Zoa Alonso Fernández is Assistant Professor of Classical Philology at Universidad Autónoma of Madrid. She is the author of several articles on Roman dance and the reception of Antiquity in the choreographic medium.

Armand D’Angour is an Associate Professor in Classics at the University of Oxford, and Fellow of Jesus College, Oxford. He is author of numerous articles and chapters on the literature and culture of ancient Greece, and of The Greeks and the New (Cambridge: CUP, 2011). He was awarded a British Academy Fellowship in 2013 to reconstruct ancient Greek musical sounds, and he has co‐edited (with Tom Phillips) Music, Text, and Culture in Ancient Greece (Oxford: OUP, 2018). His Socrates in Love: The Making of a Philosopher was published by Bloomsbury in March 2019.

Andrew Barker is Emeritus Professor of Classics at the University of Birmingham. He is the author of eight books and many articles on ancient music and musical theory.

Sheramy D. Bundrick is Professor of Art History at the University of South Florida St. Petersburg. She is the author of Music and Image in Classical Athens (Cambridge University Press, 2005); Athens, Etruria, and the Many Lives of Greek Figured Pottery (University of Wisconsin Press, 2019); and numerous articles concerning ancient Greek vase painting and iconography.

Daniela Castaldo is Associate Professor of Musicology at the University of Salento (Lecce, Italy). Her topics of research include music archaeology in the Greek and Roman world, musical iconography, reception of musical iconography of Classical Antiquity from Renaissance to nineteenth century.

Eric Csapo is Professor of Classics at the University of Sydney. He is author of Actors and Icons of the Ancient Theater (2010), Theories of Mythology (2005), and co‐author of A Social and Economic History of the Theatre to 300 BC. vol. 2 Theatre Beyond Athens (with Peter Wilson 2019) and The Context of Ancient Drama (with W.J. Slater 1995). With Peter Wilson, he is preparing two further volumes of A Social and Economic History of the Theatre to 300 BC for Cambridge University Press.

Paola Dessì is Associate Professor of Musicology and History of Music at the University of Padua. She has published studies on medieval and late antique music, and on the relationship between music and politics investigated from the Ptolemaic era to the Renaissance, especially in relation to the organ and organ art: L’organo tardoantico (2008), L’organo a palazzo nell’impero di Nerone, (Philomusica, 2008), Eventi sonori in età augustea (Ocnus, 2010), Organi orologi e automi musicali: oggetti sonori per il potere (Acta musicologica, 2010).

Marco Ercoles is Senior Researcher (RTD‐B) in Greek Language and Literature at the University of Bologna (Italy). He is author of a volume on Stesichorus (Stesicoro. Le testimonianze antiche, Bologna 2013) and several articles on ancient Greek melic poetry (Alcman, Bacchylides, Timotheus, Melanippides), music, metrics, and on ancient and Byzantine exegesis on Aeschylus.

John C. Franklin is Professor and Chair of Classics at the University of Vermont. He began life as a composer at the New England Conservatory of Music (B.M. 1988), switching to Classics for a PhD from University College London (2002). His research has dealt especially with the cultural, and especially musical, interfaces between early Greece and the Near East (culminating in Kinyras: The Divine Lyre, Hellenic Studies 70, Center for Hellenic Studies, 2015).

Mark Griffith is Professor of Classics and of Theater, Dance, and Performance Studies at the University of California, Berkeley. His work has focused mostly on Greek drama, literature, and music, and includes “Green and Yellow” editions of Prometheus Bound and Antigone, and a book on Greek satyr drama.

Stefan Hagel works as senior researcher at the Institute for the Study of Ancient Culture of the Austrian Academy of Sciences. His interests focus on ancient Greek music and meter, including reconstruction of instruments and performance techniques. He also creates dedicated software for scholarly purposes; his Classical Text Editor received the European Academic Software Award.

Luigi Galasso is Full Professor of Latin Literature at the Università Cattolica del Sacro Cuore, Milano. He has published extensively on Ovid. In addition to numerous articles, he has edited the second book of Ovid’s Epistulae ex Ponto with a commentary (1995) and is the author of a commentary on the entire Metamorphoses (2000).

Giorgio Ieranò is Professor of Greek Literature at the University of Trento (Italy). His main research interests focus on Archaic choral poetry, ancient theatre, and the reception of the ancient Greek world in modern culture. Among several publications, he is the author of Il Ditirambo di Dioniso (1997), Arianna. Storia di un mito (2010), La tragedia greca: origini storia, rinascite (2010), Arcipelago. Isole e miti del Mar Egeo (2018).

Pauline LeVen is Associate Professor of Classics at Yale University (USA). She is the author of The Many‐Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry (Cambridge 2014) and Music and Metamorphosis in Greco‐Roman Thought (forthcoming with Cambridge). She has published articles on late classical lyric, on Hellenistic poetry, on intertextuality, on various aspects of musical culture and on the ancient novel. She is currently co‐editing (with Sean Gurd) the first volume of Bloomsbury’s A Cultural History of Western Music and preparing a monograph on Poetry and the Posthuman.

Tosca A.C. Lynch has been Junior Research Fellow in Classics at Jesus College, Oxford (2016–19). She is currently Visiting Professor at the University of Verona and Research Associate at the Oxford Faculty of Classics. Her research interests include technical and performative issues concerning ancient rhythmics and harmonics, as well as the broader cultural and philosophical significance of mousikē in the ancient world. The interplay of these perspectives informs most of her publications. She has recently advanced new reconstructions of the ancient perception of rhythm and meter (arsis and thesis, CQ 2016), Plato’s musical ēthos (GRMS 2017 and 2020), as well as the intricate harmonic modulations of the so‐called New Music (GRMS 2018).

Maria Chiara Martinelli has worked as researcher at the Scuola Normale Superiore (Pisa), and as Professor of Greek Metrics and Rhythmics at the University of Pisa. Among various contributions on metrics, music, Greek tragedy, and ancient gnomic literature, she published the book Gli strumenti del poeta: Elementi di metrica greca (Bologna 1997²) and edited La Musa dimenticata: Aspetti dell'esperienza musicale greca in età ellenistica (Pisa 2009).

Konstantinos Melidis holds a PhD in Greek Studies from the Paris‐Sorbonne University (Paris 4). His research interests include Ancient Greek and Roman music and drama with a focus on vocal art and terminology. He is currently a researcher at the University of Cyprus, working on a project focused on Greek Biblical Epos. He is also working on the publication of his doctoral thesis on Phōnaskoi and Phōnaskia in the Greco‐Roman Antiquity.

Timothy J. Moore is John and Penelope Biggs Distinguished Professor of Classics at Washington University in St. Louis. He is author of Artistry and Ideology: Livy’s Vocabulary of Virtue; The Theater of Plautus; Music in Roman Comedy; Roman Theatre; a translation of Terence’s Phormio; a database of The Meters of Roman Comedy (http://romancomedy.wulib.wustl.edu/); and articles on Greek tragedy, Latin literature, the teaching of Greek and Latin, ancient music, American Musical Theater, and Japanese comedy.

Penelope Murray was a founder member of the Department of Classics at the University of Warwick, retiring as Senior Lecturer in 2008. She has written extensively on ancient poetics and is currently working on classical ideas of creativity, particularly as expressed through myth and metaphor. Recent publications include A Companion to Ancient Aesthetics, edited with Pierre Destrée, Malden MA: John Wiley 2015.

Cecilia Panti is Associate Professor in History of Medieval Philosophy at the University of Rome Tor Vergata. Her studies focus on medieval natural philosophy and the quadrivium. In addition to numerous studies on these topics, her main contributions to the study of medieval theory and philosophy of music deal with, among others, Ugolino of Orvieto, Boethius, Hildegard of Bingen, Augustine, Petrarch. She is the author of the volume Filosofia della musica. Tarda antichità e medioevo (Rome 2008) and editor of Iohannes Tinctoris’ Diffinitorium musicae (Florence 2004).

Francesco Pelosi is Temporary Lecturer in Ancient Philosophy at the University of Pisa (Italy). His main field of research is the interaction between music and philosophy in ancient Greece, with a special focus on the mind‐body relationship and theories of perception. In recent years he has been the principal investigator of a research project devoted to the collection, translation and analysis of ancient Greek sources on the interplay between music and philosophy, from the Presocratics to Late Antiquity (Megiste mousike, 3 vols., forthcoming de Gruyter). He is the author of Plato on Music, Soul and Body (CUP 2010) and the editor, together with F. M. Petrucci, of the volume Music and Philosophy in the Roman Empire (forthcoming CUP).

Sylvain Perrot, PhD, is Junior Researcher at the Centre National de la Recherche Scientifique of France (University of Strasbourg). His main interests are ancient Greek music (texts, iconography and artefacts) and ancient Greek soundscapes. He has also published articles on the reception of Greek theory in medieval times and of ancient scores in modern times. He was among the curators of the exhibition “Musiques! Échos de l’Antiquité,” whose catalogue was published in 2017.

Egert Pöhlmann, born in Nuremberg, studied in Munich and Erlangen (Germany), where he was Professor for Classic Philology from 1980 until his retirement in 2001. He is one of the most important scholars in the field of Ancient Greek Music. He wrote about 200 contributions on Greek and Latin Literature, Ancient Theatre, Ancient Greek Music, History of the Church Organ, among which there are eight books (including the first repertoire of ancient musical fragments, first published in 1970 and then, in the updated version, in 2001, in collaboration with Martin West). In 2004 he obtained the title of Dr. Phil. h.c. from the Kapodistrian University in Athens, and in 2011 he was received as Corresponding Member by the Academy of Athens. As a recognition of his long and remarkable career, in 2018 he was appointed as Honorary Member of MOISA: International Society for the Study of Greek and Roman Music and its Cultural Heritage.

Antonietta Provenza is Research Fellow at the University of Palermo (Italy). She is the author of La medicina delle Muse: la cura musicale nella Grecia antica (Roma 2016) and of several studies on ancient Greek music and music therapy, and the Pythagoreans. Among her interests are also Greek theater and medicine. She is a member of MOISA and associate editor of Greek and Roman Musical Studies.

Timothy Power is Associate Professor of Classics at Rutgers University, New Brunswick. He has published scholarship on aspects of ancient Greek music, drama, and lyric poetry.

Massimo Raffa is a teacher of Classics, former Research Fellow at the Universities of Perugia and Calabria. He is the translator of Ptolemy’s Harmonics and Porphyry’s Commentary into Italian (Milano, Bompiani 2016) and critical editor of the latter for the Teubner series (Berlin, De Gruyter 2016); he also published a Commentary on the sources for Theophrastus' thought on music in the Philosophia Antiqua series (Leiden, Brill 2018). He is currently editor of Greek and Roman Musical Studies.

Donatella Restani is Professor of Musicology and History of Music at the University of Bologna, Department of Cultural Heritage. Co‐founder of “Moisa. International Society for the Study of Greek and Roman Music and its Cultural Heritage,” she is author of the volumes: L’itinerario di Girolamo Mei (1990), Musica per governare. Alessandro, Adriano e Teoderico (2004) and editor of Musica e mito nell’antica Grecia (2004) and Etnomusicologia del mondo antico (2006).

Eleonora Rocconi is Associate Professor of Classics at the Department of Musicology and Cultural Heritage of the University of Pavia (Italy) and editor‐in‐chief of the journal Greek and Roman Musical Studies. Her research interests focus on ancient Greek music and drama.

Ian Rutherford is Professor of Classics at the University of Reading. His major books are Pindar’s Paeans (2001) and State Pilgrims and Sacred Observers (2013).

Susanna Sarti is archaeologist at the ‘Soprintendenza Archeologia Belle Arti e Paesaggio’ in Florence (Italy), and scientific collaborator of the CReA‐Université Libre de Bruxelles. She holds degrees from the University of Florence and Oxford, Wolfson College (M.St., PhD). She has been a postdoctoral Wiener‐Anspach fellow and collaborator of the Musée du Cinquantenaire at Bruxelles. She has published books and articles on ancient music, Attic pottery, history of archaeology, history of collections, and cultural heritage.

Verena Schulz is Privatdozentin at Ludwig‐Maximilians–Universität Munich, Germany. Her research focuses on ancient rhetoric (especially performance, Auctor ad Herennium, Cicero, Quintilian) and Roman imperial historiography (Tacitus, Suetonius, Cassius Dio). Her dissertation on Die Stimme in der antiken Rhetorik was published in 2014 (Hypomnemata 194). Her most recent book (2019) is on Nero and Domitian in Tacitus, Suetonius, and Cassius Dio (Mnemosyne Supplements 427).

Mariella De Simone has two PhDs, the first in “Classical Philology” at Salerno University, the second in “Geopolitics and Mediterranean Cultures” at the S.U.M. (Naples). She gained the National Scientific Qualification as Associate Professor of Greek Language and Literature. Her inquiries deal with ancient Greek music, Greek comedy, the paradigms of gift, hybris, and oriental alterity. Among her publications: La lira asiatica di Apollo. Interazioni musicali tra la Grecia antica e il Mediterraneo orientale (Pisa 2016).

Chrēstos Terzēs holds a post‐PhD position at the Institute for the Study of Ancient Culture of the Austrian Academy of Sciences. Main areas of research: Textual Philology, Greek Palaeography, Digital Humanities (digital editions), Ancient Greek Science and Music focusing on theory (harmonics/acoustics), instruments (study and reconstruction), notation (parasemantics/documents of ancient music), and the reconstruction of ancient Greek speech and song.

Naomi A. Weiss is Gardner Cowles Associate Professor of the Humanities at Harvard University. She is the author of The Music of Tragedy: Performance and Imagination in Euripidean Theater (2018). She has co‐edited Genre in Archaic and Classical Greek Poetry: Theories and Models (with Margaret Foster and Leslie Kurke, 2019) and Music and Memory in the Ancient Greek and Roman Worlds (with Lauren Curtis, forthcoming).

Peter Wilson is William Ritchie Professor of Classics at the University of Sydney. He is author of The Athenian Institution of the Khoregia: The Chorus, the City and the Stage (2000) and co‐author of A Social and Economic History of the Theatre to 300 BC. vol. 2 Theatre Beyond Athens (with Eric Csapo 2019). He edited The Greek Theatre and Festivals (2007), Performance, Iconography,Reception (with Martin Revermann 2008) andDithyramb in Context (with Barbara Kowalzig 2013). With Eric Csapo, he is preparing two further volumes of A Social and Economic History of the Theatre to 300 BC for Cambridge University Press.

Abbreviations of the names of ancient authors and the titles of their works follow the conventions of the Oxford Classical Dictionary (4^th ed.). References to journal titles conform to L’Année philologique.

We are grateful to all the contributors to this volume for their collaboration and understanding during the long gestation of this project. We would also like to thank the editorial staff of Wiley‐Blackwell for their assistance and Pierre Destrée, who first suggested that we should produce a Companion devoted to ancient Greek and Roman music, and put us in touch with the series editor.

Preliminary versions of some chapters were presented and discussed during the twelfth Arion‐MOISA Research Seminar on Ancient Greek and Roman music, held in Riva del Garda in July 2017. We warmly thank all the participants to the event for their feedback and comments; special thanks are due to students who joined us and gave us many helpful suggestions to make the contents of this volume more accessible to nonspecialists.