{"id":2127,"date":"2024-10-08T14:49:44","date_gmt":"2024-10-08T12:49:44","guid":{"rendered":"https:\/\/www.secolidimezzo.com\/non-categorizzato\/%e1%bc%91%ce%bd%ce%b4%ce%b5%ce%ba%ce%ac%cf%87%ce%bf%cf%81%ce%b4%ce%bf%cf%82\/"},"modified":"2025-03-23T14:41:23","modified_gmt":"2025-03-23T13:41:23","slug":"%e1%bc%91%ce%bd%ce%b4%ce%b5%ce%ba%ce%ac%cf%87%ce%bf%cf%81%ce%b4%ce%bf%cf%82","status":"publish","type":"post","link":"https:\/\/www.secolidimezzo.com\/en\/remarkable-words\/%E1%BC%91%CE%BD%CE%B4%CE%B5%CE%BA%CE%AC%CF%87%CE%BF%CF%81%CE%B4%CE%BF%CF%82\/","title":{"rendered":"\u1f11\u03bd\u03b4\u03b5\u03ba\u03ac\u03c7\u03bf\u03c1\u03b4\u03bf\u03c2"},"content":{"rendered":"

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[Entry]<\/strong> \u1f11\u03bd\u03b4\u03b5\u03ba\u03ac\u03c7\u03bf\u03c1\u03b4\u03bf\u03c2, \u03bf\u03bd (adj.)<\/p>\n

[Translation]<\/strong> \u00abhendecachord\u00bb, \u00abof eleven strings\u00bb<\/p>\n

[Source]<\/strong> Cleonid. Isag. Harm.<\/em> 12 (p. 202 Jan) = Man. Bryenn. Harm.<\/em> 1, 8 (p. 116 Jonker)<\/p>\n

[Other occurrences]<\/strong> hapax legomenon<\/em><\/p>\n

[Reference editions]<\/strong> Ion Chius fr. 5 Gent.-Pr. = 32 West2 <\/sup>= 93 Leurini = 4 Valerio<\/p>\n<\/div>

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[Brief Discussion]<\/strong><\/p><\/div>

In its only occurrence in l. 1 of fr. 5 Gent.-Pr. of Ion of Chios, the compound is an attribute of \u03bb\u03cd\u03c1\u03b1: in Archaic and Classical poetry the term \u03bb\u03cd\u03c1\u03b1 – like \u03ba\u03af\u03b8\u03b1\u03c1\u03b9\u03c2\/\u03ba\u03b9\u03b8\u03ac\u03c1\u03b1 and \u03c6\u03cc\u03c1\u03bc\u03b9\u03b3\u03be – generically denotes the stringed instrument (see WEST 1992, 24). The adjective, which is to be related to the hapax<\/em> \u1f11\u03bd\u03b4\u03b5\u03ba\u03b1\u03ba\u03c1\u03bf\u03cd\u03bc\u03b1\u03c4\u03bf\u03c2 (\u00abof eleven sounds\u00bb, Timoth. fr. 719, 230 PMG),<\/em> is to be placed within the debate on \u03c0\u03bf\u03bb\u03c5\u03c7\u03bf\u03c1\u03b4\u03af\u03b1, i.e.<\/em> the increase in the number of strings compared to the traditional heptachord linked to the figure of Terpander of Lesbos (Terp. fr. 4 Gostoli; Strab. 13, 2, 4; Plin. Nat. hist.<\/em> 7, 204; Suda<\/em> \u03c4 354 s.v. \u03a4\u03ad\u03c1\u03c0\u03b1\u03bd\u03b4\u03c1\u03bf\u03c2; Nicom. ap. Boeth. mus.<\/em> 1, 20, p. 205 Friedlein). The progressive addition of strings to the instrument, effectively expanding its melodic possibilities, is one of the most representative innovations of the musical ‘revolution’ of the 5th-4th centuries BC, probably in imitation of the \u03b1\u1f50\u03bb\u03cc\u03c2 (Plat. Resp.<\/em> 3, 399d and cf. Leg.<\/em> 3, 700d); in particular, the sources converge around the name of Timotheus of Miletus, who attributes to himself the inventio<\/em> of the \u03ba\u03af\u03b8\u03b1\u03c1\u03b9\u03c2 \u00abof eleven sounds\u00bb in fr. 719, 229-231 PMG.<\/em> Such \u03c0\u03bf\u03bb\u03c5\u03c7\u03bf\u03c1\u03b4\u03af\u03b1 is looked upon with suspicion by the proponents of ancient musical taste (Pherecr. fr. 155 K.-A.; Plat. Resp.<\/em> 3, 399c-d), even to the point of being negatively contrasted by Aristoxenian-minded speculation to the \u1f40\u03bb\u03b9\u03b3\u03bf\u03c7\u03bf\u03c1\u03b4\u03af\u03b1 (Ps.-Plut. De mus.<\/em> 1137a-b).<\/p>\n<\/div>

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[Bibliography]<\/strong><\/p><\/div>

E. K. BORTHWICK, ‘Some Problems in Musical Terminology’, CQ<\/em> 17, 1967, 145-157; E. CSAPO, ‘The Politics of the New Music’, in P. MURRAY – P. WILSON (edd.), Music and the Muses: The Culture of <\/em>Mousike in the Classical Athenian City<\/em>, Oxford 2004, 207-248; P. A. LEVEN, The Many-Headed Muse. Tradition and Innovation in Late Classical Greek Lyric Poetry<\/em>, Cambridge 2014, 80-83; M. MAAS, ‘Polychordia and the Fourth-Century Greek Lyre’, The Journal of Musicology<\/em> 10, 1992, 74-88; T. POWER, ‘Ion of Chios and the Politics of Polychordia<\/em>‘, in V. J. JENNINGS – A. K. KATSAROS (edd.), The World of Ion of Chios<\/em>, Leiden-Boston 2007, 179-205; M. L. WEST, ‘Analecta Musica’, ZPE<\/em> 192, 1992, 23-28.<\/p>\n<\/div>

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[Keywords]<\/strong><\/p><\/div>

Polychordia<\/em>, hendecachord, musical innovations<\/p>\n<\/div><\/div><\/div>

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[Serena Napoleone]<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[133,138],"tags":[],"class_list":["post-2127","post","type-post","status-publish","format-standard","hentry","category-notable-words","category--en"],"yoast_head":"\n\u1f11\u03bd\u03b4\u03b5\u03ba\u03ac\u03c7\u03bf\u03c1\u03b4\u03bf\u03c2 - Secoli di Mezzo<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.secolidimezzo.com\/en\/remarkable-words\/\u1f11\u03bd\u03b4\u03b5\u03ba\u03ac\u03c7\u03bf\u03c1\u03b4\u03bf\u03c2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u1f11\u03bd\u03b4\u03b5\u03ba\u03ac\u03c7\u03bf\u03c1\u03b4\u03bf\u03c2 - 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