42 found
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  1.  17
    The Identity of Oedipus the King: Five Essays on the Oedipus Tyrannus. [REVIEW]R. P. Winnington-Ingram & Alister Cameron - 1970 - Journal of Hellenic Studies 90:204-205.
  2.  16
    Clytemnestra and the Vote of Athena.R. P. Winnington-Ingram - 1948 - Journal of Hellenic Studies 68:130-147.
  3.  15
    Zeus in the Persae.R. P. Winnington-Ingram - 1973 - Journal of Hellenic Studies 93:210-219.
  4.  15
    The Danaid Trilogy of Aeschylus.R. P. Winnington-Ingram - 1961 - Journal of Hellenic Studies 81:141-152.
  5.  12
    Lute-Players in Greek Art.R. A. Higgins & R. P. Winnington-Ingram - 1965 - Journal of Hellenic Studies 85:62-71.
  6.  17
    A Religious Function of Greek Tragedy.R. P. Winnington-Ingram - 1954 - Journal of Hellenic Studies 74:16-24.
  7.  16
    Mode in Ancient Greek Music.J. F. M. & R. P. Winnington-Ingram - 1937 - Journal of Hellenic Studies 57:105.
  8.  43
    Aristoxenus and the Intervals of Greek Music.R. P. Winnington-Ingram - 1932 - Classical Quarterly 26 (3-4):195-.
    Ancient Greek music was purely or predominantly melodic; and in such music subtleties of intonation count for much. If our sources of information about the intervals used in Greek music are not always easy to interpret, they are at any rate fairly voluminous. On the one hand we have Aristoxenus, by whom musical intervals were regarded spatially and combined and subdivided by the processes of addition and subtraction; for him the octave consisted of six tones, and the tone was exactly (...)
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  9.  35
    The Agamemnon (1) J. D. Denniston and Denys Page: Aeschylus, Agamemnon. Pp. Xxxix + 240. Oxford: Clarendon Press, 1957. Cloth, 21s. Net. (2) Eduard Fraenkel: Der Agamemnon des Aeschylus. Pp. 38. Zürich: Artemis-Verlag, 1957. Paper, 3.80 Sw. Fr. [REVIEW]R. P. Winnington-Ingram - 1959 - The Classical Review 9 (01):23-26.
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  10.  38
    Fraenkel's Agamemnon Aeschylus: Agamemnon. Edited With A Commentary By Eduard Fraenkel. 3 Vols. Vol. I, Pp. Xvi + 195; Vols. II and III, Pp. Viii + 850. Oxford: Clarendon Press, 1950. Cloth, £4. 4s. Net. [REVIEW]R. P. Winnington-Ingram - 1951 - The Classical Review 1 (3-4):147-151.
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  11.  4
    La Crainte Et l'Angoisse Dans le Theatre d'Eschyle.R. P. Winnington-Ingram & J. de Romilly - 1960 - Journal of Hellenic Studies 80:205.
  12.  21
    The Loeb Aeschylus Aeschylus. With an English Translation by Herbert Weir Smyth. Vol. Ii. Reprinted with an Appendix Edited by Hugh Lloyd-Jones. (Loeb Classical Library.) Pp. 611. London: Heinemann, 1957. Cloth, 15s. Net. [REVIEW]R. P. Winnington-Ingram - 1959 - The Classical Review 9 (03):239-241.
  13.  21
    The Pentatonic Tuning of the Greek Lyre: A Theory Examined.R. P. Winnington-Ingram - 1956 - Classical Quarterly 6 (3-4):169-.
    It has commonly been assumed that, on ancient Greek instruments of the lyre-type , when a string had been tuned to a certain note, that note and that note only could be played, until the string was retuned; thus, that a separate string was required for each note of a given scale. This view involves certain difficulties. The canonical number of strings was seven, and seven-stringed lyres and citharas continue to be represented in art throughout the classical period. But, with (...)
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  14.  20
    Euripides and Dionysus: An Interpretation of the Bacchae. By R. P. Winnington-Ingram. Pp. Viii + 190. Cambridge: University Press, 1948. 15s. [REVIEW]J. A. Davison, R. P. Winnington-Ingram, Euripides & Dionysus - 1947 - Journal of Hellenic Studies 67:139-139.
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  15.  14
    The Greek Aulos. By Kathleen Schlesinger. Pp. 1 + 577; Pl. 18. London: Methuen, 1939. £2 2s.R. P. Winnington-Ingram & Kathleen Schlesinger - 1939 - Journal of Hellenic Studies 59 (2):305-307.
  16.  29
    Aulos und Kithara in der griechischen Musik bis zum Ausgang der klassischen Zeit. Von Helmut Huchzermeyer. Pp. 76. Emsdetten (Westf.): H. und J. Lechte, 1931. Paper. [REVIEW]R. P. Winnington-Ingram - 1932 - The Classical Review 46 (05):233-.
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  17.  15
    Aeschylus. Eumenides, 674–680.R. P. Winnington-Ingram - 1935 - The Classical Review 49 (01):7-8.
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  18.  15
    Music and Metre Émile Martin: (I) Trois documents de musique grecque. Pp. 78; 2 plates. (2) Essai sur les rythmes de la chanson grecque antique. Pp. viii+365. Paris: Klincksieck, 1953. Paper, 800 fr., 1, 600 fr. [REVIEW]R. P. Winnington-Ingram - 1955 - The Classical Review 5 (01):83-86.
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  19.  14
    Two Latin Idioms.R. P. Winnington-Ingram - 1955 - The Classical Review 5 (02):139-141.
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  20.  28
    Aeschylus' Persae H. D. Broadhead: The Persae of Aeschylus. Edited with Introduction, Critical Notes and Commentary. Pp. Lxxiii+350. Cambridge: University Press, 1960. Cloth, 45s. Net. [REVIEW]R. P. Winnington-Ingram - 1962 - The Classical Review 12 (02):122-125.
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  21.  19
    Emil Staiger: Euripides, Ion. Deutsch mit einer Einleitung. Pp. 66. Bern: Francke, 1947. Boards, 5.50 Sw. fr.R. P. Winnington-Ingram - 1949 - The Classical Review 63 (02):71-.
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  22.  24
    The Greek Modes K. Schlesinger: The Greek Aulos. Pp. 1+577; 18 Plates. London: Methuen, 1939. Cloth, 42s.R. P. Winnington-Ingram - 1939 - The Classical Review 53 (5-6):185-186.
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  23.  13
    The Rôle of Apollo in the Oresteia.R. P. Winnington-Ingram - 1933 - The Classical Review 47 (03):97-104.
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  24.  21
    A Literary Study of Greek Tragedy H. D. F. Kitto: Greek Tragedy: A Literary Study. Pp. X+410. London: Methuen, 1939. Cloth, 15s. [REVIEW]R. P. Winnington-Ingram - 1940 - The Classical Review 54 (02):79-80.
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  25.  25
    Greek Tragedy D. W. Lucas: The Greek Tragic Poets. Pp. Ix+253. London: Cohen & West, 1950. Cloth, 15s. Net.R. P. Winnington-Ingram - 1952 - The Classical Review 2 (01):21-22.
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  26.  14
    Two Passages of Horace.R. P. Winnington-Ingram - 1935 - The Classical Review 49 (04):127-128.
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  27.  3
    The Second Stasimon of the "Oedipus Tyrannus".R. P. Winnington-Ingram - 1971 - Journal of Hellenic Studies 91:119-135.
  28.  5
    Barbarians in Greek Tragedy.R. P. Winnington-Ingram & Helen H. Bacon - 1963 - Journal of Hellenic Studies 83:162-162.
  29.  19
    Euripides André Rivier: Essai sur le Tragique d'Euripide. Pp. 240. Lausanne, Rouge, 1944. Paper, 6 Sw. fr.R. P. Winnington-Ingram - 1948 - The Classical Review 62 (01):17-18.
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  30.  22
    Greek Music Otto Johannes Gombosi: Tonarten Und Stimmungen der Antiken Musik. Pp. Xiii+148; 1 Plate. Copenhagen: Munksgaard, 1939 [1950]. Paper, Kr. 25. [REVIEW]R. P. Winnington-Ingram - 1952 - The Classical Review 2 (01):34-36.
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  31.  13
    The Loeb Aeschylus.R. P. Winnington-Ingram - 1959 - The Classical Review 9 (03):239-.
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  32.  13
    Apollo's Last Words in Aeschylus'eumenides.O. Taplin, P. Victorius, So H. Weil & R. P. Winnington-Ingram - 2006 - Classical Quarterly 56:12-18.
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  33.  12
    Metrical Analyses of Tragic Choruses. Fasc. 1. Dactylo-Epitrite. [REVIEW]R. P. Winnington-Ingram & A. M. Dale - 1973 - Journal of Hellenic Studies 93:240-241.
  34.  20
    D. W. Lucas: The Greek Tragic Poets. Second Edition. Pp. Xiv + 274. London: Cohen & West, 1959. Cloth, 24s. Net.R. P. Winnington-Ingram - 1961 - The Classical Review 11 (02):160-.
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  35.  4
    Das Musikleben der Griechen. By M. Wegner. Pp. 232; pl. 32 + 22 text figs. Berlin: De Gruyter, 1949. DM 9.80.R. P. Winnington-Ingram & M. Wegner - 1951 - Journal of Hellenic Studies 71:266-266.
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  36.  10
    Der griechische Rhythmus: Musik, Reigen, Vers und Sprache. By T. Georgiades. Pp. 163. Hamburg: Marion von Schröder, 1949. [REVIEW]R. P. Winnington-Ingram & T. Georgiades - 1950 - Journal of Hellenic Studies 70:82-83.
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  37.  14
    Euripides, Electra 1292–1307.R. P. Winnington-Ingram - 1937 - The Classical Review 51 (02):51-52.
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  38.  9
    Plutarch, de musicaPlutarque de la Musique. [REVIEW]R. P. Winnington-Ingram, K. Ziegler & Francois Lasserre - 1956 - Journal of Hellenic Studies 76:118-119.
  39.  7
    The Spondeion Scale.R. P. Winnington-Ingram - 1928 - Classical Quarterly 22 (2):83-91.
    Our information about the early stages of Greek music is so slight that these references of Aristides Quintilianus to an the Pseudo-Plutarch to a scale employed by the legendary figure Olympus take on an immense value for us. The dialogue itself is an unskilful patchwork, but the author's sources are often good. These particular passages are almost certainly both derived with small alteration from Aristoxenus, in whose time the traditional music ascribed to Olympus was still in use. For the elucidation (...)
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  40.  8
    Fragments of Unknown Greek Tagic Texts with Musical Notation. [REVIEW]A. M. Dale, S. Eitrem, L. Amundsen & R. P. Winnington-Ingram - 1957 - Journal of Hellenic Studies 77 (2):325-326.
  41.  5
    Προεπιλογή Πυθαγόρα, Το «Πείραμα» Με Τα Σφυριά, Ελικών.Jon Solomon, T. J. Mathiesen, R. P. Winnington-Ingram, A. Barker, W. S. Hett, H. S. Macran, L. Rowell, L. Pearson, C. B. Gulick & C. Bower - 1986 - American Journal of Philology 107 (4):455-479.
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  42.  3
    Aeschylus, Agamemnon 1343–71.R. P. Winnington-Ingram - 1954 - Classical Quarterly 4 (1-2):23-.
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