The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Naomi Weiss demonstrates that Euripides' allusions to music-making are not just metatheatrical flourishes or gestures towards musical and religious practices external to the drama but closely interwoven with the dramatic plot. Situating Euripides' experimentation with the dramaturgical effects of mousike within a broader cultural context, she shows how much of his novelty lies in his reinvention of traditional lyric styles and motifs for the tragic stage. If we wish to understand better the trajectories of this most important ancient art form, The Music of Tragedy argues, we must pay closer attention to the role played by both music and text.
Naomi Weiss is Assistant Professor of Classics at Harvard University. She has published articles on tragedy, Pindar, and ancient Greek musical culture, and is coeditor of a volume on the genres of archaic and classical Greek lyric.
Acknowledgments Abbreviations Note on Editions and Translations Introduction: In Search of Tragedy's Music 1. Words, Music, and Dance in Archaic Lyric and Classical Tragedy Before Tragedy: Imaginative Suggestion in Archaic Choral Lyric Metamusical Play in Aeschylus, Sophocles, and Early Euripides 2. Chorus, Character, and Plot in Electra Electra and the Chorus Performed Ecphrasis Choral Anticipation and Enactment 3. Musical Absence in Trojan Women The Paradox of Absent Choreia New Songs and Past Performances Performing the Fall of Troy 4. Protean Singers and the Shaping of Narrative in Helen Birdsong and Lament New Music Travel and Epiphany 5. From Choreia to Monody in Iphigenia in Aulis Spectatorship, Enactment, and Desire Past and Present Mousike Choreia and Monody Conclusion: Euripides' Musical Innovations Works Cited General Index Index Locorum