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(b c490 bce; d c422 bce). Greek tragic and lyric poet. He was active at Athens. He used a wide range of genres in poetry and was also noted for prose writings. The fragments of his tragedies (Nauck, nos.22–3, 39, 42 and 45) contain references to the music of Lydia – its psaltery players, hymns and auloi, and perhaps (the text is uncertain) a special type of aulos played together with the magadis. Ion described the Lydian aulos and the Mysian syrinx of Mount Ida (associated with the shepherd Paris) metaphorically as a cock, apparently to emphasize shrillness of tone, whereas according to Athenaeus's explanation (iv, 185a; Nauck, frag.42) the ‘deep [barus] aulos’ mentioned by him was Phrygian.
The few surviving lines of his lyric compositions, mainly dithyrambs, have no musical interest. A pair of elegiac couplets preserved in the Harmonic Introduction of Cleonides, however, have attracted a good deal of attention. The texture is obscure but might be translated as follows: ‘Eleven-stringed lyre, having a ten-step order / three consonant roads of harmonia, / Formerly all the Greeks raised a meager muse, / strumming thee seven-toned by fours’ (Cleonides 12 = Edmonds, frag.3). Considerable debate has centred on the precise meaning of the terms and phrases in this fragment. Some scholars have proposed that the ‘lyre’ is actually one of the triangular harps portrayed occasionally in 5th-century representations (see Maas, and Maas and Snyder), while others believe the first phrase reflects the practice of expanding the number of strings found on members of the lyre family (especially the phorminx and kithara). Some scholars take the ‘three consonant roads’ as a reference to three tetrachords, while others think it refers to some sort of ‘junction of roads’. In any event, the couplets must refer to the increasing complexity or ‘polychordia’ of Greek music to which Plato later objected in the Republic (iii, 399c–d). This ‘new style’ was closely associated with the poet-composer Timotheus of Miletus, and it is noteworthy that in the Spartan decree (preserved by Boethius in his De institutione musica, i.1; the authenticity of the decree has, however, been questioned), Timotheus is specifically charged with using an instrument having 11 strings.
WRITINGS
A. Nauck, ed.: Tragicorum graecorum fragmenta (Leipzig, 1865, 2/1889/R1964 with suppl by B. Snell), 736ff
J.M. Edmonds, ed. and trans.: Elegy and Iambus (London and Cambridge, MA, 1931/R), i, 428ff
A. von Blumenthal, ed.: Ion von Chios: die Reste seiner Werke (Berlin and Stuttgart, 1939)
M.L. West, ed.: Iambi et elegi graeci, ii (Oxford, 1972), 77ff
D.A. Campbell, ed. and trans.: Greek Lyric, iv (Cambridge, MA, and London, 1992), 348–69
BIBLIOGRAPHY
StrunkSR2, i, 35–46 [Cleonides, Harmonic Introduction]
T. Reinach: ‘Un fragment d'Ion de Chios’, Revue des études grecques, xiv (1901), 8–19
F. Jacoby: ‘Some Remarks on Ion of Chios’, Classical Quarterly, xli (1947), 1–17
F.R. Levin: ‘The Hendecachord of Ion of Chios’, Transactions of the American Philological Association, xcii (1961), 295–307
W.D. Anderson: Ehtos and Education in Greek Music (Cambridge, MA, 1966), 43–4, 223–4
G. Comotti: ‘L'endecacorde di Ione di Chio’, Quaderni urbinati di cultura classica, xiii (1972), 54–61
U. Duse: ‘La lira di Ione di Chio’, Quaderni urbinati di cultura classica, new ser., iv (1980), 113–23
J. Solomon: Cleonides: eisagōgē harmonikē: Critical Edition, Translation and Commentary (diss., U. of North Carolina, 1980), 332–5
M. Maas and J.M. Snyder: Stringed Instruments of Ancient Greece (New Haven, CT, 1989), 154–5
M. Maas: ‘Polychordia and the Fourth-Century Greek Lyre’, JM, x (1992), 74–88
M.L. West: ‘Analecta musica’, Zeitschrift für Papyrologie und Epigraphik, xcii (1992), 23–8
W.D. Anderson: Music and Musicians in Ancient Greece (Ithaca, NY, 1994), 109–11
WARREN ANDERSON/THOMAS J. MATHIESEN
Iorgulescu, Adrian
(b Bucharest, 6 July 1951). Romanian composer. He attended the Music Lyceum no.1 in Bucharest then studied composition with Stroe and Olah at the Bucharest Academy, graduating in 1974. Subsequently Iorgulescu taught music, joining the staff of the Academy in 1990 and becoming a professor in 1996. His doctoral thesis is entitled Timpul si comunicarea muzicală (‘Time and musical communication’, 1992). Vice-president then president of the Composers' and Musicologists' Union, in 1996 he co-founded the Romania Alternative Party and was elected to parliament. Post-serial techniques inform his earlier compositions, while in his String Quartet (1973) he combines these with melodic contours derived from folk music. Iorgulescu pursues his exploration of new sonic resources in the series Ipostaze (1971–82). In its textural complexity and stylistic diversity Alternanţe (1985) anticipates his Symphony no.3 (1988), which derives material from a Bach chorale. An extensive use of repetitive cycles characterizes the String Quartets no.3 (1987) and no.4 (1992).
WORKS
(selective list)
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Orch: Ipostaze I, pf, orch, 1971; Sym. no.1 ‘Nebănuitele trepte’ [The Unsuspected Steps], 1975; Ipostaze II, cl, str, perc, 1978; Sym. no.2, 1980; Semnale [Signals], 1995
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Chbr and solo inst: Sonata, 2 pf, 1973; Str Qt, 1973; 4 inscripţii sonore, pf, 1976; Ipostaze III, vc, wind insts, perc, 1979; Ipostaze IV, 3 perc groups, 1982; Str Qt no.2, 1983; Alternanţe, qnt, tape, 1985; Str Qt no.3, 1987; Str Qt no.4, 1992; Antifonie, perc, 1993
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Vocal: După melci [Looking for Snails] (I. Barbu), chorus, 1975; Moşii [The Fair] (cant., I.L. Caragiale), 1978; Strigături I (trad. texts), women's chorus, 1986; Sym. no.3, women's chorus, org, 1988; Revuluţia (op, after Caragiale), 1991; Strigături II, chorus, 1994
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KdG (C.D. Georgescu)
G. Tartler: Melopoetica (Bucharest, 1984)
I. Anghel: ‘De la Caragiale la metamuzică: opera Revuluţia de Adrian Iorgulescu’, Muzica, new ser., iii/1 (1992), 28–52
OCTAVIAN COSMA
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