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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

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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.

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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





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.





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.





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.





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.





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.





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.





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.





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.





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).





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."





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.





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.





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.





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.





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.





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.





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

universityan early fifth-century athenian revolution in aulos music

Documents