By Lucia Athanassaki, Ewen Bowie
This e-book addresses the functionality and dissemination of Greek poems of the 7th to the 5th centuries BC whose premieres have been offered through a refrain making a song in a ritual context or in secular celebrations of athletic victories. It explores how choruses provided themselves; individuals´ and communities´ roles in investment performances and securing the circulate of texts; how performances persevered inside and out family members and town, no matter if chorally or in symposia; and the way such performances contributed to transmission of the poems´ texts till they have been gathered by means of Hellenistic students.
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Additional info for Archaic and Classical Choral Song: Performance, Politics and Dissemination (Trends in Classics)
They are also said to know how to imitate the voices of all men and their κρεμβαλιαστύν (if this reading is correct), and ‘each individual would suppose that he himself were speaking’: πρὸς δὲ τόδε μέγα θαῦμα, ὅου κλέος οὔποτ’ ὀλεῖται, κοῦραι Δηλιάδες Ἑκατηβελέταο θεράπναι· Reflections of choral song in early hexameter poetry αἵ τ’ ἐπεὶ ἂρ πρῶτον μὲν Ἀπόλλων’ ὑμνήσωσιν, αὖτις δ’ αὖ Λητώ τε καὶ Ἄρτεμιν ἰοχέαιραν, μνησάμεναι ἀνδρῶν τε παλαιῶν ἠδὲ γυναικῶν ὕμνον ἀείδουσιν, θέλγουσι δὲ φῦλ’ ἀνθρώπων.
275 280 285 (Hes. Sc. 270–84) Next, there was a city of men with goodly towers; and seven gates of gold, fitted to the lintels, guarded it. The men were making merry with festivities and dances; some were bringing home a bride to her husband on a wellwheeled car, while the bridal song swelled high,  and the glow of blazing torches held by handmaidens rolled in waves afar.