By William Mullen

ISBN-10: 0691641633

ISBN-13: 9780691641638

This research unearths that the 3 metrical devices into which so much choral odes have been divided discuss with the disposition in house of the dancers as they recited, with climactic moments of the poetry actualized during the attitudes of the dancers and with convinced issues reserved for specific sections of the poetic form.

Originally released in 1983.

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Sample text

20 with hjimos alone. Sometimes the word "Aeolian" seems to be pointing to a shift taking place between the instrumentation or tropos of the introductory section and the concluding section. l begins grandly with the Dorian lyre (17), but by its concluding modulation the molpe has become Aeolian (102). 69 "Aeolian" strings of the lyre are associated with "the Kastor-song," a term which seems to be used to contrast the musical nature of the concluding triad to that of the three which have preceded it (tode men melos..

The structure of the human lungs, diaphragm, and other parts of the body involved in producing sound, restricts the range of motion possible to someone reciting words, and if there is any effort to establish the kind of pitch relationships that distinguish actual singing from mere chant, then these restrictions are increased. Similarly, the breath control neces­ sary to play a wind instrument is incompatible with any vigorous mo­ tion in the rest of the body, and the delicate and rapid movements of the fingers necessary to execute passages on the lyre are incompatible with most of the preparatory and stabilizing techniques of the arm which are involved in springing from the ground or balancing on one foot.

17-19 To this text Athenaeus strenuously objects because it implies that, in the presence of the divine aoidos singing (emelpeto) and playing his lyre, two mere acrobats should pretend to be the leaders of the molpe, the combination of song and dance. He proposes emending exarchontes to exarchontos, thus creating a rather peculiar genitive ab­ solute in which the bard himself is said to be exarchdn. From the point of view of Homeric diction this is not a very satisfactory solution, but the tirade in which he insists on his point is worth listening to: For it was not the acrobats who were exarchontes, but they clearly danced while the bard himself was exarchdn; for leading is proper to the lyre.

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Choreia: Pindar and Dance by William Mullen


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