title: A Reading of Fragments 926(a) and 926(g) PMG within the Context of the New Music
metadata.name: dc.contributor.author
metadata.value: Kousoulini, Vasiliki
metadata.lang: -
metadata.name: dc.date.accessioned
metadata.value: 2021-12-03T16:44:29Z
metadata.lang: -
metadata.name: dc.date.available
metadata.value: 2021-12-03T16:44:29Z
metadata.lang: -
metadata.name: dc.date.issued
metadata.value: 2021-03
metadata.lang: -
metadata.name: dc.identifier.citation
metadata.value: Kousoulini V. A Reading of Fragments 926(a) and 926(g) PMG within the Context of the New Music. Philologia Classica 2021, 16 (1), 18–31.
metadata.lang: en_GB
metadata.name: dc.identifier.other
metadata.value: A Reading of Fragments 926(a) and 926(g) PMG within the Context of the New Music
metadata.lang: -
metadata.name: dc.identifier.uri
metadata.value: http://hdl.handle.net/11701/33753
metadata.lang: -
metadata.name: dc.description.abstract
metadata.value: There has been much controversy regarding the date, the performative context, and the generic
  quality of fragment 926 PMG, which has been preserved on papyrus (P. Oxy. 9 + P. Oxy 2687)
  in a rhythmical treatise by an unknown author. The verse fragments on this papyrus were
  composed in iambic dactyls (∪ — ∪ –) and used as examples of the occurrence of syncope in
  various lyric meters. Fragments 926(a) and (g) PMG are from a composition performed by a
  maiden chorus which bear similarities to Alcman’s partheneia and have affinities with archaic
  epic and lyric poetry. Supposedly, these fragments might have been fragments of partheneia
  composed in the time of the New Music. Nonetheless, they are not shaped according to the
  bulk of the aesthetic values and the compositional rules of the New Music. These fragments
  seem to belong to cultic songs created for maiden choruses, possibly, to honor Dionysus. The
  alternative is that they imitate such songs within a dramatic context. We may assume that
  these quasi-dithyrambic partheneia were composed to serve religious needs or at least imitated
  cultic songs. They looked backward to the archaic and early classical tradition of partheneia,
  and their existence is an indication that, in the days of the New Music, there was a poetic
  tradition upheld by “reactionary” poets.
metadata.lang: en_GB
metadata.name: dc.description.sponsorship
metadata.value: This research is co-financed by Greece and the European Union (European Social Fund- ESF)
  through the Operational Programme “Human Resources Development, Education and Lifelong Learning”
  in the context of the project “Reinforcement of Postdoctoral Researchers — 2nd Cycle” (MIS-5033021),
  implemented by the State Scholarships Foundation (ΙΚΥ).
metadata.lang: en_GB
metadata.name: dc.language.iso
metadata.value: en
metadata.lang: en_GB
metadata.name: dc.publisher
metadata.value: St Petersburg State University
metadata.lang: en_GB
metadata.name: dc.relation.ispartofseries
metadata.value: Philologia Classica;Volume 16; Issue 1
metadata.lang: -
metadata.name: dc.subject
metadata.value: New Music
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: partheneia
metadata.lang: en_GB
metadata.name: dc.subject
metadata.value: late classical lyric
metadata.lang: en_GB
metadata.name: dc.title
metadata.value: A Reading of Fragments 926(a) and 926(g) PMG within the Context of the New Music
metadata.lang: en_GB
metadata.name: dc.type
metadata.value: Article
metadata.lang: en_GB
resources.filename: 18-31.pdf
resources.url: https://dspace.spbu.ru/bitstream/11701/33753/1/18-31.pdf
resources.format: Adobe PDF
resources.size: 733,98 kB