Where does music come from? What kind of agency does a song have? What is at the root of musical pleasure? Can music die? These are some of the questions the Greeks and the Romans asked about music, song, and the soundscape within which they lived, and that this book examines. Focusing on mythical narratives of metamorphosis, it investigates the aesthetic and ontological questions raised by fantastic stories of musical origins. Each chapter opens with an ancient text devoted to a musical metamorphosis (of a girl into a bird, a nymph into an echo, men into cicadas, etc.) and reads that text as a meditation on an aesthetic and ontological question, in dialogue with 'contemporary' debates - contemporary with debates in the Greco-Roman culture that gave rise to the story, and with modern debates in the posthumanities about what it means to be a human animal enmeshed in a musicking environment.

Where does music come from? What kind of agency does a song have? What is at the root of musical pleasure? Can music die? These are some of the questions the Greeks and the Romans asked about music, song, and the soundscape within which they lived, and that this book examines. Focusing on mythical narratives of metamorphosis, it investigates the aesthetic and ontological questions raised by fantastic stories of musical origins. Each chapter opens with an ancient text devoted to a musical metamorphosis (of a girl into a bird, a nymph into an echo, men into cicadas, etc.) and reads that text as a meditation on an aesthetic and ontological question, in dialogue with 'contemporary' debates - contemporary with debates in the Greco-Roman culture that gave rise to the story, and with modern debates in the posthumanities about what it means to be a human animal enmeshed in a musicking environment.

This is the first monograph entirely devoted to the corpus of late classical Greek lyric poetry. Not only have the dithyrambs and kitharodic nomes of the New Musicians Timotheus and Philoxenus, the hymns of Aristotle and Ariphron, and the epigraphic paeans of Philodamus of Scarpheia and Isyllus of Epidaurus never been studied together, they have also remained hidden behind a series of critical prejudices - political, literary and aesthetic. Professor LeVen's book provides readings of these little-known poems and combines engagement with the style, narrative technique, poetics and reception of the texts with attention to the socio-cultural forces that shaped them. In examining the protean notions of tradition and innovation, the book contributes to the current re-evaluation of the landscape of Greek poetry and performance in the late classical period and bridges a gap in our understanding of Greek literary history between the early classical and the Hellenistic periods.

This is the first monograph entirely devoted to the corpus of late-classical Greek lyric poetry. Not only have the dithyrambs and kitharodic nomes of the New Musicians Timotheus and Philoxenus, the hymns of Aristotle and Ariphron, and the epigraphic paeans of Philodamus of Scarpheia and Isyllus of Epidaurus never been studied together, they have also remained hidden behind a series of critical prejudices - political, literary and aesthetic. Professor LeVen's book provides readings of these little-known poems and combines engagement with the style, narrative technique, poetics and reception of the texts with attention to the socio-cultural forces that shaped them. In examining the protean notions of tradition and innovation, the book contributes to the current re-evaluation of the landscape of Greek poetry and performance in the late classical period and bridges a gap in our understanding of Greek literary history between the early classical and the Hellenistic periods.