8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
1/21
Department of the Classics, Harvard University is collaborating with JSTOR to digitize, preserve and extend access to
Harvard Studies in Classical Philology.
http://www.jstor.org
Department of the Classics Harvard University
An Early Fifth-Century Athenian Revolution in Aulos MusicAuthor(s): Robert W. WallaceSource: Harvard Studies in Classical Philology, Vol. 101 (2003), pp. 73-92Published by: Department of the Classics, Harvard UniversityStable URL: http://www.jstor.org/stable/3658525
Accessed: 17-03-2015 10:09 UTC
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available athttp://www.jstor.org/page/info/about/policies/terms.jsp
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of contentin a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.For more information about JSTOR, please contact [email protected].
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTCAll use subject to JSTOR Terms and Conditions
http://www.jstor.org/http://www.jstor.org/action/showPublisher?publisherCode=dchuhttp://www.jstor.org/stable/3658525http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/stable/3658525http://www.jstor.org/action/showPublisher?publisherCode=dchuhttp://www.jstor.org/
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
2/21
AN EARLY FIFTH-CENTURY
ATHENIAN
REVOLUTION
IN AULOS
MUSIC
ROBERT
W. WALLACE
AFTER
a brief
pening
ection o recover ne
piece
of nforma-
tion,
he
following ages
reconstruct
everal
evolutionary
evel-
opments
n
theuse ofthe ulos
formusic esearch
nd social
playing
n
early ifth-century
thens,
nd thereaction
gainst
hese
developments
that
egan
round
mid-century.'
(A)
LAMPROCLES
THE
ATHLETE
(?)
According
o the scholia vetera o
Ar.
Clouds
967,
Eratosthenes
reported
hat
he
poem including
he words
i6,oaxa
nrepa~tnotv
88etvv
OEbovypEsiC8oLtgov
partly
uoted
n
Clouds
by
Dikaios
Logos)
was
attributed
y Phrynichus
o
the
work f
AagtnpoicXio;
roo
&OX71rl-
toi,
Mi[vo;
iioi
(i
~ao~TlroI
E(2)).2
This
description
f
Lampro-
cles
is
quoted
wice
by
Holwerda,
gainby
Koster,
nd
also
by
Page.3
1
Thanks
o
Peter
Wilson,
imothy
oore,
HSCP's
editor,
nd
ts xcellent
eaders
or
commentsn this ext. Rich nideas and also bibliography,eterWilson's ssay"The
aulos in
Athens,"
n
The
Performance
ulture
f
Athenian
emocracy,
d. S.
Goldhill
and
R.
Osborne
Cambridge
999)
58-95,
s in
many espects
omplementary
o
the
pre-
sent
iscussion.
am
grateful
o ts uthor
or
ending
me an
advance
opy.
2
s this
Phrynichus
he
comic
poet?
So,
e.g.,
B. F. Grenfell
nd
A.
S.
Hunt,
The
Oxyrhynchus
apyri
XIII
(London 1919)
146,
and K.
J.
Dover,
Aristophanes
louds
(Oxford
968)
215
ad
loc.
3
D.
Holwerda,
De novo Chamaeleontis
tudiorum
estimonio,"
nemosyne
v 5
(1952)
230 n. 2
(the
Peripatetic
hamaeleon
knew
of
a different
radition
bout
this
poem:
see
next
note)
and
Prolegomena
e
comoedia
cholia
in
Acharnenses,
quites,
Nubes, Fasc. 3. 1 (Groningen 977) 185 ad loc.; W. J.W. Koster, Ecce iterum
Chamaeleon,"
Mnemosyne
v
6
(1953)
63;
Page
PMG
no. 735. On
the
tendency
f
ancient
iographical
raditions
o
confuse
athers
nd teachers
including
ur
example
f
Lamprocles'
Midon),
see
L.
Lehnus,
Scopelino padre'
di
Pindaro,"
end.
st.
Lomb.
111
1977)
78-82.
Nothing
lse s
known bout
Midon.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
3/21
74 RobertW
Wallace
Dover
duly
ttributes
he
figure
Lamprokles
heathlete"
o
YE(2)(3) n
hisedition f
Clouds.4
Three ther eportsretransmittedboutLamprocles,n additiono
Clouds'
mplication
hat he
poem
quoted
y
Dikaios
Logos belongs
o
or
before
he
Marathonian
eriod.
First,
Athenaeus 91c
calls him
dithurambopoios,
composer
f
dithyrambs,erformed
o the
aulos.
Second,
ccording
o
ps.-Plutarch
e
musica
1136d
possibly
ased
on
the
fourth-centuryeripatetic
ristoxenus),
the
harmonikoin
their
historical orks
ay
that
ythoclides
he
aulete
nvented
the
Mixoly-
dian
harmonia]
nd
also that
amprocles
he
Athenian,
ealizing
hat
thedisjunctionnthisharmonias notwhere lmost veryoneupposed
it to
be,
but
t
the
top
of
ts
range,
ave
t
theform
f
the
eriesfrom
paramese
o
hypate ypaton."5
hird,
ccording
o the
choliast
o Plato
(?)
Alcibiades 118c
6,
"Pythocleides
aught gathocles
who
in turn
taught
amprocles
who in
turn
aught
amon."
Pythocleides
s else-
where aid
to
have
been one
of
Pericles'
eachers,
nd
Agathocles
ne
ofDamon'sand
Pindar's.6
Else
was
right
o call the
report
y
the
choliast
o Alcibiades
an
"obviouslypocryphaliadoche."7We shouldkeep nmind, owever,
4
Dover,
Clouds
215,
also
setting
ut the
variants
nd different
ttributions
f
this
verse.
See also G.
Arrighetti,I1
POx XIII
1611: alcuni
problemi
i erudizione
ntica,"
SCO
17
(1968)
85-89,
and
Page
PMG
p.
379.
The
discussion
n
POxy
XIII 1611.
160-176
(=
Chamaeleon
fr.
29c
Wehrli)
refers
as
does I
E Ar. Nub.
967)
to
Chamaeleon's
uncertainty
s to
whether
his text
was
composed
by Lamprocles
(Chamaeleon
ited
hrynichus'
ttribution)
r else
by
Stesichorus
on
whomChamaeleon
wrote book:Ath.
20c).
5
Trans.
A.
Barker,
reekMusical
Writings
,
The
Musician
nd his Art
Cambridge
1984)
221
(with
n. 112 on
the ttribution
o
Aristoxenus).
ccording
o
ps.-Plutarch
De
mus.1136c-d),Aristoxenusimselflaimed hat heMixolydian armonia as invented
by Sappho.
Barker
ibid.
n.
113)
provides
n
explanation
f
the scalar
modification
which
s.-Plutarch
ere ttributes
o
Lamprocles.
6
Pythocleides:
l.(?)
Alc.
I
118c,
Plut.Per
4,
cf.
also
P1.
Prt. 316e.
Agathocles:
1.
Lch.
180c-d,Vit.
ind.Ambros.
.
1
line 12 Drachmann
see
also
Pind.vit.
metr.ine
11).
Despite
Abert's
uggestion
RE
12
[1924]
587;
the
possibility
s
countenanced,
ppar-
ently ndependently,
y
D. A.
Campbell,
Greek
Lyric
V,
Loeb
Cl. Lib.
1992,
p.
321),
there
s no
ustification
or
dentifyingamprocles
ith
ampros
o
mousikos.
ampros
is said to havebeen
the eacher f
Sophocles
Ath.
0f)
and was
regarded
s
"highly ep-
utable"
eudokimos,
long
with
indar,
ratinas
nd
Dionysius
f
Thebes)
by
Aristoxenus
([Plut.]De mus.1142b= fr. 6 Wehrli,ee also Nep. 15.2). He is called"inferior"y
Plato's Socrates
Mnx. 236a)
and
attacked
with
great
ituperation
s a "water rinker"
andother
hings
y
the
omic
poet
Phrynichus
fr.
8
K.-A.
=
Ath.
4d).
7
G.
Else,
"'Imitation'
n
thefifth
entury,"
P
53
(1958)
89
n.
55
(contrast
.
S.
Mor-
rison,
CQ
5
[1958]
205
["all
quite
plausible"]).
ehnus,
Scopelino"
81,
conjectures
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
4/21
An
Early
Fifth-Century
thenian
Revolution
n
Aulos Music
75
that
the
scholiast's
laim
could
have as
its
basis
some
similarity
between
Pythocleides
he
aulete,
Agathocles,
nd
Lamprocles
rom
which tudent-teacherelationshipsere ater nferred.8s.-Plutarch
actually pecifies
hat
ccording
o
the
harmonikoi,
amprocles
evel-
oped
a
harmonia
invented"
y
the
ulete
ythocleides.
In
the
light
of
these
several
ssociations
f
Lamprocles
nd the
aulos,
the
scholiasts'
ActpnpoVoXo;gtoi
&O
rloi,
"Lamprocles
he
athlete,"
ay
be
emended o
read
AcxugnpoKiXiot;g
o
acuixbrlo1:
Lam-
procles
the
aulete,"
as in
Scopelinus
6
a
Xrlri;g
Vit.
Pind.
Thom.:
Pin-
dar's
teacher)
nd
Pythocleides
a'Arlrig;
(in
ps.-Plutarch),
hose
work amprocless said tohaverevised.Thepaleographys straight-
forward,
replacing
which s
similar.We
also
have no
reason
to
associate
amprocles
ith
thletics.
Although
indar
might
ometimes
use
athletic
metaphors
o
describehis
poetic
endeavors,9
o
far
as
I
know
he
pithet
athlete"s
never
pplied
o a musician.
(B)
A
REVOLUTION
IN
AULOS
MUSIC
The
preceding
mendation,
f
correct,
dds
to our
meagre nowledge
of
an
important
igure
n the
history
f
early ifth-century
usic. t also
late
fifth-century
ource,
possibly
Damon,
for
these
and
othermusical
relationships.
However,
o
written
ork
y
Damon
if
he
wrote
nything)
eems
o
havebeenaccessi-
ble
after
is
ifetime
see
R.
W.
Wallace,
Damonedi
Oa
ed
i
suoi successori: n'analisi
delle
fonti,"
n
R. W.
Wallace
nd B.
MacLachlan
d.,
Harmonia
Mundi.Music
and
Phi-
losophy
n
the
Ancient
World,
UCC
Suppl.
5
[1991]
32-45,
esp.
42-45).
For a
different
suggestiononcerninghe ource fthese tatements,eenext ote.
8
On
the
doubtful
alue
of
ancient
laims
f student-teacher
elationships
nd
the
pos-
sibility
hat
uch
laimswere
narrative
etaphors
or
hypotheses
f
nfluence,
ee J.
Fair-
weather,
Fiction n
the
biographies
f
ancient
writers,"
ncSoc5
(1974)
262-263;
M. R.
Lefkowitz,
he
Lives
of
the
Greek
Poets
Baltimore
981)
128-133;
and below.
The
views
of
the
harmonikois
recorded
n
PHibeh
13
(see
Barker,
Musical
Writings
,
pp.
183-185)
are
close to
those f
Damon
see,
e.g.,
W.
Anderson,
thos nd Education
in
Greek
Music
[Cambridge,
ass.,
1966]
149-150;
Blass believed hat amon himself
was
the
ubject
f
this
ext:
ee B.
E
Grenfell
nd
A.
S.
Hunt
d.,
The
Hibeh
Papyri,
art
1
[Oxford
906]
45-46). Therefore,
ince
De mus.
1136d shows that he
harmonikoi
wrote boutLamprocles,heseharmonikoi
ay
havebeen the ourcefor he choliast's
report
of
the
relationship
etween
Lamprocles
and
Damon.
(Alternatives
re
Chamaeleon,
ho
certainly
entioned
amprocles
see
n.
4
above],
r
Aristoxenusim-
self
with ehnus,
Scopelino"
8].)
9
See M.
R.
Lefkowitz,
The
Poet
s
Athlete,"
IFC 3.2
=
77
(1984)
5-12.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
5/21
76
Robert
W.
Wallace
helps
o
place
Lamprocles
n the ontext
f
revolutionary
evelopments
in
aulos
music t Athens
uring
his
period.
Aspects
f
this evolution
andthe eactiongainstthave ongbeennoted, eginning ithAristo-
tle
and
Athenaeus s we shall see.10
Despite
the
shadowy
nature
f
these
evelopments
nd the
mbiguous,
ragmentary
vidence
hat oc-
uments
hem,
more
an be
said to
dentify
he
poet-musicians
ho
par-
ticipated
n this
movement,
ndthe
pecific
ssues
hey
aised.
Traditionally
inked
in Greece)
with
oeotia
ndthe
Peloponnese,11
at
Athens
he ulos
was
taken
p
both
y
citizen
layers
nd
by
serious
studentsf
music n the
arly
ifth
entury.
ristotle
rites
Pol.
1341a
26-35 [trans.inclair ndSaunders]):
Our
predecessors
ere
right
n
prohibiting
he use
of the
pipes
[auloi]
by
the
young
nd
by
free
men,
hough
t
an
earlier
eriod
t
was
permitted.
his is what
took
place:
as resources
ncreased,
men
had more
eisure
nd
acquired
loftier
ride
n
standards
f
virtue;
nd
bothbefore
nd after he
Persian
Wars,
n which heir
success had
increased
heir
elf-confidence,
hey
astened
agerly
upon earningfevery ind, ursuingll withoutistinction;nd
hence
ven
playing
n the
pipes
was
introduced
nto ducation
..
At Athens
laying
he
pipes
ook
uch
firm oot hat
many,
erhaps
the
majority,
f
thefree
men
ook
part
n t.
Athens'
ulos
revolution ad
two
components,
xpanding
hat nstru-
ment's role
in
social
playing
nd
in musical
experimentation
nd
10
See also A.
Schneider,
ur
Geschichte
er
Flote
mAlterthum
Zurich
890)
35-37
(excellent,hough
rief
nd
now
outdated);
. del
Grande, spressione
Musicale
dei
Poeti
Greci
Naples
1932)
86-101;
E.
Roos,
Die
tragische
rchestik
mZerrbild er
alt-
attischen
omodie
Lund
1951)
228-229;
M.
L.
West,
AncientGreek
Music
(Oxford
1992)
34;
W.
Anderson,
usic nd Musicians
n
Ancient reece
Ithaca1994)
149.
"
For the
Peloponnese,
ee
esp.
Clonas
of
Tegea
([Plut.]
De mus.
1132c,
1133a,
1134b,
Poll.
4.79),
Echembrotus
f Arcadia
Paus.
10.7.4)
and Sacadas
of
Argos
Paus.
ibid. nd
2.22.8-9,
Plut.]
e mus.
1134a-c,
Hesych.
.v.
laicatov,
and Chamaeleon
p.
Ath.
184d);
cf.
also
the ocal traditionhat
he
aulos
was invented
y
the
Troezenian
Ardalos on of
Hephaistos:
aus.
2.31.3,
f.
Plut.
Conv.
ept. ap.
149f-150a,
teph.
Byz.
s.v.
'ApiaXhi
;.
Forthe
ulos's
Spartan
ssociations,
ee
Roos,
Orchestik
19 with eff.
ForBoeotia,whosemost amous uletewasperhapshe atefifth-centuryronomus,ee,
e.g., Theophr.
ist. Pl.
4.11.4,
Plut.
Alc. 2,
Ar.Ach.
860-866,
Cratinus
p.
Poll.
7.88,
Chamaeleon
ibid.),
and on
Pronomus,
aus.
9.12.5-6,
Ath.
184d and the
text
below.
H.
Guhrauer,
Zur
Geschichte er Aulodik ei den
Griechen,"
rogr.Waldenburg
879,
provides
brief
urvey
fthese
arly igures.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
6/21
An
Early
Fifth-Century
thenianRevolution
n Aulos
Music 77
research. Aulos
experimentation
nd research
re
attributed
irst o
Lasos of
Hermione,
ho
worked
n
Athens nder
Hdt.
7.6)
and
after
thePeisistratids,nd who s saidto have writtenhefirst ookabout
music.12
s.-Plutarch
De
mus.
1141c)
reports,
Lasos
of
Hermione,
y
altering
he
rhythms
or
hemusic
of
the
dithyramb,
nd
by
pursuing
the
xample
f
the
multiplicity
f
notes
belonging
o the ulos
and
so
making
se
of
more
notes,
widely
cattered
bout),
transformed
he
music that
existedbeforehim"
(trans.
Barker).
According
o the
Souda,
Lasos
introducedo
Athens
nnual
dithyrambic
ontests,
er-
formed
o
the
ulos as we havenoted.13
Lamprocles theaulete" and dithurambopoiosaybe associated
with
hese
developments.
n
Athenian,
is
cognomen
nd
dithyrambs
linkhim
with
he aulos. Ps.-Plutarch
eports
is research
nd
experi-
mentation ith
harmoniai
De
mus.
1136d,
uoted
bove,
n thethird
paragraph
f
this
ssay).
This
passage
further
uggests
n
association
with
asos,
who
first
in
extant
exts)
efers o
hannrmoniai
s
a
musical
form
fr.
02
Page),
as
against
he lder
orm fmusic
alled
nomos.
Pythocleides
nd
probably
lso
Agathocles
lso
had a role
n
this
movement.Accordingo ps.-Plutarchs we haveseen,Pythocleides
"the aulete"
nvented
he
Mixolydian
harmonia,
which
Lamprocles
then
revised. The
Athenian
Agathocles
s mentioned
ogether
ith
Pythocleides
n
P1.
Prt.
316e.
According
o the choliast
o
P1.
?)
Alc.
I
118c,
Agathocles
was a student f
Pythocleides.
inally, gathocles
is
variously
ttested
s
the
eacher f Pindar nd
Lamprocles
who
then
taught
amon).14
As we
have
noted,
t is
unlikely
hat he
source
of
this
diadoche
had
any
compelling
ocumentation
or t.
However,
actualevidence or
ny
student-teacher
elationships
ould
carry
ess
significance-students
ometimes
epudiate
heir eachers-than he
presumptive
asis
of
the choliast's
laim,
viz.
some
poetic
r musico-
logical
imilarity
r
ink etween
hese
ersons.
Finally,
indar
may
lso
be considered
participant
n Athens'
ulos
12
Souda
s.v.,
f.
Mart.
ap.
9.936: musicam
ivulgavit
ortalibus.
13
The
Marmor
arium
A
46)
dates
his
ntroductiono 509 or
508:
see A. W. Pickard-
Cambridge, ithyramb,
ragedy
nd
Comedy2,
ev.
T.
B.
L.
Webster
Oxford
1962)
17-20. I hopetoconsider asos indetail n a subsequentublication. orpreliminary
remarksee R. W.
Wallace,
The
sophists
t
Athens,"
n D. Boedeker
nd
K.
A.
Raaflaub
ed.,
Democracy, mpire,
nd
the
Arts
n
Fifth-Century
thens
Cambridge,
ass.,
1998)
212-213.
14
See
schol.
P1.
?) Alc.
I
118c
6
and
Vit.
ind.
Ambros.,
uoted
arlier
n this
ssay.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
7/21
78
Robert
W
Wallace
revolution.15
wo Lives of
Pindar
variously
dentify
is teachers s
Scopelinus
the
aulete,"
Agathocles,
nd Lasos
(in
thiscase for the
lyre).Possibly eflectingater uspicion f theaulos as we shallsee,
the
VitaThomana
ays
that
copelinus
taught
indar he
aulos,
and
when
he saw that
he had unusual
kill,
handed
him over
to
the
yric
poet
Lasos of
Hermione,
ho
taught
imthe
yre."
After
mentioning
Scopelinus,
he
Vita
Ambrosiana
tates hat
some
say
thatPindar's
teacher
t
Athens
was
Agathocles,
thers
Apollodorus."16
s we
have
seen,
Agathocles
was
probably
art
of
the
new aulos
movement.
Lefkowitz as
suggested
hat hese
raditions
ay
eflecthe
Athenians'
attemptoclaimPindar,s they lso claimed yrtaeus.17hecompares
the
tradition
hat
the
Thebans
fined
young
Pindar
for
writing
dithyramb
n
praise
f
Athens
=
fr. 6
S.-M.),
and
theAthenians
aid
thefine
Vit.
Ambros.
p.
1.
16).
On
the
other
and,
indar ad
various
associations
ith
Athens
01.
8.54-66,
Nem.
4.93,
5.49,
6.67,
Pyth.
),
and n
497/6
s
reported
o
have won
a
victory
n Athens'
ithyrambic
contests
POxy
2438).
He also
wrote
ithyrambs
n
praise
of
Athens,
and
to the
Thebans:
Oh the
gleaming
ndthe
violet-crowned,
nd
the
sung n story,hebulwark fHellas,famousAthens, itydivine" fr.
76,
trans.
andys,
ee also
75, 77,
78,
written
or
Athenian
ccasions).
Even
f
based
on
nadequate
vidence,
iographical
raditions
ay
ndi-
cate what
were ater
udged
to
be
Pindar'smusical
ffiliations.
indar
is
not aid to
havebeen the tudent
f
Simonides,
ho
also worked
n
Athens
ut
was not
sympathetic
o the
aulos revolution
as
we
shall
see).
Furthermore,
n
fr. 0b
S.-M.,
Pindar
raises
new
dithyrambictyles
(something
ssociatedwith
asos),
seeming
o allude
favorably
o
new
dithyrambic
sigmatism:
In earlier imes he
song
of the
dithyrambs
crept
long,
tretchedut ike a
rope,
nd
the
s' came out base-born
from
men's
mouth"
trans.Barker).
According
o
Athenaeus
455c,
and see
624e-f;
also
Strabo
0.3.13),
sigmatism
as an
experiment
f
Lasos. Barker
uggests
hat
indar
ejected
asos's
condemnation
f
15
ee
very
rieflyickard-Cambridge,
ithyramb
3,
and
G.
Comotti,
usic n
Greek
and
Roman
Culture
Baltimore
989)
29-30;
see
also
D. A.
Campbell,
he Golden
Lyre
(London1983)183-184.
16
ind. Vit.
Ambr
p.
1.2-5,
11-15 and
Pind.
Vit.
Thornm.
Scholia
vetera n Pindari
carmina
,
ed.
Drachmann
Leipzig
1903)
4.10-15. For
Agathocles,
ee
n. 6
above
and
Lehnus,
Scopelino."
Apollodorus
s
otherwisenknown.
17
Lefkowitz,
ives59-60.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
8/21
An
Early
Fifth-Century
thenianRevolution
n Aulos
Music
79
sigma,
because
his
poem
does
not avoid
them.18
owever,
we
cannot
suppose
that
even Lasos
regularly
voided
sigmas
in his
poetry.
Accordingo Cleonides s Athenaeusuoteshim 455c),"Pindar om-
posed
these ines
almost
s
a
riddle,
ecause
he was
unable
o
abstain
from he etter
s',
and
they
idnot
pprove
f t."
Pindar's
ithyrambic
style
was
certainly
egarded
s
bold and
innovative
n
later
ntiquity:
per
audaces
nova
dithyrambos
verbadevolvit
umerisque
ertur
ege
solutis
Hor.
Carm.
4.2.10-12).
One
can
only
magine
hemusic
hat
accompanied
indar's
ithyrambic
krotala
latter
..
the
oud-sound-
ing
wails and
frenzies nd
shouts
f
the
river
nymphs"
fr.
70b9-14
S.-M.,trans. arker).
Finally, lthough
he ulos had Boeotian
ssociations
nd a
common
Greek raditionttributed
ts nventiono
the
Phrygian
yagnis,
ather
of
Marsyas,19
n
490
Pindar,
Theban,
attributed
ts
invention
o
Athena
Pyth.
12).20
Although
we
cannot
prove
that
Pindar
himself
invented
his
tale,
t
is
nonetheless
rarity
n the
ancient
ources.21
Pindar's
story
hellenizes,
nd
possibly
associates
with
Athens,
n
instrument
hichthe Greeks
ypically
egarded
s
foreign.22
indar
18
Barker,
usical
Writings
, p.
59 n.
20,
and ee del
Grande,
spressione
7.
19
ee
Ath.
24b
citing
Aristoxenus,
Plut.]
e
mus.
1132f,
133d-f,
Marm.
Par.
A
10,
Anonym.
ellerm.
8,
Apul.
Florid.
1.3,
and other
ources
isted
n
H.
Huchzermeyer,
AulosundKithara
n
der
griechischen
usik
bis
zum
Ausgang
er
klassischen
eit
diss.
Emsdetten
931)
14
n. 57. For
the
myths
bout
Marsyas,
see
B.
Leclercq-Neveu,
"Marsyas,
e
martyr
e
l'aulos,"
Metis
(1989)
251-268.
20
See
A.
Kohnken,
Perseus'
Kampf
und Athenes
rfindung,"
ermes 104
(1976)
263-265. For other
eports
f Athena
nd
the
ulos,
see
Diod.
Sic.
5.49.1,
Hygin.
ab.
165,
ndPlut.
De cohib.
r.
56b,
quoting
ines
from
satyr lay
possibly
y
Euripides
=
TrGF2 Adesp.381). OnPindar's seofthemythnPyth. 2, eeC. Segal,
The
Gorgon
and
the
Nightingale:
he Voiceof
Female
Lament
nd Pindar's
welfth
ythian
de,"
n
Aglaia.
The
Poetry f
Alcman,
appho,
Pindar,
Bacchylides,
nd
Corinna
New
York
1994)
85-104. On
the
ulos
n this
ext,
ee
B.
Gentili nd
F.
Luisi,
La
Pitica
12
di
Pin-
daro
l'aulo
di
Mida,"
QUCC
49
(1995)
7-31.
In
addition
orinna,
lso
Boeotian,
s said to have
claimed
hat
Athena
aught
he
DelphianApollo
how
to
play
the ulos
[Plut.]
De
mus.
1136b).
This
may
be
significant
in the
present
ontext ven
f
Corinna
was
not
n
early
ifth-centuryoet
but
Hellenistic
and
archaizing.
ee M.
L.
West, Corinna,"
Q
20
(1970)
277-287
(3rd
century
.c.),
and C. H.
Segal,
"Pebbles
n
GoldenUrns:
The Date and
Style
of
Corinna,"
ranos
73
(1975) 1-8,Aglaia 315-326 (perhapsncliningowardhe ate 3rdcentury).In Camb.
Hist.
Class.
Lit. Gk.
Lit.
1982]
240,
Segal
remarkshat
he
uestion
remains
pen.")
21
See otherwise
onnus,
ionys.
0.228-233
andthe
chol.
o
Ov. Met.
4.618
ff.
22
See F.
Frontisi-Ducroux,
Ath6na
t
'inventione la
flfite,"
usica
e Storia
(1994)
242.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
9/21
80
Robert
W.
Wallace
wrote
prooimion
n honor
of the ancient ulete Sacadas of
Argos
(Paus.
10.30.2).
He
praises
he
power
f
"the
ovely ong
of the uloi
tostir hedolphinsn thewaveless eep" fr. 40bS.-M.).23
Although
ersonal
details about the
early
poets
must
always
be
approached
with
aution,
he
evidence
here
eems
reasonably
onsis-
tent.
At
Athens
indar
tudied oth
tringed
nstrumentsndthe
ulos,
probably
with
Lasos,
and he
was influenced
y
the new
dithyrambic
styles.
By
contrast,
oth
Simonides nd Anacreon
pparently
istanced
themselves
rom
he
aulos
revolution.
imonides
the
yric oet"
ho
lurikos, omelopoidn)ecountedhe toryfMarsyas nd the ulos n
a
way
unflattering
o
Marsyas,
with is
"greedy
mouth."24
ccording
o
Pliny
NH
7.204,
Simonides dded
n
eighth
tring
o the
yre.
The
tra-
dition
s
doubtful,
ut
uggests
hat imonides
was at
east
ater
inked
to
experimentation
ith
tringed
nstruments.
n
Aristophanes'
Wasps
(1410-1411),
Lasos is
said to have
competed gainst
imonides
nd
remarked,
I
don't are." In
Clouds
1352-1354,
imonides
s a
symbol
of
old-fashioned
oetry,
omeone
trepsiades
ould
njoy.
As forAnacreonwho ikeLasos worked t the ourt fHipparchos
([P1.]
Hipparch.
28c),
Critias
DK
88 B
1.4)
is
said to have
reported
thathe
was
aM~ov
6&vrintaXog,ptko6pdatto;
=
fr.
181
Gentili).
Critias
may
have
known
omething
bout hese
ssues,
s
according
o
Chamaeleon
Ath.
184d
=
fr.
Wehrli)
e
himself as
famous or
lay-
ing
he
ulos.
Simonides'
pitaph
orAnacreon
raises
is
barbiton
fr.
126
D.).
The
Hellenistic
istoriannd
biographer
eanthes
f
Cyzicus
(ap.
Ath.
175e)
stated
hatAnacreon
ctually
nvented
he
barbiton. t
is
easy
to
imagine
situation
f
court
rivalry
etween
Lasos and
Anacreon,
s Lasos wasSimonides' ival ater.Wemust
ote,
owever,
that
long
with
he
many-stringed
ektis
fr.
9,
72
D.)
and
"twenty-
stringedmagadis"
fr.
70
D.),
Anacreon
lso
mentions ulos music
without
omment
fr.
18
D.).
As withLasos and
Pindar,
ll of these
poet-musicians
ust ave
workedwith
variety
f nstruments.
An
important
eriod
of musical
development
an thusbe recon-
structed
uring
he
shadowy
decades of
early fifth-century
thens.
During
hese
years,
nnovations
n
instrumentation
nd musical
xperi-
mentation irst ttested or Lasos weredevelopedby Pindar, am-
23
The
dolphins'
ondness or ulos musicwas or became
standardonceit: ee Eur.
Elec.
435-436,
Ar.
Frogs
1317-1318.
24
Plut.De
cohib.
r. 56c
=
Simonides
r.
60 D.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
10/21
An
EarlyFifth-Century
thenian evolution
n
Aulos
Music
81
procles,
Pythocleides
nd
probably
lso
Agathocles.
Details
of the
relationships
etween hese
poet-musicians
annot
be reconstructed.
Theymayhavebeenfriends,eachers ndstudents,rrivals.However,
their
articipation
n a
nexus f
musical nnovations
s
apparent.
here-
fore,
n era of
great
poetic
and
(in
particular)
ramatic
volution
t
Athenswas also
marked
y
revolutionaryhanges
n music.
In
a broader
ocial
context,
ristotle's olitics
ndicates
hat
he
aulos became
more
widelypracticed
nd
respected
n Athens
both
before nd after
hePersian
Wars. In the
ight
f
Aristotle's
wn con-
demnation f the aulos
(as
we shall
see),
his
testimony
s
especially
strikingn thathe andother onservativeselieved hat tthetime f
the
PersianWarsAthenswas
ablymanaged
nd
the
Athenians
ehaved
themselves
ell.25
His
report
bout he ulos
finds ome
confirmation
in
the
admittedly
xiguous
ourcesfor musical
practice
uring
his
period.
As
we have
seen,
ccording
o
ps.-?)Plato
Alcib.
118c)
and
Plutarch
Per.
4),
Pericles
b.
ca.
495)
studied
with
Pythocleides
nd
Damon.
Pythocleides
as known s an
aulete,
nd
Damon
s said
to
have
been
his
pupil.
According
o
AulusGellius15.17
citing amphila
(a woman writer f Miscellanies at the time of Nero), Pericles
summoned he
Theban
Antigenidas
o teach
the aulos
to
his ward
Alcibiades
b.
ca.
450),
"something
hen onsidered
onestissimum."
The
evidence f
vase
painting
s
also
suggestive.
n
unsystematic
an-
vass
ofthe
photographs
f
Attic ases
n
my
university's
ibrary
ielded
124
scenesof aulos
players
etween a. 560
and ca.
400
B.C.
As
might
be
expected
rom
epresentations
n
drinking
ups
and
kraters,
n all
periods
he
great
majority
f
auloi
are
depicted
n
Dionysiac
ymposion
or komos cenes.
Of
sixth-century
ases,
23
of
29
illustrations
re
of
this
ype;
heother ix show
processions,
musical
performances,
nd
war dances. This
percentage
f
drinking
cenes
s
roughly
ypical
f
my
samples
from
00-450 and
450-400.
However,
niquely
n the
period
00-450,
five cenes
out
of
some 56
vases)
depict
young
men
being aught
o
play
the
ulos. Vase
paintings,
f
course,
re
not
nap-
shots f
Athenian
aily
ife.
They
need
only
how
hat
ulos
education
became
subject
f nteresto
vase
painters,
nd
also
cannot
rove
hat
upper-class
ulos
educationwas new.
At
a
minimum,
owever,
he
painters' ewawareness f aulos education oes imply morecon-
scious
onceptualization
f
such
ducation,
nd
quitepossibly
herefore
25
See
Arist.
ol.
1273b35-1274a21,
304a17-24
nd,
.g.,
soc.
7.36-55.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
11/21
82
RobertW Wallace
its
greater
rominence
n Athens.This
prominence
s
directly
ttested
by
Aristotle'solitics.
(C)
A REACTION
By
mid-century,
owever,
he aulos
had
become controversial.
Hencefortht
ceased
to
be the
principal
nstrumentf Athens'
musical
researchers,
nd
n some
upper-class
ircles t
fell
harply
ut of
fash-
ion forboth
ducation nd citizen
laying.26
n Pol.
1341a26-35,
fter
commentingn thepopularityftheaulosat the timeofthe Persian
Wars,
Aristotle
tates:
But at a later
ate,
s a result
f actual
xperi-
ence,
he
playing
f
auloi
went
ut
of
favor,
s menbecamebetterble
to
discernwhat
tends
to
promote
irtue nd
what does
not." The
reduced
ole
of
the ulos in favor f
stringed
nstruments
s first ocu-
mented
n
the
plastic
rts. From
mid-century
he
satyrMarsyas
was
frequently
epresented, eginning
with
Myron's
famous
sculpture
group
robably
f the450s
(Athena
hrows he ulos
away
n
disgust,
andMarsyas icks tup),and ncludingase sceneswhereMarsyas s
shown
not
flayed
ut
earning
r
even
playing
he
yre
rather
han
he
aulos).27
n
ARV2,
19 vases
after 50 B.C.
how
Apollocompeting
ith
his
yre
gainstMarsyas
nd
his
aulos.
No such
cenes rerecorded
n
red
or black
figure
ases before
50.
The
different
arsyasmyths
mark ff
he ulos
as
an
anti-lyre.28
ilson
bserves
"Aulos"61)
that
after
Myron's
culpture roup
n the
Akropolis, nyone
who took
up
the aulos
implicitly ligned
himselfwith
Phrygian atyrs,
ven as
Myron's
work
imultaneouslyncorporated
he ulos
"into heheart f
civic ife." n
my
unsystematic
urvey
f124
photographs
f auloion
vases,
fter 50
no
young
men re shown
eing
aught
he
ulos,
nd
no
26
Some of
these
developments
re
briefly
iscussed
y
Schneider,
lote
37,
Huchzer-
meyer,
ulos
57-63,
and B.
Zimmermann,
Oberlegungen
um
sogenannten
ratinas-
fragment,"
H
43
(1986)
152-153.
Cf.
Barker,
Musical
Writings
,
pp.
93-98
("The
musical evolutionf
the
ater ifth
entury"),
ot
however
ocused
n the ulos.
27
See
T.
B. L.
Webster,
he GreekChorus
London
1970)
132-133,
J.
Boardman,
"Some Attic
ragments:
ot,
Plaque,
nd
Dithyramb,"
HS
76
(1956)
18-20
with
urther
references), . Metzger, es Reprdsentationsans la ceramique ttiquedu Ve sihcle
(Paris1951)
58-68,
A.
Stewart,
reek
culpture:
n
Exploration
New
Haven
1990)
147.
See
also
Roscher,
Myth.
ex. s.v.
"Marsyas."
Metzger
otes
hat hese
Marsyas
cenes
were
specially
opular
n
the ast
quarter
f
the
fifth
entury.
28
See also
LIMC 6
(1992)
366-378.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
12/21
An
Early
ifth-Century
thenian
evolution
n
Aulos
Music
83
bearded
men re
shown
laying
t,
ven t
symposia
a
not
uncommon
type
f
scene
arlier).
As for iteraryvidence, thenaeus616e-617b)writes fMelanip-
pides,
a
prominent
ithyrambic
oet
(Xen.
Mem.
1.4.3),
music
researcher,
nd member
f
the
avant-garde
ometime
round
r
after
mid-century:29
On
the
ubject
f auloi
someone
aid
that
Melanippides
had ridiculed
ulos-playingplendidly
n
his
Marsyas,
whenhe said
of
Athena: Athena
hrew he
nstruments
rom
er
holy
hand and
said
"Away,
hameful
hings,
efilers
f
my
body
do
not
give
myself
o
ugliness""'
trans.
arker,
usical
Writings
,
p.
273).
Barker
uggests
that espiteAthenaeus's omment,hispassage"neednotbe taken o
represent elanippides'
wn
attitude
o the
aulos:
he
was,
after
ll,
composing
or
t,
and
the
story
f Athena
nd
the
auloi
was a
tradi-
tional
ubject
ositivelyegging
o
be set
by
a
composer
ith
special-
ist
knowledge
f
auletic
echniques."
Wilson
points
ut
the
sense
of
paradox mplicit
n Athena's
ondemnation
f
the
aulos
which
Mela-
nippides
et
to the music of
that nstrument
"Aulos"
62-63).
Such
speculations
re
surely
rovocative.
On
the
other
hand,
s
we
have
seen, herareAthenamyths attestedirstn490 (Pyth. 2),andrather
than
"traditional
ubject,"
may
havebeen
fairly
ovel
when
Melanip-
pides
wrote.
Not
only
Athenaeus's
ource,
with
ccess
to
Melanippi-
des'
entire
oem
"Melanippides
ad ridiculed
.
.")
but
lso
Telestes,
whowas
thought
o have
responded
n defense
fthe
ulos
see
below),
and the famous necdote
bout
Alcibiades
which
echoes
this
story
(again
below),
mply
ostility
o
the ulos.30
ven
though
Melanippides
was
n
part
dithyrambicoet,
he
fifth-century
omic
poet
Pherecrates
(ap. [Plut.]
De mus.
1141d-1142a)
ssociates
im
rather
ith
esearch
on
stringed
nstruments,
s
the
first o
innovate
ith
twelve-stringed
kithara.
n
Pherecrates'
omedy,
Music
protests:
Melanippides
tarted
my
troubles.
He was
the
first
f
them:
e
grabbed
me
and
pulled
me
down,
nd
oosenedme
up
with
is twelve
trings"
trans. arker,
bid.
236).
As
Wilson
himself otes
"Aulos"
65 n.
32),
we do
not
know
hat
Melanippides'
Marsyas
was
a
dithyramb.
29
Barker, usicalWritings, p.93,dateshisactivitya. 480-430;West,GreekMusic
357,
ca. 440-415
(West's
terminal ate
is
presumably
upplied
y
the destruction
f
Melos,
Melanippides'
ative
sland).
30
For
another ebuke
o
Athena or
laying
he
uloi,
ee
Plut.
De
cohib.
r.
56b,
pos-
sibly
rom
satyr
lay
by
Euripides
and
n. 20
above).
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
13/21
84
Robert
W
Wallace
Furthermore,
n
his
famous
hyporcheme"
he
poet
"Pratinas"31
complains
bout
ulos
music:32
&v'
6pea
oievov
e.te&
Nai'diov
olda
E
KJCvov
yova
ntotrKL6xtrpov
lXo;.
ioatepov
opelEo
.
toa
d'
p
o6
'
jrrlpXac8.
ECdgotEvov;pa0 tot lE
tr
taiaOtVEgon Oot rtapoiwov
cgitrEvat
Tpatcrl
da~,...
What
s
this
noise?
What
re
these
ances?
What s
this
madnesst the
esounding
ltar f
Dionysos?
Mine,
mine s
Bromios,
t is for
me
to
cry,
or
me to
make
the
noise,
ranging
he
mountains
ith
Naiads,
like swan eading hemany-featheredwinged?]une.
The
song
he
muse
has
made
ueen,
et
the
pipe
dance
fterwards.
or t
s the
ervant.
It
can
only
eadthe
evel
ndthe
treet
ights
of
young
runkards...
Roos
(Orchestik
18-219)
argued
hat
Pratinas"'s
oem
s
not
directed
against
he
aulos
but
merely
xcessive
ulos
music n
the
worship
f
Dionysos.
Yet
the
final
ines
of this
passage
are
negative nough.Aulosmusic
"can
only
ead
therevel
and the
street
ights
f
young
drunkards."
lthough
hedate
of
this ext
as
long
been
controversial,
for
metrical
nd
other
reasons
Zimmermann
as
now
convincingly
31
The
quotation
marks
re to
distinguish
his
oet
from
he arlier
ifth-century
rati-
nas.
See
below.
32
Ath.
17b-f
=
Page
PMG no.
708;
trans.
icard-Cambridge,ithyramb
7-18
with
minor
hanges).
On
the
ontroversy
ver
he
genre
f this
poem,
ee
Picard-Cambridge,
ibid.
20;
R.
Seaford,
The
Hyporchema'
f
Pratinas," aia
29-30
(1977-1978)
84-94;
and
Zimmermann,Pratinasfragment"45-146. A. Barker,HeterophoniandPoikilia:
Accompaniments
o
Greek
Melody,"
n
Mousike.Metrica
ritmica
musica
greca
in
memoria
i
Giovanni
Comotti,
d. B.
Gentili nd F
Perusino
Pisa
and
Rome
1995)
46-47,
shows
that
n
part
Pratinas"
bjects
to the
aulos
playing
heterophonic
otes
which
re
"obtrusively
ifferent
rom
hose
roper
o
the
melody."
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
14/21
An
Early
Fifth-Century
thenianRevolution n Aulos
Music
85
defended he
"low"
dating
ca.
450-400)
earlier
roposed y
Lloyd-
Jones
nd
accepted y
Webster.33
efore herevised
hronology,
ost
scholarshoughthat Pratinas"'s oemwas directedgainst hemusi-
cal
innovations
specially
f Lasos.34 f
this
poem
s
rightly
edated
o
the nd
of the
period
f the
ulos
revolution,
owever,
Pratinas"'s
im
was
probably
irectedmore
generally gainst
hose
broader
musical
trends,
nd not
primarilygainst
Lasos who had
helped
to
originate
them
everal
enerations
arlier.
From
mid-century,
usic
researchers
t Athens
urned rom he
aulos
to
stringed
nstruments.
have notedPherecrates'
oke
about
Melanippides' welve trings.Accordingo thescholiast o Aristo-
phanes
Clouds
970,
Phrynis
f
Mytilene,
howas awarded
irst
rize
t
the
first
musical ontest
eld n
Pericles'Odeion
446?),
was trained
n
aulodia
but
hanged
o
the
ithara.He is
also said
to have added
xtra
strings
o the
cithara,
nd
introduced
bendings,"
erhaps
rom
ne
harmonia o
another,
n
the scalar
system.35
s.-Plutarch
rites
De
mus.
1133b),
In
general,
he
tyle
f
singing
o
thekithara
mployed
by
Terpander
ontinuedn a
quite simple
form
own to
the time
of
Phrynis." oward heend ofthecentury,othTimotheusfMiletus
(who
according
o
Arist.
Met.
993c
was
Phrynis's
tudent)
nd
Philox-
enus re
also
associated
with
tringed
nstruments
aving
n unconven-
tionally arge
number
f
strings.36
lthough
imotheus
lso
wrote
dithyrambs,
e
was
associated
specially
with
he
kithara,
s various
texts
e.g.,
Macr.Sat.
5.22.4s
=
Loeb
fr.
78)
and
his
epitaph
ndicate.
"Miletuswas
the
fatherland
hat ore the
delight
f
the
Muses,
Timo-
theus,
he
skillful
river f
the
kithara"
Steph.
Byz.
s.v.
"Miletos"
=
33
Zimmermann,Pratinasfragment"
45-154,
ee
also H.
Lloyd-Jones,
Problems
f
Early
Greek
Tragedy:
ratinas nd
Phrynichus,"
uadernos e
la Fundacidn
astor 13
(1966)
16-18
(repr.
withminor
pdates
nd
changes
n Greek
pic,
Lyric,
nd
Tragedy.
The
Academic
apersof
Sir
Hugh
Lloyd-Jones
Oxford
990] 227-230),
Webster,
ho-
rus
132-133.Forthe
arlier
ating
ee,
e.g.,Picard-Cambridge,
ithyramb
5-66.
34
ee T.
Bergk,
Griech.
Literaturgesch.
(Berlin 1884)
263, Schneider,
lote
36,
Picard-Cambridge,ithyramb
7-20,
Seaford,
Hyporchema"
1-84.
35
For
his
change
rom
ulodia,
see Souda
s.v.
Dpivt.
Victory
n Panathenaia: chol.
Ar.
Clouds971.
Bendings:
Ar.
Clouds
971. Extra
trings:
oll.
4.66,
Plut.
Agis.
10,
Plut.
Inst.Lac. 17, Ion fr. B, ProclusChrest. 20a. See also Barker,MusicalWritings,
p.
94.
36
For
Phrynis,
ee also
Souda
s.v.;
for
imotheus,
ee
on
fr.
=
I
70
D.
("The
Eleven-
String yre"),
Pherecrates'
hiron
quoted
below),
Ath.
636e,
Plut.
nst.Lac.
238c-d,
Paus.
3.12.10. For
Philoxenus,
ee
Barker,
usical
Writings
,
pp.
94-95.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
15/21
86
Robert
W.
Wallace
Loeb
fr.
).
A
speciality
fthis ater
eriod
was
mitating
he
ounds
f
the
ulos
on
stringed
nstruments
P1.
Laws
700).
As a furtherspect f these evelopments,nAthens uringhe ec-
ond
half f the
fifth
entury
herole
of the
ulos n
upper-class
duca-
tion
notably
weakened.
n
our
sources
his
development
s associated
especially
with
Alcibiades
b.
ca.
450),
who
ikeAthena s said to have
rejected
he
nstrumentecause
t madehim
ook
ugly.
n
(ps.-?)Plato
Alcibiades
106e,
Sokrates
ays
thatAlcibiades
had learned
writing,
kithara
playing,
and
wrestling,
but didn't
want
to learn aulos
playing."37
ccording
o
Plutarch
Alc.
2),
after
lcibiades
madefun f
the ulosandanyonewho earnedt, heemancipatedimselfromhis
discipline,long
with
herest
f the
boys
.. In
consequence
he ulos
disappeared
rom he
pastimes
f
free
men,
and
came to be
utterly
despised."
Pamphila's
eport
in
Gell.
15.17)
s similar.
Finally,
espite
he
extraordinaryrominence
f
the
dithyramb
n
Athenian
ublic
ife,
specially uring
heGreat
Dionysia
when
1,000
Athenianmen
nd
boys
performed
ribal
ithyrambs
n
groups
f
fifty,
very
ewof the
composers
f these
dithyrambs
ere
Athenian atives
(Wilson,Aulos," 3 and n.20).
On
the other
hand,
version
o the aulos
was not
uniform,
ither
among
he
poetic
elite or
among
Athens'
upper
lasses. Telestes
f
Selinus,
who at
least
competed
t Athens
winning
he
dithyrambic
prize
n
402/1:
Marm.
ar.
79),
was
thought
o have ountered
elanip-
pides
n
defense f the
ulos.38
ollowing
is
discussion
f
Melanippi-
des'
poem,
Athenaeusontinues
616e-617b,
rans.
arker):
Someone
else
responded y saying
But Telestes
of Selinus
hit
back at
Melanippides
n his
Argo:
speaking
fAthenahe said:
'Whenthe
clever
goddess
had
picked
up
theclever nstrument
n
the
mountain
hickets,
cannot elieve
n
my
mind hat
he,
divine
Athena,
rightenedy
the
ugliness npleasant
o
the
eye,
threw
t
away gain
from erhands
o
be a
glory
o
Marsyas,
hat
andclap-
ping
reature orn
f a
nymph.
Why
would
harp
assion
or
ove-
inducing
eauty
have worried
er,
o whomClotho
had allotted
37
Bycontrast,ccordingo Athenaeus 84d iting uris, heTheban ronomusaught
Alcibiades he
ulos. Wilson
"Aulos"
89)
notes hatAlcibiades'
ejection
f the
ulos
s
assigned
o his
youth.
38
Wilson
"Aulos"
65)
defends
he
chronological ossibility
hat
Telestes
directly
responded
o
Melanippides
n a
text
erformed
efore he
Athenian emos.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
16/21
An
Early
Fifth-Century
thenian
Revolution
n Aulos Music
87
virginity,
arriageless
nd
childless?'
He
means
that
he
would
not
have
sought
o
avoid
ugliness
n
her
ppearance
ecause
of
her
virginity.).. Afterwardse extolsthe artof theaulos, saying:
'Which
he
uplifted
reath39f thenoble
goddess,
with
he
wift-
ness of
her
quivering-winged
ands,
assed
on to
Dionysos
o
be
his best
helper.'
n
the
Asclepius,
oo,
Telestes
rnatelyxpressed
the
use ofthe
uloi.
Telestes
himselfwas
a
musical
radical
Barker,
Musical
Writings
,
p.
97).
In
Aristophanes'
aitales
(fr.
21
K.
=
232
K.-A.),
earning
o
play bothaulos and lyre s a symbolof a clevernew education.
According
o
Chamaeleon
ap.
Ath.
184d
=
fr.
Wehrli),
othCallias
the
son of
Hipponicus
b.
ca.
450)
and Critias
he
on
of Callaeschrus
(b.
ca.
460)
played
he ulos.
Xenophon
Mem. 1.2.27)
mplies
hat n
some
form
t
least,
the
aulos
continued
o
be
taught.According
o
Strabo
1.2.3),
Aristoxenusnd
others ommendednstruction
n
both
the
ulos and
the
yre
or heir
bility
o
shape
haracter.
lthoughmy
informal
urvey
f
vase
paintings
fter 50
showed
no
young
men
learninghe ulosorbeardedmenplayingt, everal asesnowdepict
respectable
omen
laying
hat
nstrument,
n
domestic
ettings.
In
contexts ther
han
esearch,
oetic
xposition,
nd
musical du-
cation
mong
ertain
lite
itizens,
he ulos continued
o
occupy
cen-
tral
position
n
Attic
society, specially
as
an
accompaniment
or
dithyrambic
nd
dramatic
erformances
nd at sacrifices.
liver
aplin
has
called
attention
o
the
vermore
plendid, ull-length
obes
f
aule-
tai on
vase
paintings,
specially
for Athens'
great
public competi-
tions.40
s
we have
seen,
from
he ime
f
"Pratinas's
yporcheme"
he
musicof the uloscouldtake
precedence
ver
poetic
exts.41rizes n
aulos
competitions
erefewern
numbernd ower
n valuethan
hose
for
he
kithara,42
nd
the
players
hemselves ere lmost
nvariably
or-
39
On
the
ext,
ee G.
Comotti,
Atena
gli
auloi
n
un
ditiramboi
Teleste,"
UCC
5
(1980)
47-54.
40
0.
Taplin,
Comic
Angels
and
Other
Approaches
o Greek
Drama
through
ase-
Paintings
Oxford
993)
70-71.
41
See
[Plut.]
De mus.
1141d
the
mention f
Melanippides
s
udged
o be
an
interpo-
lation:Pickard-Cambridge,ithyramb8-19 followed ySeaford, Hyporchema,"ee
also
Weil nd
Reinach's
dition f
De
musica),
Ath.
17b-f,
nd
Pickard-Cambridge
bid.
55.
For the
ulos
n
sacrifice,
ee
J.
Haldane,
Musical
nstruments
n
Greek
Worship,"
G&R
13
1966)
98-107.
42
See
IG
112
311.20-22.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
17/21
88
Robert
Wallace
eigners
r
slaves-"Athenians
re
virtually
nvisible"
Wilson,
Aulos"
70).
Yet
many
ources ttest
he
ulos's
enduring
opularity,
specially
inpopular ontexts.
The
Greeks
themselves ffered
variety
f
explanations
or
the
diminished
ppeal
of
the aulos after
50,
at least
n
certain
lite
con-
texts. As the
final
ines of "Pratinas's
hyporcheme"
ndicate,
lite
controversy
ver
this
nstrument
ay
n
part
have resulted romts
powerful
motional
ffects,
specially pparent
t
funerals ndwed-
dings,
n
symposia
where
uletrideswere
a
regular
eature,
nd in
tragedies
nd
dithyrambicerformances
see
Wilson,
Aulos"
74-76).
In a Bacchic context ophocles' chorusproclaims &Eipopat 86'
A6buropoat
6v
xaX6v,
J
tipavvE c&g
-&gppev6;
(Trach.
16-217).
In
Euripides'
Herakles
he aulos
is the nstrument
f madness
871,
879,
897).43
According
o
the
comic
poet
Phrynichus
fr.
67
K.-A.),
auleteswere
associatedwith
great
ybariasmos.44
n
the
next
entury
Plato banned
he
ulos from oth
f
his ideal states
Resp.
399d,
Leg.
669,
700).
For
Plato,
he
yre
was
a
steady
nd traditional
nstrument
suitablefor
preserving
he traditional
armoniai,
ut the aulos
was
capableof musicalrevolution, ixingharmoniai, roducing trange
noises,
nd
destroying
hebalance
of
voice
and nstrument.
n
Symp.
215b-c,
Socrates
bserves hat
Marsyas
had
only
to
put
his
aulos to
his
lips
to
bewitchmankind-which till
an be done
by
anyone
who
can
play
the
tuneshe used to
play
.. Whoever
lays
them,
rom
n
absolute irtuoso
o
a
twopenny-halfpenny
uletris,
hetunes
will still
have
a
magic power"
trans.
M.
Joyce).
Aristotle
oncludeshis brief
history
f the
ulos
with
he
myth
f
Athena
hrowing
way
the ulos.
"It
may
well be
...
that
he
goddess
did thisbecause
she disliked
he
facialdistortion.. Buta farmore
ikely
eason s that n educationn
playing pon
he
pipes
contributes
othing
o the ntellect."ntellectual
or
philosophical
bjections
o
the
ulos continued
own
hroughntiq-
uity.
Athenaeus
uotes
n
epigram,
in an
aulete he
gods
mplanted
o
sense
noos],
/for
ogether
ith
is
blowing,
is sense
noos]
lso flies
away"
337e-f).
n his
Life
of Pythagoras
111)
lamblichus tates hat
the
Pythagoreans
sed the
yre
because
Pythagorashought
he
aulos
had an assertive
one,
uited
o
large
gatherings
ut not to cultivated
people."Aristides uintilianusuotes amblichus s counselling is
43
For
he ulos
n
tragedy,
ee above ll
part
of
Wilson's Aulos."
44
Forthe ounds
nd
motional
ffects
f
the
ulos,
ee
West,
Greek
Music 105-106.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
18/21
An
Early
Fifth-Century
thenian evolution
n
Aulos
Music
89
studentso
avoid
hearing
he
soundof the
aulos,
as
something
stain-
ing"
he
pirit.
he
yre
hases
way
he rrationalesires
f
the
oul.45
Several ther actors illalso haveworkedgainst he ulos. First
as we
have
een,
he
ulos
was
typically
ssociated
with
oeotia,
which
had
especially
complicated
olitical
relations
with Athens
t
mid-
century.
n
457
the
Boeotians nd
Spartans
efeated
he
Athenians
at
Tanagra.
Two
months
aterthe
Athenians
eturned
o
defeat he
Boeotians
t
Oenophyta.
Athens
enceforthominated
tshated
neigh-
bor
dramatists
epresented
hebes s
an
"anti-Athens"46)
ntil
major
military
efeat t
Coronea
n
446. Thebes
was
always
famous or ts
auletes.47 lthoughxtant ourcesdo notmention hisexplanation,
mid-century
ould
be a
good
time
to
reject
the
"Boeotian"
instrument.48
Second,
the
growing
omplexities
f
music
will have
limited
he
aulos's
role in
citizens'
ocial
playing, specially
ecause
t is
much
more
difficult
o
play
notes
precisely
n
the aulos than
on
stringed
instruments.49
he
difficulty
nd
complexity
f aulos
playing
are
specifically
oted
by
Theophrastus
Hist.
P1.
4.11.4-5)
and
later
by
Lucian Harmonid. ). Equally mportant,asteringhe equisitekills
to
produce
ood
music n
the
ulos
put
one
at
risk
f
becoming
anau-
sic,
a
"mechanic."
socrates s
said
to
have
been
ridiculed
y
Aristo-
phanes
nd
Strattiss
an
"aulos-borer"
Strattis
r.
K.-A.,
cf. K.-A.'s
numerous
estimonia),
upposedly
ecause his father wned
an aulos
factory
Plut.
Mor.
836e).
Philostratos
Vit.
Soph.
1.17.4)
defended
Isocrates s
knowing
othing
f
auloi or
anything
lse
en
banausiois.
Aristotle
uestions
t
ength
ow
far
t
s
proper
or leutheroio
earn
45
See
Aristid.
uint.
1.27-92.3
W.-I.,
ambl.
De
myst.
.9,
and contrast
th.
184e.
Plutarch
ells of a
party
e
attended
hat
got
seriously
ut of control ecause
of
aulos
music
Quaest.
Conv.
04c-706e).
46
See
E
Zeitlin,
Thebes:
Theater f
Self
nd
Society
n
Athenian
rama,"
n
Nothing
to Do
with
ionysos?
Athenian
rama n
ts
Social
Context,
d. J.
Winkler nd
F
Zeitlin
(Princeton
990)
esp.
144-150.
47
See
Chameleon
nd
Aristoxenus
p.
Ath.
184d-e
and
also
Nepos
Epam.
2.1),
Max-
imusof
Tyre,
hilos.
17.2
(Orlpxiot
t)Xyrztcilv
ntiorl
vytF
cXai
tiv
1~
8t'
a
Xlv
tgokca
ntXc(ipto;gig
Bottoiro);
Dio
Chrys.
Or.
7.121;
Anth. al.
3.8;
Huchzermeyer,
Aulos
47-48. The schools of Pronomus, ntigenidas,nd Dorion, ll Thebans,were
famous
see
Barker,
usical
Writings
,
p.
97).
48
See
I.
Kasper-Butz,
ie
Gottin
thena
m klassischen then:Athena ls
Reprdisen-
tantin
es
demokratischen
taates
Frankfurt
.
M.
1990)
184.
49
See
West,
Greek
Music
94-96.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
19/21
90
Robert
Wallace
to
play
any
kind of
music
Pol.
1340b20-1341b18).
He
argues
hat
music
must
ot
be
studied
o a
high
evel
of
competence,
or his
would
make theperformerbanausosand thus nterfereithhis citizen's
arete.
In
fact,"
e
says,
we call
music
erformers
anausoi,
nd
think
that manshouldnot
perform
xcept
or
his
own amusement
r
when
he
has had a
good
deal
to
drink"
Pol.
1339b9-10,
rans. inclair
nd
Saunders).
According
o Plutarch
(Per.
1),
when
Antisthenes
he
Socratic
eard hat he
Theban
smenias
was
an excellent
ulos
player,
he
remarked,
yes,
but
he's
a base
man;
for therwise
e wouldn't
e
a
serious
ulos-player."50
lutarch
lso
reports
hat
when
Philip
I
of
Macedon was askedwhichof two aulos playerswas thebetter, e
replied, Polyperchon
s the
better
eneral"
Pyrrh
.7).
Plutarchas
a
favoritenecdote bout
n
argument
etween
hilip
nd
a
lyre-player,
who
remarked,
I
hope
you
won't
be
in such
bad
way,
king,
hat
ou
would
knowmore
bout
his han
do."'5
From
he
ater ifth
entury
on,
music
erformance
as
ncreasingly
n the
hands
f
professionals.52
The
vagaries
nvolved
n
playing
he
aulos
(in
comparison
with
stringed
nstruments)
lso
limited
ts
appeal
for
musicresearchers.
n
Philebus 6a, Socrates ondemnshe ulosbecause
t
s impossible
o
hitnotes
precisely,
ather
han
y
"the
uck
of
a
practiced
inger."
he
fourth-century
usic theoretician
ristoxenus
Elem.
Harm.
43.14
Meib.)
condemned
he ulos
for
he
mprecision
f ts
notes,
s
provid-
ing
no
basis
for
formulating
he
laws
of
harmonics.
According
o
Athenaeus
74e,
he also
claimed
hat
twas
too
easy
for
he
untaught
o
play
he ulos or
syrinx,
ike
hepherds.
Finally,
s
other
eriods
llustrate,
hifts
n musical
ashion
may
be
influenced
y
comparatively
rivial
r
serendipitous
vents,
heevolu-
tion of taste, r
simply
hesearchforfresh r innovativemeansof
expression.
n othermatters
oo,
constant
nnovation
as
an
Athenian
characteristic.
50o
ompare
lut.
De Alex.
ort.
34b: Ismenias
layed
before
he
Scythian
ing
who
rudely
nd
gnorantly
wore
hat
is own
horses ounded
etter-presumably
hen
art-
ing.
51
De
adul.
et
amic.
67f,
Reg.
et
imp. pophtheg.
79b,
De
Alex.
ort.
34c-d,
Symp.
634c-d.
52
ee
R.
W.
Wallace,
Speech,
ong
nd
text,
ublic
nd
private.
volutionsn
com-
munications edia
nd
fora
n
fourth-century
thens,"
n Die athenische
emokratie
m
4.
Jahrhundert
. Chr
Vollendung
der
Verfall
iner
Verfassungsform?,
d. W.
Eder
(Stuttgart
995)
210-212.
This content downloaded from 62.204.192.85 on Tue, 17 Mar 2015 10:09:07 UTC
All use subject to JSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp
8/9/2019 UniversityAn Early Fifth-Century Athenian Revolution in Aulos Music
20/21
An
Early
ifth-Century
thenian
evolution
n
AulosMusic
91
With
he
notable
xceptions
f
Thebes,53
lexandria
Ath. 176e-f),
and
Sparta,
he
unfashionability
f
theaulos
at least
n some
elite
cir-
cles spread hroughoutheGreek ndRomanworlds.Ciceroremarks,
"as
they
ay
of
Greek
musicians,
hosewho
cannot ecome
itharodes
are
aulodes"
Mur.
13.29).
Athenaeus
bserves hat
to all
Greeks
n
theold
days"
music
was of
such
concern
hat
hey
ven howed nthu-
siasm
for
he
aulos
(184d).
Pamphila
otes
we
have
seen)
that
ulos
playing
n
fifth-century
thenswas
then
onsidered onestissimum.
Ptolemy
II's
cognomen
auletes"
Strab.
95,
Plut.
De
adul.
56f)
was
not
meant s a
compliment.
Outside litecircles, owever,nthetraditionalontextsftheater,
dithyramb,
nd
cult,
nd
especially
n the
post-Classical eriods,
he
aulos
continued
o
be
much
njoyed.
According
o
[Aristotle]
rob-
lemata
19.43,
musical
olos
were
more
pleasant
f
sung
to
the
aulos
than o
the
yre.
According
o
Theopompusap.
Ath.
435b,
see
also
338b),
Philip
f
Macedon
kept
he
ulete
Dorion
onstantly
y
him.
At
Quaes.
Conv.
712f-713b,
lutarch
ays glowing
ribute
o aulos
music
at the
ymposion
despite
ts
dangerous
otential
see
n.
45).
Reinach
documents hefameof travelingu
Top Related