Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references.

Inaug.-Diss.--Basel. / Vita.

Thesis (Ph. D.)--Johns Hopkins University. / Vita. Includes bibliographical references.

Thesis--Faculté des lettres de Paris.

Thesis. / "Totius operis quod in lucem edetur apud Weidmannos, pro dissertatione capita I et II tantum accedentibus notis explanatis emittuntur.

Inaug.-diss.--Göttingen. / "Literatur": p. vii.

The legend that Terpander rejected "four-voiced song" (τετράγηρυν ἀοιδάν) in favor of new songs on the seven-stringed lyre (ἐπτατονος φὸρμιγξ) epitomizes the Greek exposure, at the height of Assyrian power (c. 750-650 B.C.), to the Mesopotamian tradition of classical music. Terpander's `invention' answers clearly to the heptatony which was widely practiced in the ancient Near East, as known from the diatonic tuning system documented in the cuneiform musical tablets. "Four-voiced song" describes the traditional melodic practice of the Greek epic singer, and must be understood in terms of its inheritance from the Indo-European poetic art. The syncretism of these two music-streams may be deduced from the evidence of the later Greek theorists and musicographers. Though diatonic scales were also known in Greece, even the late theorists remembered that pride of place had been given in the Classical period to other forms of heptatony-the chromatic and enharmonic genera, tone-structures which cannot be established solely through the resonant intervals of the diatonic method. Nevertheless, these tunings were consistently seen as modifications of the diatonic-which Aristoxenus believed to be the `oldest and most natural' of the genera-and were required to conform to minimum conditions of diatony. Thus the Greek structures represent the overlay of native musical inflections on a borrowed diatonic substrate, and the creation of a distinctly Hellenized form of heptatonic music. More specific points of contact are found in the string nomenclatures, which in both traditions were arranged to emphasize a central string. There is extensive Greek evidence relating this `epicentric' structure to musical function, with the middle string acting as a type of tonal center of constant pitch, while the other strings could change from tuning to tuning. So too in the Mesopotamian system the central string remained constant throughout the diatonic tuning cycle. Hence the melic revolution of the Archaic period represents the fruit of an Assyrianizing, diatonicizing musical movement.

The thesis is an examination of the iconography of children in Attic red-figure vase-painting, concentrating mainly on the representation of mythological children, but considering also the applications of the study to red-figure scenes of everyday life. The aims are two-fold: firstly to analyse iconographic types employed for the depiction of children by vase-painters, and secondly to use such a study to establish a foundation for the objective analysis of age representation of children in vase-painting. The catalogue of vases comprises one hundred and ninety six entries. Discussion of this material is split into two sections; one dealing with the birth and childhood of the gods, and the other with that of the heroes. The first section is divided into two chapters, one on the most commonly represented infant god, Dionysos, and a second devoted to the remainder of the gods who appear as children. The second section comprises a chapter each on Attic and non-Attic heroes, and a further chapter considers representations of mythological female children. The thesis concludes that divine and heroic children are represented on vases throughout the red-figure period, finding their phase of greatest popularity between about 490-40 BC. It is shown that most of the iconographic types employed for children are interchangeable for a variety of mythological, and often also mortal, offspring. Whilst the representation of infants and young children becomes increasingly naturalistic as the fifth century progresses, lack of an iconographic type (or types) for older children and adolescents is probably a reflection of the liminal status of the adolescent youth in fifth century Athenian society. Furthermore, the inferior status of women and children in that society illuminates the almost total absence of infant goddesses and heroines in red-figure, since a female child would probably have seemed too undignified a figure to be anything but mortal.

No description available.

No description available.