[Usyd_Classics_Events] Reminder: Critical Antiquities Workshop this Thursday (March 21): Sean Gurd

[Ben Brown]

Dear Friends of Critical Antiquities,

Please find below the Zoom details for the first Critical Antiquities Workshop for 2024, where we will hear Sean Gurd (University of Texas, Austin) present his paper, ‘Philology and Music: Uncomfortable Entanglements.’

https://url.au.m.mimecastprotect.com/s/SAdtCP7LAXfvrYxXDSzJu1p?domain=uow-au.zoom.us<https://url.au.m.mimecastprotect.com/s/SAdtCP7LAXfvrYxXDSzJu1p?domain=uow-au.zoom.us>

Passcode: 890730

The event will take place on Zoom on Thursday, March 21, 9:30-11:00am (Sydney, Canberra, Melbourne time).

Here is the time in other locations:


  *   Los Angeles/Vancouver: Wednesday, March 20, 15:30-17:00
  *   Mexico City: Wednesday, March 20, 16:30-18:00
  *   Chicago: Wednesday, March 20, 17:30-19:00
  *   New York: Wednesday, March 20, 18:30-20:00.
  *   Santiago/Buenos Aires/Rio de Janeiro: Wednesday, March 20, 19:30-21:00
  *   Dublin/Belfast/London: Wednesday, March 20, 22:30-00:00
  *   Paris/Berlin/Rome: Wednesday, March 20, 23:30-1:00
  *   Johannesburg/Athens/Cairo: Thursday, March 21, 00:30-2:00
  *   Beijing/Singapore/Perth: Thursday, March 21, 06:30-8:00
  *   Tokyo: Thursday, March 21, 07:30-9:00
  *   Darwin: Thursday, March 21, 8:00-9:30
  *   Brisbane: Thursday, March 21, 8:30-10:00
  *   Adelaide: Thursday, March 21, 9:00-10:30

Here is the abstract:

This paper presents an overview of the interactions between the two arts (technai) which in the ancient world set themselves the task of disciplining the voice, that is, of taking what Plato called the “infinite” material of vocal expression and imposing limits and form upon it. These arts were music (techne mousike) and philology or grammar (techne grammatike). I argue that our view of music is unavoidably clouded by the fact that so much of the evidence about music comes through us through a grammatical filter, and I attempt to identify some of the ways in which philology’s disciplinary biases and self-defining procedures can be seen to inform, and even warp, written evidence for musical practice. As a case study, I treat the history of the debate over the relationship between the pitch accent and melodic contour, a debate which, I argue, is decisively conditioned not by any musical constraint or rule, but by the internal procedures and ideological consequences of the system of grammatical knowledge, above all as these are reflected in the techne grammatike attributed to Dionysius of Thrace and the commentaries which accrued around it.

We hope to see you there,

Tristan and Ben
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