Münster, Phil. Diss. v. 28. Dez. 1931.

The double-pipe reed woodwind known as the aulos was the most pervasive instrument in ancient Greek life. Despite recent attention to affect and the senses and advancements in ancient musicology, there remains no comprehensive study of this cultural phenomenon. Bringing the burgeoning field of sound studies to bear on the diverse range of evidence, this dissertation offers the first cultural history of aulos performance, focusing on a crucial period of its activity spanning the sixth through fourth centuries BCE. I propose an interpretive model that works across textual and material sources to account for the ineffable, affective ways in which the instrument acts upon the embodied listener. When we consider the aulos as a sonic medium that works beyond the structural and semantic boundaries of music and language, we can identify how the instrument communicates across contexts through certain structures of feeling its sound. By exploring the world-building capacities of the instrument’s sound effects and harmonics, I chart the history of these embodied ways of knowing its sound. I argue that the aulos operates through a culturally conditioned interface with the body, exerting an agency that impacts social and civic identity, drives musical innovation, and poses a cultural threat to discursive ways of knowing and rational persuasion. The five chapters identify the interplay of tradition and innovation across the contexts of aulos performance, between musical and theatrical genres as well as civic practices involving corporate movement. Meanwhile, with the rise of prose, the emerging critical discourse on the aulos analyzes its effect on the body specifically and aims to expose how the listener is tricked into the “enchanting” soundworlds it constructs. This interdisciplinary media-based approach to ancient Greek performance thus presents a new register of meaning-making that articulates unexplored aspects of the artistic, literary, and philosophical works that preserve this culture.

La musique est étroitement liée à la pratique liturgique des Grecs de l’Antiquité. Un scrupuleux examen des sources confirme l’omniprésence de l’aulos au sein du sacrifice sanglant, un fait qui semble ne pas s’accorder avec certains propos anciens dépréciateurs de l’instrument. Grâce aux sources textuelles et surtout iconographiques, on constate que l’importance attribuée au rôle de la musique, et plus spécialement de l’aulos, dans le sacrifice varie d’une étape rituelle à l’autre. Certaines actions cérémonielles, comme la procession, s’accomplissent au son de la musique, alors que d’autres, comme l’immolation, semblent en être dépourvues. Puis, en observant quelques représentations de sacrifices humains, on remarque que la musique est abordée différemment en fonction du contexte et de la nature du rituel sacrificiel dans lequel elle s’insère. Ainsi, la façon dont on traite la musique dans les sources peut fournir des indices quant aux principes idéologiques relatifs aux différents rituels. / In Ancient Greece, music was closely linked to religious practices. In fact, scrupulous examination of sources confirms the use of the aulos in bloody sacrifices, a fact that contradicts some ancient texts which belittle the instrument. Through study of textual and iconographical sources, the importance accorded to music in sacrifices, and more specifically to the aulos, varies from one ritualistic step to another. Some ceremonial actions, like the procession, were performed with music, while others, like the actual sacrifice, were not. Furthermore, observation of some sacrifices showed that music was treated differently, according to the nature of the ritual. Therefore, the way music was dealt with in sources may provide valuable information about the ideological principals linked to various rituals.

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Greece experienced a musical revolution in the fifth century BC which modern scholars call the “New Music” movement. The movement was encouraged by Greek culture which embraced change and innovation. Under the “New Musicians,” those individuals involved in the movement, many traditional elements of music were changed or discarded. The most prominent place in which to understand the change in musical styles is the nomic and dithyrambic genres: both genres allowed musicians a great range in creativity to the extent that innovations in the nomoi made their way into the dithyramb. The change to traditional music was not always warmly accepted. Instead, while the demos enjoyed the new style of music the aristocracy derided its existence. The split between the demotic and aristocratic views of music may be seen especially in the attitude towards and purpose of the aulos and kithara in fifth-century Athens. Moreover, since the attitude of the aristocrats differed from that of the working-class musicians, we are able to see that the traditionally-minded aristocracy saw music as a gift from the gods while the working musicians saw the instruments and their musical sound as “tools.” The New Music movement was encouraged by Greek society which rewarded novelty and innovation. As Athens grew to become a cultural hot spot in the fifth century, more people saw the incentive to becoming professional musicians; original music would be rewarded either by fame and glory of the festivals or by financial remuneration. As a result, a primitive “entertainment industry” arose at Athens and propelled the new-style musicians to pursue their original compositions in their professional careers. The New Music movement also encouraged the study of music, particularly the study of musical ethics. In addition to having a status as a cultural hot spot, Athens also attracted numerous philosophers and other intellectuals. Those intellectuals contributed to the debate about the function and value of music. As the New Musicians’ popularity increased and the new style of music exerted an influence on the education system, emphasis was placed on the importance of the text and the development of the capacity to judge music. As a result, many philosophers and music theorists debated the moral aspect of music, now called the concept of musical ethos. The concept of musical ethos demonstrates that both philosophers and musicians studied music with a view to determining the most effective music for eliciting a response from the audience. Through a study of the ancient literature, most of which deals with music only incidentally, we will be able to understand how the New Music movement was encouraged by Greek culture, given an incentive by fifth-century society, and studied by some of the most brilliant philosophers and musicians Greek history has known. / February 2009

Greece experienced a musical revolution in the fifth century BC which modern scholars call the “New Music” movement. The movement was encouraged by Greek culture which embraced change and innovation. Under the “New Musicians,” those individuals involved in the movement, many traditional elements of music were changed or discarded. The most prominent place in which to understand the change in musical styles is the nomic and dithyrambic genres: both genres allowed musicians a great range in creativity to the extent that innovations in the nomoi made their way into the dithyramb. The change to traditional music was not always warmly accepted. Instead, while the demos enjoyed the new style of music the aristocracy derided its existence. The split between the demotic and aristocratic views of music may be seen especially in the attitude towards and purpose of the aulos and kithara in fifth-century Athens. Moreover, since the attitude of the aristocrats differed from that of the working-class musicians, we are able to see that the traditionally-minded aristocracy saw music as a gift from the gods while the working musicians saw the instruments and their musical sound as “tools.” The New Music movement was encouraged by Greek society which rewarded novelty and innovation. As Athens grew to become a cultural hot spot in the fifth century, more people saw the incentive to becoming professional musicians; original music would be rewarded either by fame and glory of the festivals or by financial remuneration. As a result, a primitive “entertainment industry” arose at Athens and propelled the new-style musicians to pursue their original compositions in their professional careers. The New Music movement also encouraged the study of music, particularly the study of musical ethics. In addition to having a status as a cultural hot spot, Athens also attracted numerous philosophers and other intellectuals. Those intellectuals contributed to the debate about the function and value of music. As the New Musicians’ popularity increased and the new style of music exerted an influence on the education system, emphasis was placed on the importance of the text and the development of the capacity to judge music. As a result, many philosophers and music theorists debated the moral aspect of music, now called the concept of musical ethos. The concept of musical ethos demonstrates that both philosophers and musicians studied music with a view to determining the most effective music for eliciting a response from the audience. Through a study of the ancient literature, most of which deals with music only incidentally, we will be able to understand how the New Music movement was encouraged by Greek culture, given an incentive by fifth-century society, and studied by some of the most brilliant philosophers and musicians Greek history has known.

Greece experienced a musical revolution in the fifth century BC which modern scholars call the “New Music” movement. The movement was encouraged by Greek culture which embraced change and innovation. Under the “New Musicians,” those individuals involved in the movement, many traditional elements of music were changed or discarded. The most prominent place in which to understand the change in musical styles is the nomic and dithyrambic genres: both genres allowed musicians a great range in creativity to the extent that innovations in the nomoi made their way into the dithyramb. The change to traditional music was not always warmly accepted. Instead, while the demos enjoyed the new style of music the aristocracy derided its existence. The split between the demotic and aristocratic views of music may be seen especially in the attitude towards and purpose of the aulos and kithara in fifth-century Athens. Moreover, since the attitude of the aristocrats differed from that of the working-class musicians, we are able to see that the traditionally-minded aristocracy saw music as a gift from the gods while the working musicians saw the instruments and their musical sound as “tools.” The New Music movement was encouraged by Greek society which rewarded novelty and innovation. As Athens grew to become a cultural hot spot in the fifth century, more people saw the incentive to becoming professional musicians; original music would be rewarded either by fame and glory of the festivals or by financial remuneration. As a result, a primitive “entertainment industry” arose at Athens and propelled the new-style musicians to pursue their original compositions in their professional careers. The New Music movement also encouraged the study of music, particularly the study of musical ethics. In addition to having a status as a cultural hot spot, Athens also attracted numerous philosophers and other intellectuals. Those intellectuals contributed to the debate about the function and value of music. As the New Musicians’ popularity increased and the new style of music exerted an influence on the education system, emphasis was placed on the importance of the text and the development of the capacity to judge music. As a result, many philosophers and music theorists debated the moral aspect of music, now called the concept of musical ethos. The concept of musical ethos demonstrates that both philosophers and musicians studied music with a view to determining the most effective music for eliciting a response from the audience. Through a study of the ancient literature, most of which deals with music only incidentally, we will be able to understand how the New Music movement was encouraged by Greek culture, given an incentive by fifth-century society, and studied by some of the most brilliant philosophers and musicians Greek history has known.

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The aim of this diploma thesis is to introduce the phenomenon of rare books and artist's book, their place in the domestic book production and the subjects that deal with their creation and publishing. In addition to publishing houses, also associations are introduced in the thesis, including universities, where numerous projects devoted to the artist's book are created. The current situation of rare books and artist's books is also reflected through exhibitions, competitions or fairs that focus on this topic. Reports on rare books and artist's books in the media provide feedback on how society is aware of and informed about this type of book production and how the society perceives it. Key words rare books, artist's book, Czech Bibliophile Association, Teapot s.r.o., Aulos, Trigon, The Most Beautiful Czech Books of the Year, The Most Beautiful Books of the World, rare books in the media