[Entry]<\/strong> \u03c0\u03bf\u03bb\u1f7b\u03c7\u03bf\u03c1\u03b4\u03bf\u03c2<\/p>\n[Translation]<\/strong> \u00abwith many strings\u00bb, or in a broader sense \u00abwith many sounds\u00bb<\/p>\n[Source]<\/strong> Plat. Resp<\/em>. 399d<\/p>\n[Other occurrences]<\/strong> adesp. 947b.2 PMG (Simon. ?); Eu. Med<\/em>. 196 ; [Eu .] Rhes<\/em>. 548 ; Theoc. 16, 45; Plut. De unius in republica dominatione <\/em>827a-b<\/p>\n[Reference editions]<\/strong> Plat. Resp<\/em>. 399d<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Brief discussion]<\/strong><\/p><\/div>Versatility and variety, both of harmonies and of instruments (in particular of the \u03b1\u1f50\u03bb\u03cc\u03c2), are considered to be among the peculiar characteristics of the New Music. The adjective \u03c0\u03bf\u03bb\u03cd\u03c7\u03bf\u03c1\u03b4\u03bf\u03c2, like the compounds to which it can be approached by semantic association and connotation \u2013 \u03c0\u03bf\u03bb\u03cd\u03ba\u03b1\u03bc\u03c0\u03c4\u03bf\u03c2, \u03c0\u03bf\u03bb\u03c5\u03b3\u03bd\u03ce\u03bc\u03c9\u03bd, \u03c0\u03bf\u03bb\u03cd\u03bb\u03bf\u03b3\u03bf\u03c2, \u03c0\u03bf\u03bb\u03cd\u03c4\u03c1\u03bf\u03c0\u03bf\u03c2, \u03c0\u03bf\u03bb\u03cd\u03c6\u03b8\u03bf\u03b3\u03bf\u03c2 -, draws attention in particular to the dual idea of complexity and multiplicity of sounds and, more implicitly, to the fact that the New Music owes its success with the masses mainly to virtuosity. This is condemned by many authors, including Plato in the Republic<\/em>. Indeed, as Vegetti (1998, 113 n. 88) recalls, \u00abin the polis<\/em> of the Republic<\/em>, the \u201csimple\u201d soul type (haple<\/em>) must prevail\u00bb. Striking in the Platonic passage is the occurrence of \u03c0\u03bf\u03bb\u03c5\u03c7\u03bf\u03c1\u03b4\u03af\u03b1 (Resp.<\/em> 399c) a short distance away from the adjective \u03c0\u03bf\u03bb\u03cd\u03c7\u03bf\u03c1\u03b4\u03bf\u03c2, the latter in reference to the \u03b1\u1f50\u03bb\u03cc\u03c2, despite the latter being an aerophone and not a chordophone, a sign of an extension of the concept of poly-chordia<\/em> into poly<\/em>–phony<\/em> as early as Plato\u2019s time (or perhaps, if one attributes to Simonides the fr. adesp. 947b PMG, as early as the 5th century).<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Bibliography]<\/strong><\/p><\/div>E. ROCCONI, Le parole delle Muse: la formazione del lessico tecnico musicale nella Grecia antica<\/em>, Roma 2003, 19 n. 69 e 35 n. 183; M. RAFFA, \u2018Suonare la parola, pronunciare la melodia: L\u2019aul\u00f3s come ‘doppio’ strumentale\u2019, Il Saggiatore musicale<\/em> 15\/2, 2008, 187-189.<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div>
[Keywords]<\/strong><\/p><\/div>Multiplicity of sounds, virtuosity, musical corruption<\/p>\n<\/div><\/div><\/div>
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[Francesco Bu\u00e8]<\/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":[133,151],"tags":[],"class_list":["post-3315","post","type-post","status-publish","format-standard","hentry","category-notable-words","category--en"],"yoast_head":"\n
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