Music, spectacle, and society in ancient Rome, 168 BC - AD 68
This thesis explores the cultural history of music in ancient Rome from the mid-second century BC to the death of the Emperor Nero in AD 68. The discussion centres on the role of music in public and private spectacle. Rather than examining the topic in isolation, the thesis seeks to pinpoint the intersections between musical performance and cultural debates about morality, luxury, education, and philhellenism, as a way of situating music within a broader historical context. The thesis is structured chronologically. Chapter I examines Polybius' narration of the theatrical games staged by the triumphator L. Anicius Gallus in 167 BC. Anicius' subversive treatment of Greek musical models is interpreted as a deliberately comical gesture, playing to the theme of military conquest. The second half of the chapter analyses the episode in the light of Greek and Roman debates about musical entertainment in this period. Chapter II focuses on the late Republic. I argue that late Republican writers used music as a way of framing the political conflict between optimates and populares, associating 'good' music with the aristocratic mos maiorum and 'bad' music with a disruptive kind of popular entertainment. Chapter III, on
Morgan, Harry
History, Ancient
Music, spectacle, and society in ancient Rome, 168 BC - AD 68. This thesis explores the cultural history of music in ancient Rome from the mid-second century BC to the death of the Emperor Nero in AD 68. The discussion centres on the role of music in public and private spectacle. Rather than examining the topic in isolation, the thesis seeks to pinpoint the intersections between musical performance and cultural debates about morality, luxury, education, and philhellenism, as a way of situating music within a broader historical context. The thesis is structured chronologically. Chapter I examines Polybius' narration of the theatrical games staged by the triumphator L. Anicius Gallus in 167 BC. Anicius' subversive treatment of Greek musical models is interpreted as a deliberately comical gesture, playing to the theme of military conquest. The second half of the chapter analyses the episode in the light of Greek and Roman debates about musical entertainment in this period. Chapter II focuses on the late Republic. I argue that late Republican writers used music as a way of framing the political conflict between optimates and populares, associating 'good' music with the aristocratic mos maiorum and 'bad' music with a disruptive kind of popular entertainment. Chapter III, on
music spectacle society ancient_rome explores cultural_history music ancient_rome mid second_century death emperor discussion_centre role music public_private spectacle rather examine topic isolation seek pinpoint intersection musical performance cultural debate morality luxury education way situate music within_broad historical_context structure chronologically examines polybius narration theatrical game stag subversive treatment greek musical model interpret deliberately gesture play theme military conquest second_half analyse episode light greek_roman debate musical entertainment period focus argue late_republican writer use music way frame political conflict associate good music aristocratic music disruptive kind popular entertainment iii