A pais kitharistēs on a Fifth-Century Krater: Innovation in Musical Contest Iconography and the '... more A pais kitharistēs on a Fifth-Century Krater: Innovation in Musical Contest Iconography and the 'Thracian' Kithara András Kárpáti N THE COLLECTION of the Budapest Museum of Fine Arts is an Attic red-figure calyx-krater (height 31.1 cm), which was given to the Department of Antiquities in 1951 by Elemér Kund. 1 The vase, dating to 450-425 B.C., is unpublished. 2 Apart from some chipping of the painted surface, the vessel is intact. Three figures are visible on each side. On side A (fig.1), a youth on a bēma wearing only a himation (which leaves his right arm free) holds a stringed instrument between flying Nikai-one with fillets (left), one with an untied wreath (right). On the reverse (side B, fig. 2), three youths are conversing. Winners of a mousikos agōn are common on Attic pottery. 3 However, the young musician on the Budapest vase 1 Elemér Kund (1885-1951), a learned art collector, having survived Mauthausen, became a victim of political trials under communism. Before his death, he donated a part of his collection to the Museum of Fine Arts. 2 Inv. no. 51.836, unattributed, without known provenance. It appears as a list entry in the guide to the 1947 exhibition of the Collection of Classical
This paper aims to show how Aeschylus uses abrupt shifts of musical register in order to explore ... more This paper aims to show how Aeschylus uses abrupt shifts of musical register in order to explore or to express what characters for some reason cannot verbalize. After specifying what is meant by an ‘abrupt shift of musical register’, I analyse the dramatic function of this effect by examining the three instances in Aeschylus where an epirrhematic section turns abruptly into an amoibaion (Ag. 1072–1177 and 1407–1576) or vice versa (Supp. 825–910). In Aeschylus’ dramaturgy, the lyric/epirrhematic dialogue between a character and the chorus, embedded as it is in Greek mousikē and song-dance culture, seems inherently open to communicating on an additional, wordless ʻchannelʼ.
ABSTRACT The subject of the scene of the New York Polion krater (MMA 25.78.66) is a theatrical pe... more ABSTRACT The subject of the scene of the New York Polion krater (MMA 25.78.66) is a theatrical performance which is hard to reconcile with the inscription ΟΔΟΙ ΠΑΝΑΘΕΝΑΙΑ. The New Music debate provides the context necessary for understanding the scene, which, it is argued, is a visual reference to Phrynichus' comedy Satyroi. La scène du cratère de Polion à New York (MMA 25.78.66) représente une performance théâtrale. Ce sujet est difficile à arrimer avec l'inscription ΟΔΟΙ ΠΑΝΑΘΕΝΑΙΑ. Le débat sur la nouvelle musique fournit le contexte nécessaire à la compréhension de cette scène qui, pensons-nous, est en fait une référence visuelle à la comédie Satyroi de Phrynichus.
The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plo... more The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plot unfolds through flashes of playful utterances that relate to Greek song culture. Each of these subversively pokes fun at the dichotomy between the civilised and the uncivilised. Forms of and references to choreia and mousikē, embedded in the performative context of the satyr-drama, function on two levels: on the level of plot (traditional myth put on stage), they constitute a weapon against the giant; on the level of community and emotions, they reveal that, by the end of the 5 th century, protection offered by culture becomes vulnerable.
Studia musicologica Academiae Scientiarum Hungaricae, 1987
Page 1. Translation or Compilation? C:ontributions to the analysis of sources of Boethius&#x2... more Page 1. Translation or Compilation? C:ontributions to the analysis of sources of Boethius' De institutione musica Andras KARPATI Boethius' De institutione qnusicastands pre-eminent among the writings of ancient Latin scientific ...
The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plo... more The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plot unfolds through flashes of playful utterances that relate to Greek song culture. Each of these subversively pokes fun at the dichotomy between the civilised and the uncivilised. Forms of and references to choreia and mousikē, embedded in the performative context of the satyr-drama, function on two levels: on the level of plot (traditional myth put on stage), they constitute a weapon against the giant; on the level of community and emotions, they reveal that, by the end of the 5 th century, protection offered by culture becomes vulnerable.
Studia Musicologica Academiae Scientiarum Hungaricae, 1987
Page 1. Translation or Compilation? C:ontributions to the analysis of sources of Boethius&#x2... more Page 1. Translation or Compilation? C:ontributions to the analysis of sources of Boethius' De institutione musica Andras KARPATI Boethius' De institutione qnusicastands pre-eminent among the writings of ancient Latin scientific ...
This paper aims to show how Aeschylus uses abrupt shifts of musical register in order to explore ... more This paper aims to show how Aeschylus uses abrupt shifts of musical register in order to explore or to express what characters for some reason cannot verbalize. After specifying what is meant by an 'abrupt shift of musical register', I analyse the dramatic function of this effect by examining the three instances in Aeschylus where an epirrhematic section turns abruptly into an amoibaion (Ag. 1072-1177 and 1407-1576) or vice versa (Supp. 825-910). In Aeschylus' dramaturgy, the lyric/epirrhematic dialogue between a character and the chorus, embedded as it is in Greek mousikē and song-dance culture, seems inherently open to communicating on an additional, wordless ʻchannelʼ.
ABSTRACT The subject of the scene of the New York Polion krater (MMA 25.78.66) is a theatrical pe... more ABSTRACT The subject of the scene of the New York Polion krater (MMA 25.78.66) is a theatrical performance which is hard to reconcile with the inscription ΟΔΟΙ ΠΑΝΑΘΕΝΑΙΑ. The New Music debate provides the context necessary for understanding the scene, which, it is argued, is a visual reference to Phrynichus' comedy Satyroi. La scène du cratère de Polion à New York (MMA 25.78.66) représente une performance théâtrale. Ce sujet est difficile à arrimer avec l'inscription ΟΔΟΙ ΠΑΝΑΘΕΝΑΙΑ. Le débat sur la nouvelle musique fournit le contexte nécessaire à la compréhension de cette scène qui, pensons-nous, est en fait une référence visuelle à la comédie Satyroi de Phrynichus.
nemzetközi műkereskedelemből került nemrégiben a Szépművészeti Múzeum Antik Gyűjteményébe egy vör... more nemzetközi műkereskedelemből került nemrégiben a Szépművészeti Múzeum Antik Gyűjteményébe egy vörösalakos harangkratér. Az edényt a paestumi vázafestészet kiemelkedő mestere, Asteas díszítette Kr. e. 350-340 között, lelőhelye ismeretlen. 1 A főoldal élénk jelenete azonnal megragadja a nézőt: komikus alak furcsa táncához Dionysos fújja a talpalávalót (1a. kép). Új motívum egy ismert ábrázolási típuson belül. Ad-e új szempontot a típusjelenet értelmezéséhez? Kárpáti András (1959) a PTE BTK Klasszika-filológia Tanszékének docense. Fő kutatási területe a görög zene (musiké), énekes kartánc, színjátszás. Legutóbbi írása az Ókorban: Holt társaságok költője. A vátesz humora és a carmenek "Horatiusai" (2011/1).
The vase here published allows us to recognize a type, ‘musical contest scenes with hybrid kithar... more The vase here published allows us to recognize a type, ‘musical contest scenes with hybrid kithara ’, which arose in the late fifth century probably to distinguish competitors not yet of ephebic age.
The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plo... more The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plot unfolds through flashes of playful utterances that relate to Greek song culture. Each of these subversively pokes fun at the dichotomy between the civilised and the uncivilised. Forms of and references to choreia and mousikē, embedded in the performative context of the satyr-drama, function on two levels: on the level of plot (traditional myth put on stage), they constitute a weapon against the giant; on the level of community and emotions, they reveal that, by the end of the 5 th century, protection offered by culture becomes vulnerable.
Három, nyolc A zsoltáréneklés hasznosságáról. Bevezetés Niceta püspök homíliájához Niceta Remesia... more Három, nyolc A zsoltáréneklés hasznosságáról. Bevezetés Niceta püspök homíliájához Niceta Remesiana: A zsoltáréneklés hasznosságáról (Heidl György fordítása) A musziké mindensége A kereszténység igazságának bizonyítéka? Szempontok az egyházzene katolikus teológiájához Arvo Pärt és a spiritualitás Zongoraóra a szomszédban (vers) Nem épült semmi (esszé) Holtnyelvi változatok (vers) Mahler Dosztojevszkijt olvas; Harangoznak; Lassulás (versek) Tavaszi Hadjárat (regényrészlet) Minden este; Életjel (versek) Magyar Sztavroginok. Az Ördögök magyar recepciójáról (tanulmány) Ave Generosa (Üdvöz légy Fenséges) (vers) Bali Jánossal Mozart és a teremtett világ zenéje A magyar népzene lehetőségei a zeneterápiás gyakorlatban Száz éve született Szennay András Ami egy rejtett életből látható.
A nemzetközi műkereskedelemből került nemrégiben a Szépművészeti Múzeum Antik Gyűjteményébe egy v... more A nemzetközi műkereskedelemből került nemrégiben a Szépművészeti Múzeum Antik Gyűjteményébe egy vörösalakos harangkratér. Az edényt a paestumi vázafestészet kiemelkedő mestere, Asteas díszítette Kr. e. 350-340 között, lelőhelye ismeretlen. 1 A főoldal élénk jelenete azonnal megragadja a nézőt: komikus alak furcsa táncához Dionysos fújja a talpalávalót (1a. kép). Új motívum egy ismert ábrázolási típuson belül. Ad-e új szempontot a típusjelenet értelmezéséhez?
A pais kitharistēs on a Fifth-Century Krater: Innovation in Musical Contest Iconography and the '... more A pais kitharistēs on a Fifth-Century Krater: Innovation in Musical Contest Iconography and the 'Thracian' Kithara András Kárpáti N THE COLLECTION of the Budapest Museum of Fine Arts is an Attic red-figure calyx-krater (height 31.1 cm), which was given to the Department of Antiquities in 1951 by Elemér Kund. 1 The vase, dating to 450-425 B.C., is unpublished. 2 Apart from some chipping of the painted surface, the vessel is intact. Three figures are visible on each side. On side A (fig.1), a youth on a bēma wearing only a himation (which leaves his right arm free) holds a stringed instrument between flying Nikai-one with fillets (left), one with an untied wreath (right). On the reverse (side B, fig. 2), three youths are conversing. Winners of a mousikos agōn are common on Attic pottery. 3 However, the young musician on the Budapest vase 1 Elemér Kund (1885-1951), a learned art collector, having survived Mauthausen, became a victim of political trials under communism. Before his death, he donated a part of his collection to the Museum of Fine Arts. 2 Inv. no. 51.836, unattributed, without known provenance. It appears as a list entry in the guide to the 1947 exhibition of the Collection of Classical
This paper aims to show how Aeschylus uses abrupt shifts of musical register in order to explore ... more This paper aims to show how Aeschylus uses abrupt shifts of musical register in order to explore or to express what characters for some reason cannot verbalize. After specifying what is meant by an ‘abrupt shift of musical register’, I analyse the dramatic function of this effect by examining the three instances in Aeschylus where an epirrhematic section turns abruptly into an amoibaion (Ag. 1072–1177 and 1407–1576) or vice versa (Supp. 825–910). In Aeschylus’ dramaturgy, the lyric/epirrhematic dialogue between a character and the chorus, embedded as it is in Greek mousikē and song-dance culture, seems inherently open to communicating on an additional, wordless ʻchannelʼ.
ABSTRACT The subject of the scene of the New York Polion krater (MMA 25.78.66) is a theatrical pe... more ABSTRACT The subject of the scene of the New York Polion krater (MMA 25.78.66) is a theatrical performance which is hard to reconcile with the inscription ΟΔΟΙ ΠΑΝΑΘΕΝΑΙΑ. The New Music debate provides the context necessary for understanding the scene, which, it is argued, is a visual reference to Phrynichus' comedy Satyroi. La scène du cratère de Polion à New York (MMA 25.78.66) représente une performance théâtrale. Ce sujet est difficile à arrimer avec l'inscription ΟΔΟΙ ΠΑΝΑΘΕΝΑΙΑ. Le débat sur la nouvelle musique fournit le contexte nécessaire à la compréhension de cette scène qui, pensons-nous, est en fait une référence visuelle à la comédie Satyroi de Phrynichus.
The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plo... more The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plot unfolds through flashes of playful utterances that relate to Greek song culture. Each of these subversively pokes fun at the dichotomy between the civilised and the uncivilised. Forms of and references to choreia and mousikē, embedded in the performative context of the satyr-drama, function on two levels: on the level of plot (traditional myth put on stage), they constitute a weapon against the giant; on the level of community and emotions, they reveal that, by the end of the 5 th century, protection offered by culture becomes vulnerable.
Studia musicologica Academiae Scientiarum Hungaricae, 1987
Page 1. Translation or Compilation? C:ontributions to the analysis of sources of Boethius&#x2... more Page 1. Translation or Compilation? C:ontributions to the analysis of sources of Boethius' De institutione musica Andras KARPATI Boethius' De institutione qnusicastands pre-eminent among the writings of ancient Latin scientific ...
The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plo... more The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plot unfolds through flashes of playful utterances that relate to Greek song culture. Each of these subversively pokes fun at the dichotomy between the civilised and the uncivilised. Forms of and references to choreia and mousikē, embedded in the performative context of the satyr-drama, function on two levels: on the level of plot (traditional myth put on stage), they constitute a weapon against the giant; on the level of community and emotions, they reveal that, by the end of the 5 th century, protection offered by culture becomes vulnerable.
Studia Musicologica Academiae Scientiarum Hungaricae, 1987
Page 1. Translation or Compilation? C:ontributions to the analysis of sources of Boethius&#x2... more Page 1. Translation or Compilation? C:ontributions to the analysis of sources of Boethius' De institutione musica Andras KARPATI Boethius' De institutione qnusicastands pre-eminent among the writings of ancient Latin scientific ...
This paper aims to show how Aeschylus uses abrupt shifts of musical register in order to explore ... more This paper aims to show how Aeschylus uses abrupt shifts of musical register in order to explore or to express what characters for some reason cannot verbalize. After specifying what is meant by an 'abrupt shift of musical register', I analyse the dramatic function of this effect by examining the three instances in Aeschylus where an epirrhematic section turns abruptly into an amoibaion (Ag. 1072-1177 and 1407-1576) or vice versa (Supp. 825-910). In Aeschylus' dramaturgy, the lyric/epirrhematic dialogue between a character and the chorus, embedded as it is in Greek mousikē and song-dance culture, seems inherently open to communicating on an additional, wordless ʻchannelʼ.
ABSTRACT The subject of the scene of the New York Polion krater (MMA 25.78.66) is a theatrical pe... more ABSTRACT The subject of the scene of the New York Polion krater (MMA 25.78.66) is a theatrical performance which is hard to reconcile with the inscription ΟΔΟΙ ΠΑΝΑΘΕΝΑΙΑ. The New Music debate provides the context necessary for understanding the scene, which, it is argued, is a visual reference to Phrynichus' comedy Satyroi. La scène du cratère de Polion à New York (MMA 25.78.66) représente une performance théâtrale. Ce sujet est difficile à arrimer avec l'inscription ΟΔΟΙ ΠΑΝΑΘΕΝΑΙΑ. Le débat sur la nouvelle musique fournit le contexte nécessaire à la compréhension de cette scène qui, pensons-nous, est en fait une référence visuelle à la comédie Satyroi de Phrynichus.
nemzetközi műkereskedelemből került nemrégiben a Szépművészeti Múzeum Antik Gyűjteményébe egy vör... more nemzetközi műkereskedelemből került nemrégiben a Szépművészeti Múzeum Antik Gyűjteményébe egy vörösalakos harangkratér. Az edényt a paestumi vázafestészet kiemelkedő mestere, Asteas díszítette Kr. e. 350-340 között, lelőhelye ismeretlen. 1 A főoldal élénk jelenete azonnal megragadja a nézőt: komikus alak furcsa táncához Dionysos fújja a talpalávalót (1a. kép). Új motívum egy ismert ábrázolási típuson belül. Ad-e új szempontot a típusjelenet értelmezéséhez? Kárpáti András (1959) a PTE BTK Klasszika-filológia Tanszékének docense. Fő kutatási területe a görög zene (musiké), énekes kartánc, színjátszás. Legutóbbi írása az Ókorban: Holt társaságok költője. A vátesz humora és a carmenek "Horatiusai" (2011/1).
The vase here published allows us to recognize a type, ‘musical contest scenes with hybrid kithar... more The vase here published allows us to recognize a type, ‘musical contest scenes with hybrid kithara ’, which arose in the late fifth century probably to distinguish competitors not yet of ephebic age.
The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plo... more The aim of this paper is to explore the poetic function of mousikē in Euripides' Cyclops. The plot unfolds through flashes of playful utterances that relate to Greek song culture. Each of these subversively pokes fun at the dichotomy between the civilised and the uncivilised. Forms of and references to choreia and mousikē, embedded in the performative context of the satyr-drama, function on two levels: on the level of plot (traditional myth put on stage), they constitute a weapon against the giant; on the level of community and emotions, they reveal that, by the end of the 5 th century, protection offered by culture becomes vulnerable.
Három, nyolc A zsoltáréneklés hasznosságáról. Bevezetés Niceta püspök homíliájához Niceta Remesia... more Három, nyolc A zsoltáréneklés hasznosságáról. Bevezetés Niceta püspök homíliájához Niceta Remesiana: A zsoltáréneklés hasznosságáról (Heidl György fordítása) A musziké mindensége A kereszténység igazságának bizonyítéka? Szempontok az egyházzene katolikus teológiájához Arvo Pärt és a spiritualitás Zongoraóra a szomszédban (vers) Nem épült semmi (esszé) Holtnyelvi változatok (vers) Mahler Dosztojevszkijt olvas; Harangoznak; Lassulás (versek) Tavaszi Hadjárat (regényrészlet) Minden este; Életjel (versek) Magyar Sztavroginok. Az Ördögök magyar recepciójáról (tanulmány) Ave Generosa (Üdvöz légy Fenséges) (vers) Bali Jánossal Mozart és a teremtett világ zenéje A magyar népzene lehetőségei a zeneterápiás gyakorlatban Száz éve született Szennay András Ami egy rejtett életből látható.
A nemzetközi műkereskedelemből került nemrégiben a Szépművészeti Múzeum Antik Gyűjteményébe egy v... more A nemzetközi műkereskedelemből került nemrégiben a Szépművészeti Múzeum Antik Gyűjteményébe egy vörösalakos harangkratér. Az edényt a paestumi vázafestészet kiemelkedő mestere, Asteas díszítette Kr. e. 350-340 között, lelőhelye ismeretlen. 1 A főoldal élénk jelenete azonnal megragadja a nézőt: komikus alak furcsa táncához Dionysos fújja a talpalávalót (1a. kép). Új motívum egy ismert ábrázolási típuson belül. Ad-e új szempontot a típusjelenet értelmezéséhez?
Uploads
Papers by Andras Karpati