and
Ourania, Marsyas, Ka(liope?) Attic red-figured amphora,
Conclusion
Draw. Inghirami 1879, Napoli, Mus. Naz. 81401, ARV²
Fig. 6. Apollo, Athena, Marsyas simultaneously
in
a
dithyramb
by
Melanippides
1316.6, circle Meidias Painter, ca. 420-400 BC.
Attic red-figured crater, Ruvo, Jatta 1708, (Athen.
Deipn.
16,616e-­‐f),
a
sculpture
displayed
on
Myth
is
no
dogma
but
a
4lexible
and
circle Pothos Painter,
ca 410 BC. the
Acropolis
attributed
to
Myron
(Plin.
N.H.
34.57;
powerful
tool
that
can
serve
various
opinions
and
Paus.
1,24.1)
and
reconstructed
from
later
copies
purposes
simultaneously
and
that
has
an
innate
Fig. 16. Artemis, Marsyas, Athena, Apollo
(e.g.
4ig.
4)
as
well
as
a
red-­‐4igured
Attic
vase
propensity
towards
multiplicity
and
polyvalence.
Attic red-figured crater, Syracuse, Mus. Naz. 17427, Credits
ARV² 1184.4, attr. Kadmos Painter, ca. 410 BC.
fragment
(4ig.
5).
Many
scholars
today
accept
at
The
music
of
the
aulos
was
notoriously
versatile
least
to
a
certain
degree
a
local
and
literary
origin
and
particularly
controvercial
through
the
rise
of
This
research
project
is
supported
by
and
signi4icance
of
this
story
and
its
the
“new
music”,
complexities
that
are
especially
V.
Pirenne-­‐Delforge
(ULiège)
and
J.
N.
representations
in
Attic
art.
The
subject
will
fade
Bremmer
(RUGroningen).
Funding
is
“good
to
think”
in
this
way.
Iconography
is
an
currently
provided
by
funding
from
the
repertory
by
the
end
of
the
century
when
indispensable
tool
to
penetrate
into
this
provided
by
FWO
Vlaanderen
and
its
protagonists
are
subsumed
in
the
newly
complexity
and
study
the
mousike
as
practiced
Centrum
Leo
Apostel
at
the
Vrije
Universiteit
Brussel.
established
contest
depictions
that
will
be
granted
and
perceived
within
the
dynamics
and
variety
of
Fig. 7. Muse, Marsyas, Apollo, Muse the
longer
and
more
varied
career
in
Attic
and
in
viewpoints
and
contexts
that
constituted
‘ancient
For
more
information
on
this
and
Fig. 8. Marsyas, Athena, Apollo (inscr. LON,
Attic red-figured crater,
LA, APO). Attic red-figured fragment
Greek
art
(4ig.
6-­‐8).
! Greece’
properly.
Indeed,
in
classical
Athens
also
related
projects
and
presentations
cf.
London, BM 1920.6.13.2,, Fig. 17. Inscr. Dionysos, Marsyas, …elike, Marsyas Fig.18. Muse, Muse, Apollo www.vub.ac.be/CLEA/people/Ellen
ARV² 1190.22, attr. Pothos Painter, Amsterdam, Allard Pierson Museum 02476, the
Muses
play
the
aulos
for
Apollo
(4ig.
18).
Attic red-figured stamnos, Yale University Museum Det. Attic red -figured crater, Wien, Please
mailto:
evankeer@vub.ac.be
for
ca. 410 BC. ARV² 1185.14, attr. Kadmos Painter, 1913.132, ARV²1035.4, attr. Midas Painter, Kunsthist. Mus. 697, ARV² 1075.11, attr. feedback
or
suggestions.
ca. 410 BC. ca. 440-430 BC. Danae Painter, ca. 440-430 BC.