Publication: Aspectos sociales de la música griega: en torno al mito de Apolo y Marsias
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2016-04-18
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Universidad Complutense de Madrid
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Abstract
El presente trabajo intenta adentrarse en los aspectos sociales de la música griega en torno al mito de Apolo y Marsias. Este mito que aparece en los textos tras las Guerras Médicas dentro de la sociedad ateniense de la segunda mitad del siglo V a.C. puede reflejar el inicio de la reforma musical y las controversias que giraron alrededor de ella. El episodio ateniense del mito, en el cual la diosa Atenea rechaza el aulós por deformar su rostro, puede considerarse como el principio de uno de los mitos musicales más sugerentes y seductores que empezó a gestarse durante el período clásico y fue cautivando a poetas, mitógrafos, historiadores y oradores, tanto griegos como romanos, de diferentes épocas. Incluso el mito permaneció presente en los círculos académicos y culturales tras la caída de Roma y fue en la parte oriental del Imperio Romano en la que el mito permaneció vivo hasta el Renacimiento, aunque en sus elementos narrativos ya no aparecieron variaciones y el mito conservó su relato presente en la larga tradición greco-romana. El relato del mito y sus diferentes elementos narrativos que le van configurando no solo su relato, sino también las diferentes referencias geográficas, artísticas, musicales y literarias de la contienda musical y del sátiro Marsias, nos permiten analizar el trasfondo cultural y social de la música griega presente en toda la antigüedad. Las transformaciones musicales del siglo V a.C. afectaron a varios términos que hasta este momento se mantuvieron en la ambigüedad social y musical al mismo tiempo. Conceptos como los de armonía, nomos, ethos, modulación fueron adquiriendo paulatinamente un sentido plenamente musical que contribuyó a la formación de un vocabulario específico. Este proceso puede considerarse como una de las transformaciones que propiciaron una serie de cambios profundos en el seno de la sociedad griega que afectaron a los planteamientos tanto políticos, como económicos y sociales que hasta este momento venían caracterizando su devenir histórico...
This study tries to go into the social aspects of the Greek music around the myth of Apollo and Marsyas. This myth, which appears in texts after the Persian Wars, in the Athenian society of the second half of 5th century B.C., can reflect the beginning of the musical reform and the controversies around it. The Athenian episode of the myth, in which the goddess Athena rejects the aulos for distorting her face, can be considered the beginning of one of the most suggestive and captivating musical myths, which took shape during the classical period and captivated poets, mythographers, historians and orators, both Greeks and Romans, of different ages. Even the myth remained present in the academic and cultural circles after the fall of Rome and it was in the eastern part of the Roman Empire where the myth remained alive until the Renaissance, although its narrative elements did not change and the story present in the long Greco-Roman tradition was maintained. The story of the myth and the different narrative elements that shape not only its story but also the different geographic, artistic, musical and literary references of the musical contest and the satyr Marsyas, allow us to analyze the cultural and social background of the present Greek music along the Antiquity. The musical changes in the 5th century B.C. affected several terms until then remained in social and musical ambiguity at the same time. Concepts such us harmony, nomos, ethos and modulation were gradually acquiring a full musical sense that contributed to the formation of a specific vocabulary. This process can be considered one of the transformations that favoured a series of deep changes within Greek society that affected to the political, economic and social proposals that hitherto characterized its historical development..
This study tries to go into the social aspects of the Greek music around the myth of Apollo and Marsyas. This myth, which appears in texts after the Persian Wars, in the Athenian society of the second half of 5th century B.C., can reflect the beginning of the musical reform and the controversies around it. The Athenian episode of the myth, in which the goddess Athena rejects the aulos for distorting her face, can be considered the beginning of one of the most suggestive and captivating musical myths, which took shape during the classical period and captivated poets, mythographers, historians and orators, both Greeks and Romans, of different ages. Even the myth remained present in the academic and cultural circles after the fall of Rome and it was in the eastern part of the Roman Empire where the myth remained alive until the Renaissance, although its narrative elements did not change and the story present in the long Greco-Roman tradition was maintained. The story of the myth and the different narrative elements that shape not only its story but also the different geographic, artistic, musical and literary references of the musical contest and the satyr Marsyas, allow us to analyze the cultural and social background of the present Greek music along the Antiquity. The musical changes in the 5th century B.C. affected several terms until then remained in social and musical ambiguity at the same time. Concepts such us harmony, nomos, ethos and modulation were gradually acquiring a full musical sense that contributed to the formation of a specific vocabulary. This process can be considered one of the transformations that favoured a series of deep changes within Greek society that affected to the political, economic and social proposals that hitherto characterized its historical development..
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, Departamento de Historia Antigua, leída el 14-01-2016. Retirada por expreso deseo del autor el 18-04-2016 al ser anterior al RD 1999/2011