Prepared by Timothy Moore, Department of Classics, Washington University in St. Louis

See also, for works published since 2000, De Musicis, the bibliography of MOISA: The International Society for the Study of Greek and Roman Music and Its Cultural Heritage


 

Recordings

  • Glau, Katherina. 1998. Rezitation griechischer Chorlyrik : die Parodoi aus Aischylos’ Agamemnon und Euripides’ Bakchen als Tonbeispiel auf CD mit Text- und Begleitheft. Heidelberg : Universitätsverlag C. Winter.
  • Maioli, Walter.  1996. Synaulia: Music From Ancient Rome.  Vol. 1: Wind Instruments. CD. Amiata Records.
  • Maioli, Walter. 2002. Synaulia: Music From Ancient Rome.  Vol. 2: String Instruments. CD. Amiata Records.
  • Maioli, Walter.  2003.  The Etruscan Flutes.  CD.  Il Centro del Suono.
  • Neuman, Gayle Stuwe and Philip Neuman.  1999.  Music of the Ancient Sumerians, Egyptians & Greeks.  CD. Pandorion Records.
  • Neuman, Gayle Stuwe, Philip Neuman, and William Gavin.  1997.  Music of the Ancient Greeks, ensemble De Organographia.  CD.  Pandourion Records.

Books and Articles

General Works

Greece and Rome
  • Bélis, Annie 1999. Les Musiciens dans l’Antiquité. Paris: Hachette.
  • Birchler Emery, P. et al. 1996. La musique et la danse dans l’antiquité.  Geneva: Unité d’archéologie classique, University of Geneva.
  • Comotti, Giovanni. 1989. Music in Greek and Roman Culture.  Baltimore: Johns Hopkinis University Press.
  • Hall, Edith. 2002.  “The Singing Actors of Antiquity,” in Greek and Roman Actors: Aspects of an Ancient Profession, edd. Pat Easterling and Edith Hall.  Cambridge, Eng.: Cambridge University Press, pp. 3-38.
  • Landels, John G. 1999. Music in Ancient Greece and Rome. London: Routledge.
Greece
  • Anderson, Warren D. 1994. Music and Musicians in Ancient Greece. Ithaca, NY: Cornell University Press.
  • Barker, Andrew. 2007. The Science of Harmonics in Classical Greece. Cambridge, Eng.: Cambridge University Press.
  • Gentili, Bruno and Franca Perusino (edd.) 1995. Mousike: Metrica ritmica e musica greca in memoria di Giovanni Comotti. Pisa: Istituti Editoriali e Poligrafici Internazionali.
  • Gentili, Bruno and Roberto Pretagostini (edd.). 1998.  La musica in Grecia.  Bari: Laterza.
  • Goldhill, Simon and Robin Osborne (edd.). 1999. Performance Culture and Athenian Democracy.  Cambridge, Eng.: Cambridge University Press.
  • Hagel, Stefan and Christine Harrauer (edd.). 2005. Ancient Greek Music in Performance. Symposion Wien 29. Sept. – 1. Okt. 2003. Vienna: Austrian Academy of Sciences.
  • Hagel, Stefan. 2010. Ancient Greek Music: A New Technical History.  Cambridge, Eng.: Cambridge University Press.
  • Henderson, Isobel. 1957. “Ancient Greek Music,” in Ancient and Oriental Music, ed. Ego Wellesz.  New Oxford History of Music, Vol. 1, pp. 336-403. London: Oxford University Press.
  • Martinelli, Maria  (ed.). 2009. La Musa dimenticata. Aspetti dell’esperienza musicale greca in età ellenistica. Pisa: Edizione della Scuola Normale.
  • Mathiesen, Thomas J.  1999. Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages. Lincoln: University of Nebraska Press.
  • Meriani, Angelo. 2003. Sulla Musica Greca Antica: Studi e Ricerche. Quaderni del Dipartimento di Scienze dell’Antichità.   Salerno:  Università degli Studi di Salerno.
  • Monro, David Binning. 1894. The Modes of Ancient Greek Music. Oxford: Clarendon.
  • Murray, Penelope and Peter Wilson (edd.). 2004.  Music and the Muses: The Culture of ‘Mousike’ in the Classical Athenian City.  Oxford: Oxford University Press.
  • Pinault, Georges-Jean (ed.). 2001. Musique et poésie dans l’antiquité: actes du colloque de Clermont-Ferrand, Université Blaise Pascal, 23 mai 1997. Clermont-Ferrand : Presses Universitaires Blaise Pascal.
  • Wegner, Max.  1949.  Das Musikleben der Griechen.  Berlin: De Gruyter.
  • West, M.L. 1992. Ancient Greek Music. Oxford: Clarendon.
  • Winnington-Ingram, R. P. 1936. Mode in Ancient Greek Music. Cambridge, Eng.: Cambridge University Press.
Rome
  • Abert, Hermann.  1922. “Die Musik,” in Ludwig Friedländer, Darstellungen aus der Sittengeschichte Roms in der Zeit von Augustus bis zum Ausgang der Antonine.  10th edition, besorgt von Georg Wissowa.  Vol. 2.  Leipzig: Hirzel, pp. 163-190.
  • Baudot, Alain. 1973. Musiciens romains de l’antiquité. Montreal: Les Presses de l’Université de Montréal.
  • Grimal, Pierre. 1978. Le lyrisme à Rome. Paris: Presses Universitaires de France.
  • Horsfall, Nicholas.  2003.  The Culture of the Roman Plebs.  London: Duckworth.
  • Mountford, James. 1964. “Music and the Romans.” Bulletin of the John Rylands Library 47: 198-211.
  • Péché, Valérie and Christopher Vendries. 2001. Musique et spectacles à Rome et dans l’Occident romain sous la République et le Haut-empire. Paris: Errance.
  • Scoditti, Francesco. 2009. Solisti ed e esecutori nella cultura musicale romana. Lecce: Congedo.
  • Wille, Günther.  1967. Musica Romana: Die Bedeutung der Musik im Leben der Römer. Amsterdam: Verlag P. Schippers N.V.

Texts and Documents

Texts
  • Barker, Andrew. 1984. Greek Musical Writings. Vol I: The Musician and his Art. Cambridge, Eng.: Cambridge University Press.
  • Barker, Andrew. 1989. Greek Musical Writings. Vol II: Harmonic and Acoustic Theory. Cambridge, Eng.: Cambridge University Press.
  • Burette, M. (transl.).  (1735).  Dialogue de Plutarque sur la musique.  Paris: “L’Imprimerie Royale.  Repr. Geneva, Minkoff, 1973.
  • Goode, Helen Dill  and Gertrude C. Drake (transl.). 1980. Cassiodorus Institutiones. Book II. Chapter V; Isidore of Seville Book III. Chapters 15-23 / Isidore of Seville. Colorado Springs : Colorado College Music Press.
  • Gamberini, Leopoldo (ed. and comm.). 1979. Plutarco “Della musica.” Florence: Olschki.
  • Greaves, Denise Davidson (ed.).  1986.   Sextus Empiricus, Against the Musicians.  Lincoln, Neb.: University of Nebraska Press.
  • Jacobsson, Martin (ed. and transl.). 2002. Aurelius Augustinus. De musica liber VI. Acta Universitatis Stockholmiensis.  Studia Latina Stockholmensis 47. Stockholm: Almqvist & Wiksell.
  • Jan, Karl von. 1895. Musici scriptores Graeci. Leipzig: Teubner.
  • Pearson, Lionel. 1990.  Aristoxenus Elementa Rhythmica.  Oxford: Clarendon Press.
  • Weil, Henri, and Th. Reinach (ed. and comm.). 1900. Plutarque, De la musique. Paris: Leroux.
  • Winnington-Ingram, R.P. 1963. Aristides Quintilianus. De musica libri tres. Leipzig: Teubner.
Extant Melodies
Collections
  • Pöhlmann, Egert. 1970. Denkmäler altgriechischer Musik: Sammlung, Übertragung und Erläuterung aller Fragmente und Fälschungen. Nuremberg: Carl.
  • Pöhlmann, Egert,  and Martin L. West, edd.  2001.  Documents of Ancient Greek Music: The Extant Melodies and Fragments. Oxford: Clarendon Press (=DAGM).
Individual documents and studies
  • Bélis, Annie. 2001. “Esthétique musicale du péan à travers l’exemple des Hymnes delphiques à Apollon,” in Chanter les Dieux: Musique et religion dans l’Antiquité grecque et romaine.  Actes du colloque des 16, 17 et 18 décembre 1999 (Rennes et Lorient), edd. Pierre Brulé and Christophe Vendres.  Rennes: Presses Universitaires de Rennes, pp. 97-114.
  • Bélis, Annie.  2004. “Un papyrus musical inédit au Louvre.” Comptes Rendus de l’Académie des Inscriptions & Belles-Lettres: 1305-1329.
  • Cosgrove, Charles H. and Mary C. Meyer. 2006. “Melody and Word Accent Relationships in Ancient Greek Musical Documents: The Pitch Height Rule.” Journal of Hellenic Studies 126: 66-81.
  • Gammacurta, Tatiana. 2006. Papyrologica scaenica: I copioni teatrali nella tradizione papiracea. Alessandria: Edizioni dell’Orso.
  • Giacomelli, Corrado.  2003.  “Problema del rapporto fra ritmo metrico e ritmo musicale negli scoli agli inni di Mesomede.”  Rivista di Cultura Classica e Medioevale 45.1: 93-109.
  • Hagel, Stefan. 2000. Modulation in altgriechischer Musik: Antike Melodien in Licht antiker Musiktheorie.  Frankfurt: Lang.
  • Huys, Marc. 1993. “P.Oxy.LIII 3705: A Line from Menander’s ‘Periceiromene’ with Musical Notation.” Zeitschrift für Papyrologie und Epigraphik 99: 30-32.
  • Johnson, William A. 2000. “Musical Evenings in the Early Empire: New Evidence from a Greek Papyrus with Musical Notation.” Journal of Hellenic Studies 120: 57-85.
  • Schröder, Stephan. 1999. “Zwei Überlegungen zu den Liedern vom Athenerschatzhaus in Delphi.” Zeitschrift für Papyrologie und Epigraphik 128: 65-75.
  • West, M.L. 1999.  “Sophocles with Music? Ptolemaic Music Fragments and Remains of Sophocles (Junior?), Achilleus.”  Zeitschrift für Papyrologie und Epigraphik 126: 43-65.

Aspects of Song

Singing and Speaking
  • Allen, Walter, Jr.  1972.  “Ovid’s cantare and Cicero’s cantores Euphorionis.”  Transactions and Proceedings of the American Philological Association 103: 1-14.
  • Campbell, David A.  1964.  “Flutes and Elegiac Couplets.”  Journal of Hellenic Studies 84: 63-68.
  • Christ, Wilhelm. 1875. “Die Parakataloge im griechischen und römischen Drama.” Abhandlungen der philosophisch-philologischen Classe der Königlich bayerischen Akademie der Wissenschaften 13. 3: 155-222.
  • Dangel, Jacqueline. 1989a. “Diverbia et cantica chez Accius: versification et diction dramatique.” Revue des Études Latines 67: 191-212.
  • Dangel, Jacqueline. 1989b. “Oratio vincta et Oratio numerosa dans les vers iambo-trochaïques d’Accius.” Euphrosyne 17: 63-85.
  • Dangel, Jacqueline. 1992a. “La retractatio dans la tragédie republicaine romaine.” Pallas 38: 313-326.
  • Dangel, Jacqueline. 1992b. “Théâtre latin: un récital vocal.” Ktema: Civilisations de l’orient, de la Grèce et de Rome antique 17: 17-28.
  • Dangel, Jacqueline. 1993. “Les réécritures de la métrique grecque dans les tragédies d’Accius: des indices de diction?” Revue des Études Latines 71: 55-72.
  • Gentili, Bruno. 1960. “Paracataloghè.” In Enciclopedia dello Spettacolo VII. Rome: Le Maschere, pp. 1599-1601.
  • Habinek, Thomas. 1998b. “Singing, Speaking, Making, Writing: Classical Alternatives to Literature and Literary Studies.” Stanford Humanities Review 6.1: 65-75.
  • Habinek, Thomas. 2005. The World of Roman Song: From Ritualized Speech to Social Order.  Baltimore, Maryland: The Johns Hopkins University Press.
  • Jahn, Otto. 1867b. “Wie wurden die Oden des Horatius vorgetragen?” Hermes 2: 418-433.
  • Lenchantin, M.  1944-1945.  “Meletemata metrica.”  Athenaeum 22-23: 72-97.
  • Moore, Timothy J. 2008. “Parakataloge: Another Look,” Philomusica 7:) 143-152 (http://riviste.paviauniversitypress.it/index.php/phi/article/view/07-02-Moisa-14).
  • Nagy, Gregory.  1990. Pindar’s Homer: The Lyric Possession of the Epic Past. Baltimore: Johns Hopkins University Press.
  • Perusino, Franca. 1966. “Il problema della paracataloghé nei tetrametri giambici catalettici della commedia greca.” Quaderni Urbinati della Cultura Classica 1: 9-14.
  • Pretagostini, Roberto. 1976. “Dizione e canto nei dimetri anapestici di Aristofane.” Studi Classici e Orientali 25:  183-212.
  • White, John Williams. 1912. The Verse of Greek Comedy. London.
  • Wille, Günther.  1961.  “Singen und Sagen in der Dichtung des Horaz,” in Eranion: Festschrift für Hildebrecht Hommel.  Tübingen: Niemeyer, pp. 169-184.
  • Zielinski, Th.  1885.  Die Gliederung der altattischen Komoedie.  Leipzig: Teubner.
The Voice
  • Armstrong, David, and Ann Ellis Hanson. 1986. “Two Notes on Greek Tragedy.” Bulletin of the Institute of Classical Studies, University of London 33: 97-102.
  • Biehle, Herbert. 1929.  “Die antike Stimmkunst.”  Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft 23: 275-285.
  • Bukofzer, M. 1903. “Zur Hygiene des Tonansatzes unter Berücksichtigung moderner und alter Gesangsmethoden.” Archiv für Laryngologie und Rhinologie 15: 185-216.
  • Halliwell, Stephen. 1990. “The Sounds of the Voice in Old Comedy,” in ‘Owls to Athens’: Essays on Classical Subjects Presented to Sir Kenneth Dover, ed. E.M. Craik.  Oxford: Clarendon, pp. 69-79.
  • Kaimio, Maarit.  1977.  Characterization of Sound in Early Greek Literature.  Commentationes Humanarum Litterarum 53.  Helsinki: Societas Scientiarum Fennica.
  • Krumbacher, Armin.  1921.  Die Stimmbildung der Redner im Altertum bis auf die Zeit Quintilians.  Paderborn: Schöningh.
  • Müller-Heuser, Franz.  1997.  Vox humana: Ein Beitrag zur Untersuchung der Stimmästhetik des Mittelalters.  Kassel: Bosse.
  • Pavlovskis, Zoja.  1977.  “The Voice of the Actor in Greek Tragedy.”  Classical World 71: 113-123.
  • Schmidt-Colinet, Constanze.  2002.  “Sänger im Alten Orient und in Griechenland: Musiker am neuassyrischen Hof,” in Studien zur Musikarchäologie III, edd. Hickmann, Ellen, Anne D. Kilmer, and Ricardo Eichmann.  Rahden: Leidorf, pp. 599-615.
  • Schuol, Monika.  2002. “Sänger und Gesang in den homerischen Epen.  Frühgriechische Musik vor dem Hintergrund altanatolischer Tradition,” in Studien zur Musikarchäologie III, edd. Hickmann, Ellen, Anne D. Kilmer, and Ricardo Eichmann.  Rahden: Leidorf, pp. 429-439.
  • Vetta, Massimo.  1993.  “La voce degli attori nel teatro attico,” in Tradizione e innovazione nella cultura greca da omero all’età ellenistica: Scritti in onore di Bruno Gentili vol. II, ed. Roberto Pretagostini.  Rome: Gruppo Editoriale Internazionale, pp. 703-718.
Rhythm
  • Allen, William Sidney. 1973. Accent and Prosody: Prosodic Features of Latin and Greek:  A Study in Theory and Reconstruction.  Cambridge, Eng: Cambridge University Press.
  • Amsel, Georgius.  1887.  De vi atque indole rhythmorum quid veteres iudicaverint.  Breslauer Philologische Abhandlungen 1.3.  Breslau: Koebner.
  • Comotti, Giovanni.  1988b.  “I problemi dei valori ritmici nell’interpretazione dei testi musicali della Grecia antica,” in La musica in Grecia, edd. Bruno Gentili and Roberto Pretagostini.  Bari: Laterza, pp. 17-25.
  • Gentili, Bruno and Liana Lomiento.  2003.  Metrica e ritmica: Storie delle forme poetiche nella grecia antica.  Milan: Mondadori Università.  Georgiades, Thrasybulos.  1956.  Greek Music, Verse and Dance, translated by Erwin Benedikt and Marie Louise Martinez.  New York: Merlin Press.
  • Mathiesen, Thomas J.  1985.  “Time and Rhythm in Greek Music.”  Music Theory Spectrum 7: 159-180.
  • Pighi, Giovanni Battista. 1962. “Analisi ritmiche.” Rivista di filologia classica 40: 1-21.
  • Pöhlmann, Egert. 1995. “Metrica e ritmica nella poesia e nella musica greca antica,” in Mousike: Metrica ritmica e musica greca in memoria di Giovanni Comotti, edd. Gentili, Bruno and Franca Perusino. Pisa: Istituti Editoriali e Poligrafici Internazionali, pp. 3-15.
  • Sachs, Kurt.  1953.  Rhythm and Tempo: A Study in Music History.  New York: Norton.
  • Van Raalte, Marlein.  1986.  Rhythm and Metre: Towards a Systematic Description of Greek Stichic Verse.  Assen/Maastricht, The Netherlands: Van Gorcum.  
  • Waltz, René.  1948. “RHYTHMOS ET NUMERUS.”  Revue des Études Latines 26: 109-120.
  • Westphal, Rudolf.  1885.  Griechische Rhythmik.  3rd edition.  Leipzig: Teubner.
Ictus and Accent
  • Beare, William. 1957. Latin Verse and European Song: A Study in Accent and Rhythm. London; Methuen.
  • Bennett, Charles E.  1898.  “What Was Ictus in Latin Prosody?”  American Journal of Philology 19: 361-382.
  • Glau, Katherina.  1998.  “Notizen zu Nietzsches Deutung von Arsis und Thesis,” in Mousopolos Stephanos: Festschrift für Herwig Görgemanns, edd. Manuel Baumbach, Helga Köhler, and Adolf Martin Ritter.  Heidelberg: Winter, pp. 219-234.
  • Stroh, Wilfried.  1990.  “Arsis und Thesis, oder: Wie hat man die lateinische Verse gesprochen?,” in Musik und Dichtung: Neue Forschungsbeiträge, Viktor Pöschl zum 80. Geburtstag gewidmet, edd. Michael von Albrecht and Werner Schubert.  Frankfurt: Lang, pp. 87-116.
  • Wilkinson, L.P.  1963.  Golden Latin Artistry.  Cambridge, Eng.: Cambridge University Press.
Heterophony
  • Ahl, Frederick. 1991. “Pindar and the Sphinx: Celtic Polyphony and Greek Music,” in Harmonia Mundi: Musica e filosofia nell’antichità: Music and Philosophy in the Ancient World, edd. Robert W. Wallace and Bonnie MacLachlan.  Rome: Ateneo, pp. 131-150.
  • Barker, Andrew. 1995. “Heterophonia and Poikilia: Accompaniments to Greek Melody,” in Mousike: Metrica ritmica e musica greca in memoria di Giovanni Comotti, edd. Bruno Gentili and Franca Perusino. Pisa: Istituti Editoriali e Poligrafici Internazionali, pp. 41-60.

Instruments

General
  • Bélis, Annie. 1989. “Les instruments de la Grèce antique: Des vestiges à la reconstruction.” Dossiers d’Archéologie 142: 41-47.
  • di Giglio, Anna. 2000.  Strumenti delle Muse: Lineamenti di organologia greca.  Bari: Levante.
  • Huchzermeyer, Helmut. 1930. Aulos und Kithara in der griechischen Musik bis zum Ausgang der klassischen Zeit (nach den literarischen Quellen). Emsdetten: Heinr. & J. Lechte.
Strings
  • Maas, Martha and Jane McIntosh Snyder. 1989. Stringed instruments of ancient Greece. New Haven : Yale University Press.
  • Power, Timothy. 2010. The Culture of Kitharôidia. Washington, DC:  Center for Hellenic Studies.
  • Vendries, Christophe. 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. 
  • Wilson, Peter. 2004.  “Athenian Strings,” in P. Murray and P. Wilson, edd., Music and the Muses: The Culture of ‘Mousike’ in the Classical Athenian City (Oxford), pp. 269-306.
  • Winnington-Ingram, R.P. 1956.  “The Pentatonic Tuning of the Greek Lyre: A Theory Examined,” Classical Quarterly 6 169-186.

Aulos/Tibia

General
  • Barker, Andrew. 1987. “Text and Sense at Philebus 56a.” Classical Quarterly 37: 103-109.
  • Bartholinus, Casparus. 1679. De tibiis veterum et earum antiquo usu libri tres. Editio altera, figuris auctior. Amsterdam: apud J. Henr. Westenium.
  • Becker, Heinz. 1966. Zur Entwicklungsgeschichte der antiken und mittelalterlichen Rohrblattinstrumente. Hamburg:Sikorski.
  • Bélis, Annie. 1986. “L’aulos phrygien.” Revue Archéologique 1986: 21-40.
  • Boetticher, Wolfgang. 1964. “Aulos,” in Konrat Ziegler and Walther Sontheimer (edd.), Der Kleine Pauly. I: Aachen bis Dichalkon. Stuttgart: Druckenmüller, cols. 755-760.
  • Carpitella, Diego. 1992. Conversazioni sulla musica (1955-1990): Lezioni, conferenze, trasmissioni radiofoniche, a cura della Società Italiana di Etnomusicologia. Florence: Ponte alle Grazie.
  • Hagel, Stefan. 2004. “Calculating Auloi—The Louvre Aulos Scale,” in E. Hickmann and R. Eichmann, edd., Studien zur Musikarchäologie IV (Rahden), pp. 373-390.
  • Howard, Albert A. 1893. “The Aulos or tibia.” Harvard Studies in Classical Philology 4: 1-60.
  • Howard, Albert A. 1899. “The Mouth-piece of the Aulos.” Harvard Studies in Classical Philology 10: 19-22.
  • Jannot, Jean Renè. 1974. “L’aulos étrusque.” Antiquitè Classique 43: 118-142.
  • McKinnon, James W. and Robert Anderson. 1984. “Aulos,” in The New Grove Dictionary of Musical Instruments, ed. Stanley Sadie. I: A-F. London: Macmillan, pp. 85-87.
  • Papadopoulou, Zozie, and Vinciane Pirenne-Delforge.  2001.  “Inventer et réinventer l’aulos: autour de la XXIe Pythique de Pindare,” in Chanter les Dieux: Musique et religion dans l’Antiquité grecque et romaine.  Actes du colloque des 16, 17 et 18 décembre 1999 (Rennes et Lorient), edd. Pierre Brulé and Christophe Vendres.  Rennes: Presses Universitaires de Rennes, pp. 37-58.
  • Paulis, Giulio. 1997. “I Romani e le launeddas,” in Launeddas: la storia, lo strumento, i protagonisti, la discografia, ed. Giampaolo Lallai . Cagliari: AM&D; Nuoro: Istituto Superiore Regionale Etnografico, pp. 222-229.
  • Petretto, M. Alessandro. 1993-1994.  “L’Aulos.” Sandalion 16-17: 107-124.
  • Reinach, Théodore. 1919. “Tibia,” in Dictionnaire des Antiquités Grecques et Romaines, edd. Ch. Daremberg and Edm. Saglio. Vol 5: T-Z. Paris: Hachette, pp. 300-332.
  • Schlesinger, Kathleen. 1939. The Greek Aulos: A Study of its Mechanism and of its Relation to the Modal System of Ancient Greek Music, followed by A Survey of the Greek Harmoniai in Survival or Rebirth in Folk-Music. London: Methuen.
  • Wilson, Peter.  1999.  “The aulos in Athens,” in Performance Culture and Athenian Democracy, edd. Simon Goldhill and Robin Osborne.  Cambridge, Eng.: Cambridge University Press, pp. 58-95.
Auloi/tibiae in art
  • Bernadini, Paolo. 1997. “L’aulete di Ittiri,” in Launeddas: la storia, lo strumento, i protagonisti, la discografia, ed. Giampaolo Lallai. Cagliari: AM&D; Nuoro: Istituto Superiore Regionale Etnografico, pp. 206-209.
  • Caldelli, Maria Letizia. 1993. “Ricordo di agoni su un vetro dorato iscritto.” Archeologica Classica 45, 1: 399-407.
  • Comotti, Giovanni. 1975. “L’aulo ghingras in una scena menandrea del mosaico di Dioscuride.” Quaderni Urbinati 20: 215-233.
  • Perdrizet, R. 1899. “Reliefs Mysiens.” Bulletin de Correspondance Hellénique 23: 592-599 and Pl. IV.
Extant pipes
  • Bélis, Annie.  1981. “Fragments d’auloi,” in L’Antre Corycien II.  Bulletin de Correspondance Hellénique Supplément IX. Athens, École Français d’Athènes. Pp. 176-181.
  • Bélis, Annie.  1984. “Auloi grecs du Louvre.” Bulletin de Correspondence Hellénique 108: 111-122.
  • Bélis, Annie. 1988a. “Charnières ou auloi?” Revue Archéologique 1988: 109-118.
  • Bélis, Annie. 1988b. “Studying and Dating Ancient Greek auloi and Roman tibiae: A Methodology,” in E. Hickmann and D.W. Hughes, edd., The Archaeology of Early Music Cultures (Bonn, 1988), pp. 233-248.
  • Bodley, Nicholas B. 1946. “The Auloi of Meroë.” American Journal of Archaeology 50: 217-240, and plates I-VIII.
  • Conze, Alexander. 1902. “Die Kleinfunde aus Pergamon.” Abhandlungen der Königlich preussischen Akademie der Wissenschaften 1902. Philosophisch-historische Classe, Abhandlung I.
  • Dawkins, R.M. 1929. “Objects in Carved Ivory and Bone,” in The Sanctuary of Artemis Orthia at Sparta, ed. R.M. Dawkins. London: MacMillan, pp. 203-248.
  • Landels, John G. 1963. “The Brauron Aulos.” The Annual of the British School at Athens 58: 116-119.
  • Landels, John G. 1964. “Fragments of Auloi Found in the Athenian Agora.” Hesperia 33: 392-400.
  • Landels, John G. 1968. “A Newly Discovered Aulos.” The Annual of the British School at Athens 63: 232-238 and plate 55 .
  • Lawson, Graeme, and Angela Wardle. 1991. “A Roman pipe from London.” Antiquities Journal 71: 229-230.
  • Loret, M. Victor. 1889. “Les flûtes égyptiennes antiques.” Journal Asiatique 14: 197-237.
  • Masaraki, Despina W. 1974. “Ein Aulos der Sammlung Karapanos.” Mitteilungen des Deutschen Archäologischen Instituts, Athenische Abteilung 89: 105-121, and plates 49-52.
  • Olsen, Poul Rovsing. 1966-1967. “An Aulos in The Danish National Museum.” Dansk aarbog for musikforskning 5: 3-9.
  • Southgate, T. Lea. 1915. “Ancient Flutes From Egypt.” Journal of Hellenic Studies 35: 12-21.
Auletai/tibicines
  • Pailler, Jean-Marie. 2001. “Et les aulètes refusèrent de chanter les dieux… (Plutarque, Question Romaine 55),” in Chanter les Dieux: Musique et religion dans l’Antiquité grecque et romaine.  Actes du colloque des 16, 17 et 18 décembre 1999 (Rennes et Lorient), edd. Pierre Brulé and Christophe Vendres.  Rennes: Presses Universitaires de Rennes, pp. 339-348.
  • Péché, Valérie. 2001. “Collegium tibicinum romanorum, une association de musicians au service de la religion romaine,” in Chanter les Dieux: Musique et religion dans l’Antiquité grecque et romaine.  Actes du colloque des 16, 17 et 18 décembre 1999 (Rennes et Lorient), edd. Pierre Brulé and Christophe Vendres.  Rennes: Presses Universitaires de Rennes, pp. 307-338.
  • Starr, Chester G. 1978. “An Evening with the Flute-Girls.” La Parola del Passato 183: 401-410.
  • Waltzing, Jean-Pierre. 1900. Étude historique sur les corporations professionelles chez les Romains depuis les origines jusqu’à la chute de l’Empire d’Occident.  Vol. 4.  Louvain: Peeters.
Kroupezai/scabellum
  • Bélis, Annie. 1988b. “KROUPEZAI, Scabellum.” Bulletin de Correspondance Hellénique 112: 323-339.
  • Théderat, H. 1908. “Scabellum, scabillum,” in Dictionnaire des Antiquités Grecques et Romaines, edd. Ch. Daremberg and Edm. Saglio. Vol 4.2. Paris: Hachette, p. 1106.
Other instruments
  • Jakob, Friedrich, et al. 2000. Die römische Orgel aus Avenches/Aventicum. Avenches: Association Pro Aventico.
  • Markovits, Michael. 2003. Die Orgel im Altertum.  Leiden: Brill.
  • Salapata, Gina. 2002. “The ‘Apulian Sistrum’. Monotone or Melodic?” in Studien zur Musikarchäologie III, edd. Hickmann, Ellen, Anne D. Kilmer, and Ricardo Eichmann.  (Rahden: Leidorf), pp. 415-423.

Music on the Greek Stage

General
  • Graf, Ernst. 1891. “Diaulion.” Rheinisches Museum 46:71-76.
  • Hunningher, Benjamin.  1956.  Acoustics and Acting in the Theatre of Dionysus Eleutherus. Mededelingen der Koninklijke Nederlandse Akademie van Wetenschappen, afd. Letterkunde” Nieuwe reeks deel 19 Nr.9. Amsterdam: Noord-Hollandsche uitgeversmij.
  • Pickard-Cambridge, Arthur W.  1962.  Dithyramb, Tragedy and Comedy.  2nd edition.  Oxford: Clarendon.
  • Pickard-Cambridge, Arthur W.  1968. The Dramatic Festivals of Athens. 2nd ed., revised by John Gould and D.M. Lewis. Oxford: Clarendon.
  • Snyder, Jane McIntosh. 1979. “Aulos and Kithara on the Greek Stage,” in Panathenaia: Studies in Athenian Life and Thought in the Classical Age, edd. T.E. Gregory and A.J. Podlecki. Lawrence, Kansas: Coronado, pp. 75-95 and plates 3-7.
  • Wilson, Peter.  2000.  The Athenian Institution of the Khoregia: The Chorus, the City and the Stage.  Cambridge, Eng.: Cambridge University Press.
  • Wilson, Peter.  2002.  “The Musicians Among the Actors.” in Greek and Roman Actors: Aspects of an Ancient Profession, edd. Pat Easterling and Edith Hall.  Cambridge, Eng.: Cambridge University Press, pp. 39-68.
  • Zimmermann, Bernhard. 1993. “Dichtung und Musik: Überlegungen zur Bühnenmusik im 5. und 4. Jahrhundert v. Chr.” Lexis 11: 23-35.
Tragedy
  • Barner, Wilfried.  1971. “Die Monodie,” in Die Bauformen der griechischen Tragödie, ed. Walter Jens, pp. 277-320.
  • Browning, Robert. 1963. “A Byzantine Treatise on Tragedy,” in GERAS. Studies Presented to George Thomson on the Occasion of his 60th Birthday. Prague: Charles University, pp. 67-81.
  • Comotti, Giovanni. 1988a. “La musica della tragedia greca,” in Scena e spettacolo nell’ antichità: Atti del Convegno Internazionale di Studio, Trento, 28-30 Marzo 1988, ed. Lia de Finis. Florence: Olschki. pp. 43-61.
  • Hall, Edith.  1999.  “Actor’s Song in Tragedy,” in Performance Culture and Athenian Democracy, edd. Simon Goldhill and Robin Osborne.  Cambridge, Eng.: Cambridge University Press, pp. 96-122.
  • Jouanna, Jacques.  2001. “La double fin du Philoctète de Sophocle: Rythme et Spectacle.” Revue des Études Grecques 114: 359-382.
  • Scott, William C. 1984. Musical Design in Aeschylean Theater.  Hanover, New Hampshire: University Press of New England.
  • Scott, William C. 1996. Musical Design in Sophoclean Theater.  Hanover, New Hampshire: University Press of New England.
  • Sifakis, G.M.  2001. “The Function and Significance of Music in Tragedy.” Bulletin of the Institute of Classical Studies, University of London 45: 21-35.
Comedy
  • Handley, Eric W. 1990. “The Bodmer Menander and the Comic Fragments,” in Relire Ménandre, edd. Eric Handley and André Hurst. Geneva: Droz, pp. 123-148.
  • Marshall, C. W.  2002. “Chorus, Metatheatre, and Menander, Dyskolos 427-41.” Scholia 11: 3-17.
  • Moutsopoulos, Evanghelos.  2000.  “La musique dans l’oeuvre d’Aristophane,” in Le théâtre grec antique: la comédie: Actes du 10ème colloque de la Villa Kérylos à Beaulieu-sur-Mer les 1er & 2 octobre 1999.  Paris: Académie des Inscriptions et Belles-Lettres, pp. 59-82.
  • O’Bryhim, Shawn. 2001. “Dance, Old Man, Dance!: The Torture of Knemon in Menander’s Dyskolos, in Greek and Roman Comedy: Translations and Interpretations of Four Representative Plays, ed. by Shawn O’Bryhim.  Austin, Texas: University of Texas Press.
  • Pretagostini, Roberto. 1989. “Forma e funzione della monodia in Aristofane,” in Scena e Spettacolo nell’ Antichità: Atti del Convegno Internazionale di Studio.  Trento, 28-30 marzo 1988, ed. Lia de Finis. Teatro Studi e Testi 7. Florence: Olschki, pp. 111-128.
  • Romer, F. E. 1983.  “When is a Bird Not a Bird?” Transactions of the American Philological Association 113: 135-142.
  • Zimmermann, Bernhard. 1985. Untersuchungen zur Form und dramatischen Technik der aristophanischen Komödien. Band I: Parodos und Amoibaion. 2nd ed. Königstein: Hain.
Hellenistic Theater
  • Gentili, Bruno. 1979. Theatrical Performances in the Ancient World: Hellenistic and Early Roman Theatre.  London Studies in Classical Philology 2. Amsterdam: Gieben.
  • Sifakis, G.M. 1967.  Studies in the History of Hellenistic Drama.  London: Athlone.
  • Webster, T.B.L. 1963. “Alexandrian Epigrams and the Theatre,” in Miscellanea di Studi Alessandrini in memoria di Augusto Rostagni. Torino: Bottega d’Erasmo, pp. 531-543.
  • Wilamowitz-Moellendorff, Ulrich von. 1896. “Des Mädchens Klage.” Nachrichten der Akademie der Wissenschaften in Göttingen 1, Philologische-Historische Klasse 209-232.
Other
  • Colella, Sandra. 1987/1988. “La presenza e la funzione della musica nel teatro fliacico.” Rendiconti dell’ Accademia di Archeologia, Lettere e Belle Arte di Napoli 61: 49-67.
  • Krumeich, Ralf. 1999. “Demetrios: Hesione(?),” in Das griechische Satyrspiel, edd. Ralf Krumeich, Nikolaus Pechstein and Bernd Seidensticker. Darmstadt: Wissenschaftliche Buchgesellschaft, pp. 562-565.
  • Wiemken, Helmut. 1972. Der griechische Mimus: Dokumente zur Geschichte des antiken Volkstheaters.  Bremen: Schünemann.

Music on the Roman Stage

General
  • Arcellaschi, André.   1979.  “Espace matériel et espace musical sur la scène romaine.”  Vita Latina 75: 22-31.
  • Dumont, Jean Christian.  1997.  “Cantica et espace de représentation dans le théâtre latin,” in De la scène aux gradins: Théâtre et representations dramatiques après Alexandre le Grand.  Pallas: Revue d’études antiques.  Aix: Presses Universitaires du Mirail, pp. 41-50.
Livy VII.2, the origins of Roman theater, and the performance of cantica
  • Beare, William.  1940. “The Delivery of Cantica on the Roman Stage.” Classical Review 54: 70-72.
  • Hering, Wolfgang.  1966.  “Satura und Hyporchem (Einige Gedanken zu Livius VII 2).”  Wissenschaftliche Zeitschrift der Universität Rostock 15. Jahrgang, Gesellschafts-und Sprachwissenschaftliche Reihe Heft 4.5: 419-429.
  • Jory, E.J.  1981. “The Literary Evidence for the Beginnings of Imperial Pantomime.” Bulletin, Institute of Classical Studies, University of London 28: 147-161.
  • Reitzenstein,  Richard.  1963.  Aufsätze zu Horaz: Abhandlungen und Vorträge aus den Jahren 1908-1925.  Darmstadt: Wissenschaftliche Buchgesellschaft.
  • Schmidt, Peter Lebrecht. 1989. “Postquam ludus in artem paulatim verterat.  Varro und die Frühgeschichte des römischen Theaters,” in Studien zur vorliterarischen Periode im frühen Rom, ed. Gregor Vogt-Spira.  ScriptOralia 12. Tübingen: Narr, pp. 77-134.
  • Szemerényi, Oswald.  1987.  Scripta Minora: Selected Essays in Indo-European, Greek, and Latin.  Volume II: Latin.  Innsbruck: Institut für Sprachwissenschaft der Universität Innsbruck.
  • Waszink, J. H.  1948.  “Varro, Livy and Tertullian on the History of Roman Dramatic Art.”  Vigiliae Christianae 2: 224-242.
Plautus and Terence
  • Beare, William. 1964. The Roman Stage. 3rd ed. London: Methuen.
  • Bergk, Theodor. 1884. Kleine philologische Schriften 1.Halle: Buchhandlung des Waisenhauses.
  • Bettini, Maurizio.  1995.  “Amphitruo 168-172: numeri innumeri und metrische Folklore,” in Plautus und die Tradition des Stegreifspiels: Festgabe für Eckard Lefèvre zum 60. Geburstag, edd. Lore Benz, Ekkehard Stärk, and Gregor Vogt-Spira. Tübingen: Gunter Narr, pp. 89-96.
  • Braun, Ludwig. 1970a. Die Cantica des Plautus. Göttingen: Vandenhoeck & Ruprecht.
  • Braun, Ludwig. 1970b. “Polymetrie bei Terenz und Plautus,” Wiener Studien 83:66-83.
  • Collart, Jean. 1970. “Le soldat qui ne chante pas (quelques remarques sur le rôle du miles chez Plaute),” in Mélanges Marcel Durry (=Revue des Études Latines 47 bis), 199-208. Paris: Les Belles Lettres.
  • Dziatzko, Karl. 1871. “Die deverbia der lateinischen Komoedie.” Rheinisches Museum 26: 97-110.
  • Gratwick, Adrian S. 1982. “Drama.”  In Cambridge History of Classical Literature, vol. 2, edd. E.J. Kenney and W.V. Clausen. Cambridge, Eng.: Cambridge University Press, pp. 77-137.
  • Dupont, Florence.  1987. “Cantica et diverbia dans l’Amphitryon de Plaute.” In Filologia e forme letterarie: Studi offerti a Francesco Della Corte, vol. 2, 45-56. Urbino: Università degli Studi di Urbino.
  • Grysar, Carl Joseph. 1855. “Über das Canticum und den Chor in der römischen Tragödie.” Sitzungsberichte der Kaiserlichen Akademie der Wissenschaften, Wien.  Philosophisch-Historische Classe 15: 365-423.
  • Hermann, Gottfried. 1827. Opuscula.  Vol. I. Leipzig: Fleischer, 1827.
  • Immisch, Otto. 1923. Zur Frage der plautinischen Cantica. Heidelberg: Winter.
  • Law, Helen Hull. 1922. Studies in the Songs of Plautine Comedy. Menasha, WI: George Banta.
  • Lejay, Paul. 1925. Plaute. Paris: Boivin.
  • Leo, Friedrich. 1897. Die plautinischen Cantica und die hellenistische Lyrik. Berlin: Weidmann.
  • Lindsay, Wallace Martin. 1922. Early Latin Verse. Oxford: Clarendon Press.
  • Llarena i Xibillé, Montserrat. 1994. Personae Plautinae (Aproximació a la tècnica teatral de Plaute).  Barcelona: Publicacions Universitat de Barcelona.  Aurea Saecula 11.
  • Marshall, C. W.  2006. The Stagecraft and Performance of Roman Comedy.  Cambridge, Eng.: Cambridge University Press.
  • Maurach, Gregor.  1964. Untersuchungen zum Aufbau plautinischer Lieder. Göttingen: Vandenhoeck & Ruprecht.
  • Michaut, G.  1912.  Sur les tréteaux latins: Histoire de la comédie romaine.  Paris: Fontemoing.
  • Moore, Timothy J. 1998a. “Music and Structure in Roman Comedy.” American Journal of Philology 119: 245-273.
  • Moore, Timothy J. 1999. “Facing the Music: Character and Musical Accompaniment in Roman Comedy.” Syllecta Classica 19: 130-153.
  • Moore, Timothy J. 2001a. “Music in Epidicus,” in Studien zu Plautus’ Epidicus, ed. Ulrike Auhagen.  Tübingen: Narr, pp. 313-334.
  • Moore, Timothy J. 2001b. “Music in Persa,” in Studien zu Plautus’ Persa, ed. Stefan .  Tübingen: Narr, pp. 255-272.
  • Moore, Timothy J. 2004a. “Meter and Meaning in Cistellaria I 1, in Studien zu Plautus’ Cistellaria, edd. Rolf Hartkamp and Florian Hurka. Tübingen: Narr, pp. 319-333.
  • Moore, Timothy J. 2004b. “Music in a Quiet Play,” in Studien zu Plautus’ Poenulus, ed. Thomas Baier.  Tübingen: Narr, pp. 139-161.
  • Moore, Timothy J. 2007. “Terence as Musical Innovator,” in Terentius Poeta, ed. Peter Kruschwitz (Zetemata 127. Munich: Beck) 93-109.
  • Moore, Timothy J. 2008. “When Did the Tibicen Play?” Meter and Musical Accompaniment in Roman Comedy,” Transactions of the American Philological Association 138: 3-46.
  • Moore, Timothy J. 2012. Music in Roman Comedy.  Cambridge, Eng.
  • Oniga, Renato. 1998. “Struttura e funzione dei cantica nell’ Amphitruo, in Lecturae Plautinae Sarsinates I: Amphitruo, a cura di Renato Raffaelli e Alba Tontini. Urbino: Quattro Venti.pp. 31-47.
  • Paratore, Ettore. 1959. “Il flautista nel Dyskolos e nello Pseudolus.”  Rivista di cultura classica e medievale 1: 310-325.  
  • Paratore, Ettore.  1969. “Plaute et le musique.” Maske und Kothurn 15: 131-160.
  • Primmer, Adolf. 1984. Handlungsgliederung in Nea und Palliata: Dis Exapaton und Bacchides. Vienna: Verlag der Österreichischen Akademie der Wissenschaften.
  • Questa, Cesare. 1967b. Introduzione alla metrica di Plauto. Bologna: Pàtron.
  • Questa, Cesare. 1970. “Alcune strutture sceniche di Plauto e Menandro.” In Ménandre, Entretiens Hardt XVI.  Geneva: Fondation Hardt,  pp. 181-228.
  • Questa, Cesare. 1984a. Numeri innumeri: Ricerche sui cantica e la tradizione manoscritta di Plauto. Rome: Ateneo.
  • Questa, Cesare (ed.). 1995. Titi Macci Plauti Cantica.  Urbino: QuattroVenti.
  • Ritschl, Friedrich. 1877. Opuscula Philologica, vol III: ad litteras latinas spectantia. Leipzig. Teubner.
  • Roppenecker, Hermann. 1930. “Vom Bau der Plautinischen Cantica.” Philologus 85: 65-84.
  • Salvatore, Armando. 1951. “La struttura ritmico-musicale del Rudens e l’Ione di Euripide (Contributo allo studio dei Cantica Plautini).” Rendiconti dell’ Accademia di Archeologia, Lettere e Belle Arte di Napoli 26: 56-97.
  • Sedgwick, W.B.  1925. “The cantica of Plautus.” Classical Review 39: 55-58.
  • Sedgwick, W.B.  1949.  “The Origin and Development of Roman Comic Metres.” Classica et Mediaevalia 10: 171-181.
  • Spengel, A. 1877. Die Akteinteilungen der Komödien des Plautus. Programm des Königlichen Maximilians-Gymnasiums für das Schuljahr 1876/1877.  Munich: Staub.
  • Studemund, Wilhelm.  1864.  De canticis Plautinis.  Dissertation, Halle.
  • Tobias, Alfred John. 1969. “Plautus’ Metrical Characterization,” [PhD Diss.]. Stanford.
  • Tobias, Alfred John. 1979. “Bacchiac Women and Iambic Slaves in Plautus.” Classical World 73: 9-18.
Imperial Theater
  • Boissier, Gaston. 1861. “De la signification des mots saltare et cantare tragoediam.” Revue Archéologique 2: 333-343.
  • Ciotti, Umberto. 1950. “Rilievo Romano e plutei medioevali ritrovati a castel S. Elia.” Bolletino dell’ Arte 35: 1-8.
  • Heldmann, Georg. 2000. “Die griechische und lateinische Tragödie und Komödie in der Kaiserzeit.”  Würzburger Jahrbücher für die Altertumswissenschaft 24: 185-205.
  • Jürgens, Heiko. 1972. Pompa Diaboli: Die lateinischen Kirchenväter und das antike Theater. Stuttgart.
  • Kelly, H.A. 1979. “Tragedy and the Performance of Tragedy in Late Roman Antiquity.” Traditio 35: 22-44.
  • Latte, Kurt.  1954.  “Zur Geschichte der griechischen Tragödie in der Kaiserzeit.”  Eranos 52: 125-127.
  • Quasten, Johannes. 1972. Musik und Gesang in den Kulten der heidnischen Antike und christlichen Frühzeit.  2nd edition. Münster: Aschendorff.
  • Wagenvoort, Hendrik.  1920.  “Pantomimus und Tragödie im augusteischen Zeitalter.” Neue Jahrbücher für das klassische Altertum, Geschichte und Deutsche Literatur 23: 101-113.
  • Weismann, Werner.  1972.  Kirche und Schauspiele: Die Schauspiele im Urteil der lateinischen Kirchenväter unter besonderer Berücksichtigung von Augustin.  Würzburg: Augustinus-Verlag.
Other
  • Garelli-François, Marie-Hélène. 2000. “Le ludus talarius et les representations dramatiques à Rome.” Revue de Philologie de Littérature et d”Histoire Anciennes 74: 87-102.
  • Jory, E.J. 1995. “Ars ludicra and the ludus talarius,” in Stage Directions: Essays in Ancient Drama in Honour of E.W. Handley, ed. Alan Griffiths.  London: Institute of Classical Studies of the University of London.
  • Kohn, Thomas D.  2000.  “An Early Stage in Vergil’s Career.”  Classical World 93: 267-274.
  • Ribbeck, Otto. 1875. Die Römische Tragödie im Zeitalter der Republik. Leipzig: Teubner.

Other

Music in Art
  • Andrikou, Eleni, et al. (edd).  2004.  Gifts of the Muses: Echoes of Music and Dance from Ancient Greece.  Athens: Hellenic Ministry of Culture.
  • Bundrick, Sheramy. 2005. Music and Image in Classical Athens.  Cambridge, Eng.: Cambridge University Press.
  • Fleischhauer, Günter. 1964. Etrurien und Rome. Musikgeschichte in Bildern, edd. Heinrich Besseler and Max Schneider, Band II: Musik des Altertums, Lieferung 5. Leipzig: V.E.B. Deutscher Verlag.
  • Green, J.R. 1985a. “Drunk Again: A Study in the Iconography of the Comic Theater.” American Journal of Archaeology 89: 465-472, and plates 52-54.
  • Green, J.R. 1985b. “A Representation of the Birds of Aristophanes,” in Greek Vases in the J. Paul Getty Museum, Volume 2.  Occasional Papers on Antiquities, 3.Malibu, California: The J. Paul Getty Museum, pp. 95-118.
  • Paquette, Daniel. 1984. L’instrument de musique dans la céramique de la Grèce antique: Études d’organologie. Paris: Boccard.
  • Snyder, Jane McIntosh.  1998. “Sappho and Other Women Musicians in Attic Vase Painting,” in Hearing the Past: Essays in Historical Ethnomusicology and the Archaeology of Sound.  Etudes et Recherches Archéologiques de l’Université de Liège 86.  Liège: Université de Liège, pp. 165-190.
  • Solomon, Jon. 1998. “The Representation of Musicians on Geometric Pottery from Attica: Musicians as Decorative Symbols,” in Hearing the Past: Essays in Historical Ethnomusicology and the Archaeology of Sound.  Etudes et Recherches Archéologiques de l’Université de Liège 86.  Liège: Université de Liège, pp. 191-211.
  • Taplin, Oliver. 1993. Comic Angels and Other Approaches to Greek Drama through Vase-Paintings. Oxford: Clarendon.
  • Webster, T.B.L. 1967. Monuments Illustrating Tragedy and Satyr Play.  Second Edition with Appendix.  London: University of London Institute of Classical Studies, Bulletin Supplement 20.
  • Webster, T.B.L. 1995. Monuments Illustrating New Comedy. Revised and enlarged by J.R. Green and A. Seeberg.  2 vols.  London: Institute for Classical Studies. (MNC3).
  • Wegner, Max.  1963. Griechenland. Musikgeschichte in Bildern, edd. Heinrich Besseler and Max Schneider, Band II: Music des Altertums, Lieferung 4. Leipzig:VEB Deutscher Verlag.
  • Younger, John G. 1998. Music in the Aegean Bronze Age. Jonsered : P. Åströms förlag.
Dance
  • D’Angour, A. 1997. ‘How the Dithyramb Got Its Shape’ Classical Quarterly (NS) 47: 331-351.
  • Dupont, Florence.  1993.  “Ludions, lydioi: Les danseurs de la pompa circensis: Exégèse et discours sur l’origine des jeux à Rome,” in Spectacles sportifs et scéniques dans le monde étrusco-italique: Actes de la table ronde organisée par l’Équipe de recherches étrusco-italiques de l’UMR 126 (CNRS, Paris) et l’École française de Rome, Rome, 3-4 mai 1991.  Rome: École Française de Rome, pp. 189-210.
  • Johnstone, Mary A.  1956.  The Dance in Etruria: A Comparative Study.  Florence: Olschki.
  • Kitto, H. D. F.  1955.  “The Dance in Greek Tragedy.” The Journal of Hellenic Studies 75: 36-41.
  • Lada-Richards,  Ismene.  2003.  “‘A Worthless Feminine Thing”? Lucian and the ‘Optic Intoxication’ of Pantomime Dancing.”  Helios 30: 21-75.
  • Latte, Kurt.  1913.  De saltationibus Graecorum capita quinque.  Giessen: Töpelmann.
  • Lawler, Lillian B.  1943.  “Orchesis ionike.”  Transactions and Proceedings of the American Philological Association 74: 60-71.
  • Lawler, Lillian B.  1964.  The Dance of the Ancient Greek Theatre.  Iowa City, Iowa: University of Iowa Press.
  • MacMullen, Ramsay.  1981.  Paganism in the Roman Empire.  NewHaven: Yale University Press.
  • Naerebout, F.G.  1997.  Attractive Performances: Ancient Greek Dance: Three Preliminary Studies.  Amsterdam: Gieben.
  • Roos, Ervin.  1951.  Die tragische Orchestik im Zerrbild der altattischen Komödie.  Lund: Gleerup.
  • Rossi, Luigi Enrico. 1980. “Mimica e danza sulla scena comica greca (A proposito del finale delle Vespe e di altri passi aristofanei),” in Rivista di Cultura Classica e Medioevale.  Miscellanea di Studi in Memoria di Marino Barchiesi. Rome: Ateneo & Bizzarri, pp. 1149-1170.
  • Sachs, Kurt.  1937.  World History of the Dance, transl. by Bessie Schönberg.  New York: Norton.
  • Sittl, Carl. 1890. Die Gebärden der Griechen und Römer. Leipzig: Teubner.
  • Taladoire, Barthélemy-A. 1951. Commentaires sur le mimique et l’expression corporelle du comédien romain. Montpellier: Presses Universitaires de France.
  • Warnecke, Boris. 1908. “Die Vortragskunst der römischen Schauspieler.” Neue Jahrbücher für das klassische Altertum, Geschichte und Deutsche Literatur 21: 704-713.
  • Warnecke, Boris.  1910.  “Gebärdenspiel und Mimik der römischen Schauspieler.” Neue Jahrbücher für das klassische Altertum, Geschichte und Deutsche Literatur 25: 580-594.
  • Weege, Fritz.  1926.  Der Tanz in der Antike.  Halle: Niemeyer.
  • Wright, F.A.  1916.  “The Technical Vocabulary of Dance and Song.” The Classical Review 30: 9-10.
  • Zarifi, Yana. 2007. “Chorus and Dance in the Ancient World,” in The Cambridge Companion to Greek and Roman Theatre, edd. Marianne McDonald and J. Michael Walton.
  • Zimmermann, Bernhard. 1995. “Pantomimische Elemente in den Komödien des Plautus,” in Plautus und die Tradition des Stegreifspiels: Festgabe für Eckard Lefèvre zum 60. Geburtstag, edd. Lore Benz, Ekkehard Stärk, and Gregor Vogt-Spira. Tübingen: Gunter Narr, pp.193-204.
Music, Education, and Ethics
  • Abert, Hermann.  1899. Die Lehre vom Ethos in der griechischen Musik.  Wiesbaden: Breitkopf & Härtel.
  • Anderson, Warren D. 1966. Ethos and Education in Greek Music: The Evidence of Poetry and Philosophy. Cambridge, Mass.: Harvard University Press.
  • Delattre, Daniel. 1998. “The Dialogue of Greece and Rome about Music and Ethics in Philodemus of Gadara,” in Hearing the Past: Essays in Historical Ethnomusicology and the Archaeology of Sound.  Etudes et Recherches Archéologiques de l’Université de Liège 86.  Liège: Université de Liège, pp. 213-241.
  • Malhomme, Florence, and Anne Gabrièle Wersinger (edd.). 2007. Mousikè et Aretè. La musique et l’éthique de l’antiquité à l’âge moderne. Paris: Librairie Philosophique J. Vrin, 2007.
  • Pelosi, Francesco. 2010. Plato on Music, Soul and Body. Cambridge, Eng.: Cambridge University Press.
  • Wallace, Robert W. and Bonnie MacLachan (edd.). 1991. Harmonia mundi : musica e filosofia nell’antichità = music and philosophy in the ancient world. Rome: Ateneo.
Historical Developments
  • Barker, Andrew.  2004.  “Transforming the Nightingale: Aspects of Athenian Musical Discourse in the Late Fifth Century,” in Music and the Muses: The Culture of ‘Mousike’ in the Classical Athenian City, edd. Penelope Murray and Peter Wilson.  Oxford: Oxford University Press, pp. 185-204.
  • Csapo, Eric.  2004. “The Politics of the New Music,” in Music and the Muses: The Culture of ‘Mousike’ in the Classical Athenian City, edd. Penelope Murray and Peter Wilson.  Oxford: Oxford University Press, pp. 207-248.
  • Franklin, John Curtis.  2002.  “Musical Syncretism in the Greek Orientalizing Period,” in Studien zur Musikarchäologie III, edd. Hickmann, Ellen, Anne D. Kilmer, and Ricardo Eichmann.  Rahden: Leidorf, pp. 441-451.
  • Wallace, Robert W.  1995.  “Speech, Song and Text, Public and Private: Evolution in Communication Media and Fora in Fourth-Century Athens, ” in Die athenische Demokratie in 4. Jahrhundert v. Chr.: Vollendung oder Verfall einer Verfassungsform?, ed. W. Eder. Aktien eines Symposiums 3.-7. August 1992, Bellagio.  Stuttgart: Steiner, pp. 199-224.
  • Wallace, Robert W.  2003. “An Early Fifth-Century Athenian Revolution in Aulos Music.” Harvard Studies in Classical Philology 101: 73-92.
  • Zimmermann, Bernhard.  1986.  “Überlegungen zum sogenannten Pratinasfragment.” Museum Helveticum 43: 145-154.
The Carmina Convivalia
  • Coarelli, Filippo. 1995. “Vino e ideologia nella Roma antica,” in In Vino Veritas, edd. Oswyn Murray and Manuela Tecusay.  London: British School at Rome, pp. 196-213.
  • Horsfall, Nicholas.  1994. “The Prehistory of Latin Poetry.” Rivista di Filologia 122: 50-75.
  • Peruzzi, Emilio. 1993. “La poesia conviviale di Roma arcaica.” La Parola del Passato 48: 332-373.
  • Zorzetti, Nevio. 1990. “The Carmen Convivalia, ” in Sympotica: A Symposium on the Symposium.  Oxford: Clarendon, pp. 289-307.
Byzantine Music
  • Maas, Paul and C. A. Trypanis, edd. 1963.  Sancti Romani Melodi Cantica: Cantica Genuina. Oxford: Clarendon.
  • Wellesz, Egon. 1961. A History of Byzantine Music and Hymnography.  2nd edition. Oxford: Clarendon.
Modern Analogies
  • Ahrens, Christian. 1976. “Volksmusik der Gegenwart als Erkenntnisquelle für die Musik der Antike.” Die Musikforschung 29: 37-45.
  • Baud-Bovy, Samuel. 1983.  “Chansons populaires de la Grèce antique.” Revue de Musicologie 69: 5-20.
  • Picken, Laurence. 1975. Folk Musical Instruments of Turkey. London: Oxford University Press.
Varia
  • Bartol, Krystyna.  1992.  “How Was Iambic Poetry Performed?  A Question of Ps. Plutarch’s Reliability (Mus. 1141A).” Euphrosyne 20: 269-276.
  • Battezzato, Luigi. 2003. “Song, Performance, and Text in the New Posidippus.” Zeitschrift für Papyrologie und Epigraphik 1145: 31-43.
  • Cockle, W.E.H. 1975. “The Odes of Epagathus the Choral Flautist: Some Documentary Evidence for Dramatic Representation in Roman Egypt,” in Proceedings of the XIV International Congress of Papyrologists, Oxford, 24-31 July 1974.  London: Egypt Exploration Society.
  • Gibson, Sophie.  2005.  Aristoxenus of Tarentum and the Birth of Musicology. New York: Routledge.
  • Grassi, Teresa. 1920.  “Musica, mimica e danza secondo i documenti papiracei greco-egizi.”  Studi della Scuola Papirologia 3: 117-135.
  • Hagel, Stefan. 2004. “Caesura and Melody,” in François Spaltenstein and Olivier Bianchi (edd.), Autour de la césure: Actes du colloque Damon des 3 et 4 novembre 2000. Bern: Lang, pp. 11-22.
  • Linderski, Jerzy.  2003.  “Sic valeas: A Latin Inscription, the symphoniaci, and the Afterlife.” Epigraphica 65: 185-195.
  • Stekelenburg, A. V. van.  2000.  “Whistling in Antiquity.”  Akroterion 45: 65-74.

last modified January 3, 2017 by tmoore26@wustl.edu