Kamila Wysłucha
Biographic Data
| ID | 5670520 |
|---|---|
| NAME | Kamila Wysłucha |
| GIVEN NAMES | Kamila |
| FAMILY NAME | Wysłucha |
| SIGNATURE | WYSŁUCHA K |
| AFFILIATIONS | Austrian Academy of Sciences |
| ORCID | 0000-0002-1477-4328 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Music from Pompeii
Most of the doublepipe (aulos/tibia) remains that were unearthed in the Vesuvian region and are kept in the National Archaeological Museum of Naples ( MANN ) are still awaiting publication. Addressing this need, a joint project of the University of Pavia and the Austrian Academy of Sciences is documenting the fragments, aiming at a restoration of their original order and a musical interpretation, where feasible. Here we focus on two especially sh…
Nachklänge, Instrumente der griechischen Klassik und ihre Musik. Materialien und Zeugnisse von Homer bis heute, written by Steinmann, C
In his recent work Nachklänge, Instrumente der griechischen Klassik und ihre Musik -the outcome of decades of both practical and theoretical inquiry -Conrad Steinmann attempts to answer one important question (inter alia), which scholars of ancient Greek and Roman music hear perhaps most frequently ( 457): what did this music sound like?As researchers who are initiated in the intricate study of antique musical practices know well, the sole prospe…
The Mouthpiece of the Aulos Revisited
The precise nature of the aulos mouthpiece, especially in the Classical period and before, has been disputed: above all, was it a single or a double reed? A definitive answer to this question has the greatest consequences for the nature of aulos music regarding not only timbre but more importantly control of dynamics, phrasing, and microtonal adjustments. From a survey of iconographical, literary and archaeological evidence, it is argued that the…
The Return of the Pipers
The article argues that the famous story about the strike, exile and return of the Roman aulos players, which is recorded in the sixth book of Ovid's Fasti and referred to by other Latin and Greek sources, is based on a narrative model that already existed in Greece in the Archaic period. The study draws parallels between the tale of the pipers and the myth of the return of Hephaestus to Olympus, suggesting that, apart from similar plots, the two…
Echoes of the Rejection of the Aulos in Augustan Poetry
Athenian elites of the late fifth century BC rebelled against aulos -playing as part of the school curriculum and launched a socio-cultural campaign against the instrument. Echoes of this ‘anti- aulos ’ crusade reverberated in literature in the centuries to follow as motifs of hostility towards aulos music. Ovid ( Fasti 6.657-710) and Propertius (2.30b) engage in this discourse, largely disregarding the motives of the Athenians for spurning the i…
Tibia and Tuba at the Crossroads of Funerary and Nuptial Imagery
References to music in poetry often play a genre-defining role. This is the case in Propertius 2.7 and Ovid Heroides 12, which employ the tibia and tuba in the topos of a mournful wedding. While the pipes belong to the motivic repertoire of elegy, where they usually occur in plaintive contexts, the introduction of the funeral trumpet to an elegiac motif is an innovation, reflecting traditional uses of the instrument during burial rituals. The wed…
Echoes of the Rejection of the Aulos in Augustan Poetry
Athenian elites of the late fifth century BC rebelled against aulos -playing as part of the school curriculum and launched a socio-cultural campaign against the instrument. Echoes of this ‘anti- aulos ’ crusade reverberated in literature in the centuries to follow as motifs of hostility towards aulos music. Ovid ( Fasti 6.657-710) and Propertius (2.30b) engage in this discourse, largely disregarding the motives of the Athenians for spurning the i…
Tibia and Tuba at the Crossroads of Funerary and Nuptial Imagery
References to music in poetry often play a genre-defining role. This is the case in Propertius 2.7 and Ovid Heroides 12, which employ the tibia and tuba in the topos of a mournful wedding. While the pipes belong to the motivic repertoire of elegy, where they usually occur in plaintive contexts, the introduction of the funeral trumpet to an elegiac motif is an innovation, reflecting traditional uses of the instrument during burial rituals. The wed…
Echoes of the Rejection of the Aulos in Augustan Poetry
Athenian elites of the late fifth century BC rebelled against aulos -playing as part of the school curriculum and launched a socio-cultural campaign against the instrument. Echoes of this ‘anti- aulos ’ crusade reverberated in literature in the centuries to follow as motifs of hostility towards aulos music. Ovid ( Fasti 6.657-710) and Propertius (2.30b) engage in this discourse, largely disregarding the motives of the Athenians for spurning the i…
The Return of the Pipers
The article argues that the famous story about the strike, exile and return of the Roman aulos players, which is recorded in the sixth book of Ovid's Fasti and referred to by other Latin and Greek sources, is based on a narrative model that already existed in Greece in the Archaic period. The study draws parallels between the tale of the pipers and the myth of the return of Hephaestus to Olympus, suggesting that, apart from similar plots, the two…
Nachklänge, Instrumente der griechischen Klassik und ihre Musik. Materialien und Zeugnisse von Homer bis heute, written by Steinmann, C
In his recent work Nachklänge, Instrumente der griechischen Klassik und ihre Musik -the outcome of decades of both practical and theoretical inquiry -Conrad Steinmann attempts to answer one important question (inter alia), which scholars of ancient Greek and Roman music hear perhaps most frequently ( 457): what did this music sound like?As researchers who are initiated in the intricate study of antique musical practices know well, the sole prospe…
The Mouthpiece of the Aulos Revisited
The precise nature of the aulos mouthpiece, especially in the Classical period and before, has been disputed: above all, was it a single or a double reed? A definitive answer to this question has the greatest consequences for the nature of aulos music regarding not only timbre but more importantly control of dynamics, phrasing, and microtonal adjustments. From a survey of iconographical, literary and archaeological evidence, it is argued that the…
Music from Pompeii
Most of the doublepipe (aulos/tibia) remains that were unearthed in the Vesuvian region and are kept in the National Archaeological Museum of Naples ( MANN ) are still awaiting publication. Addressing this need, a joint project of the University of Pavia and the Austrian Academy of Sciences is documenting the fragments, aiming at a restoration of their original order and a musical interpretation, where feasible. Here we focus on two especially sh…
Art (6 works) · Classical Antiquity Studies (5 works) · Ancient Mediterranean Archaeology and History (4 works) · Literature (4 works) · Aesthetics (3 works) · Historical, Religious, and Philosophical Studies (3 works) · History (3 works) · Musical (3 works) · Poetry (3 works) · Visual arts (3 works)