Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890-1930

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Epigraph
Acknowledgements
List of Figures
List of Music Examples
Chapter 1. Introduction: Musicology, Archaeology, Performance
Chapter 2. Gabriel Faure and Theodore Reinach: Hidden Pianos and L'Hymne a Apollon
Chapter 3. Performing Sappho's Fractured Archive, or Listening for the Queer Sounds in the Life and Works of Natalie Clifford Barney
Chapter 4. Performing Scholarship for the Paris Opera: Maurice Emmanuel's Salamine (1929)
Chapter 5. To Give Greece Back to the Greeks: Archeology, Ethnography and Eva Palmer Sikelianos' Prometheus Bound
Chapter 6. Scholars and Their Objects of Study
or, Loving Your Subject
Notes
Bibliography
Index

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Performing Antiquity: Ancient Greek Music and Dance from Paris to Delphi, 1890-1930 investigates collaborations between French and American scholars of Greek antiquity (archaeologists, philologists, classicists, and musicologists), and the performing artists (dancers, composers, choreographers and musicians) who brought their research to life at the birth of Modernism. The book tells the story of performances taking place at academic conferences, the Paris Opéra, ancient amphitheaters in Delphi, and private homes. These musical and dance collaborations are built on reciprocity: the performers gain new insight into their craft while learning new techniques or repertoire and the scholars gain an opportunity to bring theory into experimental practice, that is, they have a chance see/hear/experience what they have studied and imagined. The performers receive the imprimatur of scholarship, the stamp of authenticity, and validation for their creative activities. Drawing from methods and theory from musicology, dance studies, performance studies, queer studies, archaeology, classics and art history the book shows how new scholarly methods and technologies altered the performance, and, ultimately, the reception of music and dance of the past. Acknowledging and critically examining the complex relationships performers and scholars had with the pasts they studied does not undermine their work. Rather, understanding our own limits, biases, dreams, obsessions, desires, loves, and fears enriches the ways we perform the past.

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