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The versatility of the aulos is passed on to the musician, who in turn is transformed into a physical representation of the instrument’s sound. With the precious aid of book iv of Pollux’s Onomasticon it is possible to reconstruct the special set of vocabulary linked to the sound of the aulos. If it could already in itself be considered as ἐπαγωγόν, the additional effect of the movements, gestures, and facial expressions of the aulete resulted in a strong visual, as well as emotional, impact. Nor can we forget, on the other hand, the less than favorable judgments, abundant in philosophical texts, that arose in regard to auletic performances: just as certain physiognomic traits of the aulos are to blame, so too are certain bodily movements of the aulete: almost as if the negative characteristics are passed reciprocally from instrument to musician in a sort of circular breathing.La versatilità dell’aulos si trasmette all’esecutore, che durante la performance diviene così immagine fisica e concreta del suono percepito. Con il prezioso ausilio del libro iv dell’Onomasticon di Giulio Polluce è possibile ricostruire il campo semantico legato alla produzione del suono auletico. Se esso poteva già di per sé essere avvertito come ἐπαγωγόν, inoltre, i movimenti, i gesti e le espressioni facciali dell’auleta risultavano di forte impatto visivo, oltre che emotivo. Non ci si può dimenticare, d’altro canto, dei giudizi poco benigni, affioranti soprattutto dai testi filosofici, in merito alla pratica auletica: come alcuni tratti della fisionomia dell’aulos, così anche alcuni atteggiamenti del corpo dell’auleta sono biasimevoli, quasi che le caratteristiche negative passino vicendevolmente da strumento a esecutore in una sorta di respirazione circolare.This article is in Italian.
Greek and Roman Musical Studies – Brill
Published: Sep 1, 2016
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