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[German version] (Ὠλήν/ Ōlḗn). Founder of a cult, from the time before Orpheus (Paus. 9,27,2), from Lycia (Callim. H. 4,304-305) or descending from the Hyperboreans (Paus. 10,5,7-8). O. brought the worship of Apollo (cf. his epithet Lýkeios , Aesch. Ag. 1257) to Delphi (Paus. 10,5,7-8). He also brought hymns to Eileithyia (ibid. 1,18,5), Hera (ibid. 2,13,3) and the Hyperboreans Opis and Arge (Hdt. 4,35) to Delos, where these hymns were still sung in the 2nd cent. AD; Pausanias quotes them (2,13,3; 5,7,8; 8,21,3; 9,27,2). Harmon, Roger (Basle)

[German version] I. Introduction Historical studies of music in the ancient world, as in other eras, tacitly assumed that the contributions of men are the unspoken universal, with women's contributions being regarded only as a special case. A gender-conscious examination (cf. Gender studies) of ancient musical culture reveals paradigms such as ‘public/private’, ‘productive/reproductive’ or ‘canonical/non-canonical,’ which were identified by feminist musicologists for later eras [17; 12; 3; 10; 19; 1…

(Ζῆθος/ Zêthos). [German version] [1] Son of Zeus and Antiope (Pind. fr. 52k,44: Ζέαθος/ Zéathos). Son of Zeus and Antiope [1]. A parallel is sometimes drawn between Z. and his twin brother Amphion [1], and Castor and Polydeuces (Dioscuri) (Pherecydes FGrH 3 F 124; Eur. HF 29). Together with Zeus, Epopeus is also considered to be their father (Asius fr. 1 EpGF). Exposed after birth, the twins are brought up by herdsmen (Exposure, myths and legends of). When Antiope manages to escape from her captivity by Dirc…

[German version] (Πρόνομος/ Prónomos). The most outstanding of the Theban auletes (Anth. Plan. 16,28), aulos teacher of Alcibiades [3] (Ath. 4,184d). Was the first to play several keys on one and the same aulos (Paus. 9,12,5; cf. Ath. 14,631e). His facial expression and body movement heightened the effectiveness of his playing (Paus. 9,12,6). A vase painting from c. 400 BC depicts P. playing (interpretation of the painting is debated [1. 186-187; 2]). As late as 369 BC, his melodies were played to accompany the building of Messene (Paus. 4,27,7). Harmon, Roger (Basle) Bibliography 1 Pi…

[German version] (σιμῳδία/ simōidía). A Hellenistic genre of ‘low’ lyric poetry, named after its most important representative, Simus of Magnesia (Str. 14,1,41; Aristocles in Ath. 14,620d). According to Aristocles, sim ōidía was a newer term for hilarōidía (Ath. loc.cit.), which had become popular with some because of the fame of Simus in comparison to earlier hilarōidoí. It is related by Strabo to lysiōidía (‘play with female characters in male attire’) and magōidía (‘rude pantomime’; Str. loc.cit.; cf. Ath. 14,620e) as well as to kinaidologeȋn (‘talk of obscene things’); cf. Ath.…

[German version] (τεχνῖται/ technîtai). Originally a general term for artisans and artists, attested epigraphically from 278/7 BC in the (always expanded [1. 2519]) formula οἱ περὶ τὸν Διόνυσον τεχνῖται ('the technitai around Dionysus'). These 'artists' associations' ( koina, synodoi) brought together, amongst others musicians, poets, actors(perh. including women: [2. 54-55], but cf. [1. 2527]), providers of costumes and stage properties, to meet the increasing demand for musical and staged performances of the Attic style in the He…