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Melanippides did not, however, escape the censures which the old comic poets so often heap upon their lyric contemporaries for their corruption of the severe beauties of the ancient music. Pherecrates places him at the head of such offenders and charges him with relaxing and softening the ancient
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Plutarch (or the author of the essay on music which bears his name) said that in his flute-music he subverted the old arrangement by which the flute-player was hired and trained by the poet, and was entirely subordinate to him. But there is probably some mistake in this, as the fragment of
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have misled
Fabricius and others into the supposition that Melanippides was a tragic poet, a mistake which has been made with respect to the titles of the dithyrambs of other poets. The fragments are collected by
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Pherecrates, which the author quotes in confirmation of his statement, contains not a word about flute-music, but attacks only the alterations in the lyre. On the other hand, Athenaeus cites a passage from the
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The life of
Melanippides can only be fixed within rather uncertain limits. He is thought to have flourished around the middle of the 5th-century BC. He was younger than
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124:) in which the union, which was considered essential in ancient times, between music and the words of poetry, seems to have been severed.
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music by increasing the chords of the lyre to twelve (or perhaps ten) and thus paving the way for the further licences introduced by
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141:, Melanippides wrote lyric songs and dithyrambs. Several verses of his poems are still preserved. The titles of the poems
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57:. He lived for some time at the court of Archelaus of Macedon, and died there in around 412 BC.
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of
Melanippides, which seems to show that he rejected and despised flute-music altogether.
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that some of the hymns of
Melanippides had a place in his Garland.
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give him first place among dithyrambic poets, alongside
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Dictionary of Greek and Roman
Biography and Mythology
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p. 1141, as explained and corrected by
Meineke,
96:, as among the most distinguished masters of music.
49:(Plut. Mus. p. 1141, c.), and younger than
60:His high reputation as a poet is intimated by
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120:arrangement, and introduced long preludes (
53:. He was a contemporary of the comic poet
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37:, and an exponent of the "new music."
190:Non posse suav. vivi sec. Epic. 1095d
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324:Courtiers of Archelaus of Macedon
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288:, ed. (1870). "Melanippides".
241:Athenaeus xiv. p. 616, e.
116:, he altogether abandoned the
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329:Metics in Classical Athens
314:Ancient Greek lyric poets
88:, who mentions him, with
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16:5th-century BC Greek poet
344:5th-century BC musicians
309:Ancient Greek musicians
339:5th-century BC poets
252:Poetae Lyrici Graeca
143:Marsyas, Persephone
110:Timotheus of Miletus
207:, pp. 326–335
159:Meleager of Gadara
319:Dithyrambic poets
254:pp. 847–850)
137:According to the
51:Diagoras of Melos
47:Lasus of Hermione
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31:Μελανιππίδης
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216:Aristotle,
179:Memorabilia
78:Polykleitos
66:Aristodemus
55:Pherecrates
303:Categories
199:Plutarch,
181:i. 4. §. 3
177:Xenophon,
165:References
114:Aristotle
94:Euripides
90:Simonides
74:Sophocles
41:Biography
35:dithyramb
230:On Music
218:Rhetoric
201:On Music
149:Danaïdes
122:anabolai
102:Cinesias
86:Plutarch
62:Xenophon
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266:4.1 v.7
131:Marsyas
106:Phrynis
220:iii. 9
108:, and
82:Zeuxis
232:I. c.
155:Bergk
70:Homer
27:Greek
22:Melos
147:The
139:Suda
92:and
80:and
145:and
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