In a well-known excursus in the tenth book of the Geography, Strabo explains the place of music in orgiastic ritual. He distinguishes types of festivals according to the role within them of divine possession, [mousike], and mystic elements. Mystic concealment, he argues, induces reverence, and [mousike] brings us in touch with the divine. Strabo goes on to speak of music as the foundation of education and also as a way of imitating the gods. The Muses themselves, he points out, are goddesses (10.3.10); and the Pythagoreans regarded all music as the work of the gods, teaching that the cosmos was constituted according to the principle of musical harmony. He asserts a common Greek association of "everything orgiastic, Bacchic, choric...and mystic," with Dionysus, Apollo, Hecate, the Muses, and Demeter; he notes choric activity as a feature common to all these cults [...].
Exceptional beats with a modern twist that shows child exploitation is not just history
Review of Michael Rosen’s Unexpected Twist, Royal and Derngate, Northampton
As latecomers were still taking their seats, two young male actors appear in front of the curtain to beatbox a message – this show has no instruments other than voice. And boy, do they use that voice well. Musical director Conrad Murray and song writer Yaya Bey’s work with a cast of incredible multitalented actors is the…
Exceptional beats with a modern twist that shows child exploitation is not just history
Review of Michael Rosen’s Unexpected Twist, Royal and Derngate, Northampton
As latecomers were still taking their seats, two young male actors appear in front of the curtain to beatbox a message – this show has no instruments other than voice. And boy, do they use that voice well. Musical director Conrad Murray and song writer Yaya Bey’s work with a cast of incredible multitalented actors is the…
Music in the underworld was life-sustaining; and this eschatological dimension to the power of music over death was a central element in the association of music and mysteries. Orpheus, whose own mousike revivified when he visited the underworld, offering salvation to those who died as initiates, was a pivotal figure. Now, the new Sappho has presented precious evidence that music making in the underworld, involving a 'resident' musician, goes back to the early sixth century, where it is associated with continuity of existence and with personal merit. Another central idea, already familiar from Sappho (fr. 55) was mnemosyne: within Greek mystery cult, the goddess appears prominently in the gold tablets worn by initiates after death, there representing saving memory both of past life and of the initiation ritual itself. The literary and eschatological aspects of 'memory' ultimately cohere in what Charles Segal admirably called the 'establishment of continuity between separate spheres of existence', that is, between past and present, and between this world and the world of the dead. Mousike as a component of the mysteries had the power to revivify and to perpetuate life after death; and so Wolfgang Rosier was right to consider the possibility of eschatological parallels between Sappho's Muses and the mysteries.
Alex Hardie, "Sappho, The Muses, and Life After Death"