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Essays on the Origins of Western Music by David Whitwell Essay Nr. 51: On Women Performers of the ancient World Our sister, with her flowing hair arrayed In ivy wreaths. She tried the plaintive chords, Running her thumb across the strings, then, sweeping The music soft and low, she interpret this song, The praise of Ceres. Ovid, on the mythical Greek goddess, Calliope, mother of the storied musician, Orpheus.[1] The poet/ vocaliser who accompanied herself on a string instrument, above, matches akin descriptions of male poet/singers throughout the entire ancient world. The fact that she is besides mythical probably suggests a tradition older than literature. On the basis of extant literature of the ancient world, all that is singular is that it is a woman, for time has preserved relatively few surviving descriptions of female artists in the performance of art music. But one and only(a) has the feeling that that is a criticism of the writing of history and that in truth such female art singers were common in ancient Greece. A few later poems in esteem of Greek musicians include women as well, with no indication that they were considered r ar.

A poem by Agathias Scholasticus, for example, honors a deceased woman singer and lyre player. Alas! alas! this earth covers the tenth Muse, the lyric chanter of Rome and Alexandria. They have perished, the notes of the lyre; song hath perished as if dying together with Joanna. Perchance the nine Muses have imposed on themselves a law worthy of them -- to dwell in Joannas grave instead of on Helicon.[2] Additional aesthetic insights by this poet are found in a poem which speaks of a harp-playing sad actress, named Ariadne. The poet voices his fear that this artist of art music might be taken over for use in the Bacchus ceremonies. Whenever she strikes her harp with the plectrum, it seems to be the echo of Terpsichores strings,... If you want to get a full essay, order it on our website: Orderessay

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