The aulos, an extinct musical instrument consisting of a cylindrical-bore pipe with finger holes and a double reed for a mouthpiece, was a very popular wind instrument during antiquity (c.1000 BC-AD 600). Through a comprehensive analysis of written, archaeological, and iconographic sources, this book presents a holistic view of this musical instrument, its past, and its consequential history. This study is further substantiated by ethnographic data from Sardinia and Egypt, where the launeddas and the arghul were explored respectively. A new understanding of the history of the aulos is presented through the establishment of parallels between past and contemporary music-related practices.

Among the most original and exciting features of the Carolingian Renaissance is the reemergence of political poetry and the development of a vital tradition of verse which comments reflectively and contentiously on the course of public events. Peter Godman's analysis focuses on the character of the classical tradition in the early Middle ages--creatively adapted to "barbarian" literary tastes--and the refashioning and invention of poetic form in response to contemporary political affairs.

The search for the biblical Philistines, one of ancient Israel’s most storied enemies, has long intrigued both scholars and the public. Archaeological and textual evidence examined in its broader eastern Mediterranean context reveals that the Philistines, well-known from biblical and extrabiblical texts, together with other related groups of “Sea Peoples,” played a transformative role in the development of new ethnic groups and polities that emerged from the ruins of the Late Bronze Age empires. The essays in this book, representing recent research in the fields of archaeology, Bible, and history, reassess the origins, identity, material culture, and impact of the Philistines and other Sea Peoples on the Iron Age cultures and peoples of the eastern Mediterranean. The contributors are Matthew J. Adams, Michal Artzy, Tristan J. Barako, David Ben-Shlomo, Mario Benzi, Margaret E. Cohen, Anat Cohen-Weinberger, Trude Dothan, Elizabeth French, Marie-Henriette Gates, Hermann Genz, Ayelet Gilboa, Maria Iacovou, Ann E. Killebrew, Sabine Laemmel, Gunnar Lehmann, Aren M. Maeir, Amihai Mazar, Linda Meiberg, Penelope A. Mountjoy, Hermann Michael Niemann, Jeremy B. Rutter, Ilan Sharon, Susan Sherratt, Neil Asher Silberman, and Itamar Singer.

Originally published in 1936, this book presents a discussion regarding the modality of ancient Greek music, using literary evidence supplemented by surviving melodies. Detailed notes are incorporated throughout, together with indexes of proper names, terms and passages. This book will be of value to anyone with an interest in ancient Greece and the history of music.

This is the first comprehensive and illustrated study of the most important form of theatre in the entire Roman Empire - pantomime, the ancient equivalent of ballet dancing. Performed for more than five centuries in hundreds of theatres from Portugal in the West to the Euphrates, from Gaul to North Africa, solo male dancing stars - the forerunners of Nijinsky, Nureyev, and Baryshnikov - stunned audiences with their erotic costumes, subtlety of gesture, and dazzling athleticism. In sixteen specially commissioned and complementary studies, the leading world specialists explore all aspects of the ancient pantomime dancer's performance skills, popularity, and social impact, while paying special attention to the texts that formed the basis of this distinctive art form.

Ethnomusicological fieldwork has significantly changed since the end of the the 20th century. Ethnomusicology is in a critical moment that requires new perspecitves on fieldwork - perspectives that are not addressed in the standard guides to ethnomusicological or anthropological method. The focus in ethnomusicological writing and teaching has traditionally centered around analyses and ethnographic representations of musical cultures, rather than on the personal world of understanding, experience, knowing, and doing fieldwork. Shadows in the Field deliberately shifts the focus of ethnomusicology and of ethnography in general from representation (text) to experience (fieldwork). The "new fieldwork" moves beyond mere data collection and has become a defining characteristic of ethnomusicology that engages the scholar in meaningful human contexts. In this new edition of Shadows in the Field, renowned ethnomusicologists explore the roles they themselves act out while performing fieldwork and pose significant questions for the field: What are the new directions in ethnomusicological fieldwork? Where does fieldwork of "the past" fit into these theories? And above all, what do we see when we acknowledge the shadows we cast in the field? The second edition of Shadows in the Field includes updates of all existing chapters, a new preface by Bruno Nettl, and seven new chapters addressing critical issues and concerns that have become increasingly relevant since the first edition.

Drawing upon the full range of ancient source materials, the author examines such topics as musical form and style, instruments, poet-composers, and the role of music in ancient society.

Ritual trance has always been closely associated with music—but why, and how? Gilbert Rouget offers and extended analysis of music and trance, concluding that no universal law can explain the relations between music and trance; they vary greatly and depend on the system of meaning of their cultural context. Rouget rigorously examines a worldwide corpus of data from ethnographic literature, but he also draws on the Bible, his own fieldwork in West Africa, and the writings of Plato, Ghazzali, and Rousseau. To organize this immense store of information, he develops a typology of trance based on symbolism and external manifestations. He outlines the fundamental distinctions between trance and ecstasy, shamanism and spirit possession, and communal and emotional trance. Music is analyzed in terms of performers, practices, instruments, and associations with dance. Each kind of trance draws strength from music in different ways at different points in a ritual, Rouget concludes. In possession trance, music induces the adept to identify himself with his deity and allows him to express this identification through dance. Forcefully rejecting pseudo-science and reductionism, Rouget demystifies the so-called theory of the neurophysiological effects of drumming on trance. He concludes that music's physiological and emotional effects are inseparable from patterns of collective representations and behavior, and that music and trance are linked in as many ways as there are cultural structures.

An exploration and translation of the work of Hindu poet-saint Kāraikkāl Ammaiyār.