The Ancient Mediterranean Religions Index Database

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Please note: the results are produced through a computerized process which may frequently lead to errors, both in incorrect tagging and in other issues. Please use with caution.
Due to load times, full text fetching is currently attempted for validated results only.
Full texts for Hebrew Bible and rabbinic texts is kindly supplied by Sefaria; for Greek and Latin texts, by Perseus Scaife, for the Quran, by Tanzil.net

For a list of book indices included, see here.

graph

All subjects (including unvalidated):

subject	book bibliographic info
choral, aetiologies, social change, and	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 153, 395
choral, aetiologies, tribute, religious, and	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 153, 154, 395
choral, alexandra, lycophron	Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 129, 130, 131, 132
choral, and social integration, sacrifice, metaphor for	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 289, 296
choral, as chorodidaskaloi, poets	Kingsley Monti and Rood (2022), The Authoritative Historian: Tradition and Innovation in Ancient Historiography, 186
choral, chorostatas, kho-, self-reference	Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 257, 258
choral, chorus χορός	Bernabe et al. (2013), Redefining Dionysos, 17, 41, 42, 44, 47, 48, 49, 50, 53, 54, 84, 86, 87, 88, 89, 90, 93, 94, 95, 96, 97, 103, 109, 113, 120, 146, 147, 148, 160, 162, 170, 175, 189, 192, 194, 196, 197, 240, 241, 273, 274, 275, 276, 277, 278, 279, 280, 281, 283, 285, 289, 290, 292, 293, 295, 302, 311, 314, 315, 316, 333, 334, 335, 339, 340, 342, 343, 351, 355, 356, 357, 358, 359, 360, 361, 369, 373, 374, 375, 379, 381, 431, 555
choral, dance	Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 381, 384, 385, 388, 389, 390, 391, 392
choral, dance dance, performance	Laks (2022), Plato's Second Republic: An Essay on the Laws. Princeton: Princeton University Press, 2022 103, 120
choral, dance, dance	Laks (2022), Plato's Second Republic: An Essay on the Laws. Princeton: Princeton University Press, 2022 21, 65, 69, 70, 71, 103, 104, 149, 150, 188, 204, 222
choral, dance, songs and music	Eidinow and Kindt (2015), The Oxford Handbook of Ancient Greek Religion, 85
choral, dance, tribute, to athens, blurring of religious and monetary in	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 88, 89, 90, 91, 92, 93, 94, 102, 110, 111, 112, 113, 114, 115, 116, 117, 118
choral, education aiming at virtue, musical and	Laks (2022), Plato's Second Republic: An Essay on the Laws. Princeton: Princeton University Press, 2022 71, 187
choral, education?, women	Parker (2005), Polytheism and Society at Athens, 183
choral, education?, wool, worked for athena by parthenoi	Parker (2005), Polytheism and Society at Athens, 183
choral, hymn, hymn	Trapp et al. (2016), In Praise of Asclepius: Selected Prose Hymns, 68
choral, hymns of roman religion	Mackey (2022), Belief and Cult: Rethinking Roman Religion, 283, 284, 285, 286, 287, 288, 289, 303, 318
choral, lyric	Gianvittorio-Ungar and Schlapbach (2021), Choreonarratives: Dancing Stories in Greek and Roman Antiquity and Beyond, 133
choral, lyric, chorus /	de Jáuregui (2010), Orphism and Christianity in Late Antiquity, 187, 192, 242, 245, 293, 357, 396
choral, monodic, singer	Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 384, 385
choral, performance, merging in	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 67, 89, 90, 91, 99, 153, 154, 393, 395
choral, performances	Dignas Parker and Stroumsa (2013), Priests and Prophets Among Pagans, Jews and Christians, 67, 70, 72, 75
choral, performances, moral virtues, and	Bartninkas (2023), Traditional and Cosmic Gods in Later Plato and the Early Academy. 170, 171, 172
choral, pipers/pipes	Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 212
choral, poetry, songs and music	Eidinow and Kindt (2015), The Oxford Handbook of Ancient Greek Religion, 182
choral, poetry, tragedy, interacting with	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 63, 66, 120, 174, 175, 176, 177, 193, 195, 280, 283, 308, 309, 310, 311, 313, 314, 318, 319
choral, polis-theoria, theoria	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 6, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 69, 70, 71, 72, 73, 74, 76, 77, 78, 79, 81, 82, 83, 84, 85, 86, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124
choral, projection	Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 81
choral, ritual, rhodes, diverse pasts unified in	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 260, 261, 262, 263, 264, 265, 266
choral, self-reference, self-consciousness, in tragedy	Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 257, 258
choral, singer	Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 384, 385
choral, song, elites, and	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 5, 395
choral, songs, dionysius of halicarnassus, on euripides’	Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 51, 211
choral, theoria, locality, sense of lost in	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 69, 99, 100, 399
choral, to delos, tribute, religious	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 57, 69, 70, 71, 72, 81, 86, 90, 91, 92, 99, 100, 116, 117
choral, to hera at perakhora, tribute, religious	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 154
choral, voices in alexandra	Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 129, 130, 131, 132
choral, voices in alexandra, trojan women	Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 78, 80, 81, 83, 84, 96, 97, 106
choral, with tribute, religious, tripods, to dodona	Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 333, 334, 335, 336, 341, 350, 351
chorus/choral, song, aeschylus, and the tragic	Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 209
chorus/choral, song, sophocles, and the	Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 245, 246, 258
dancing, choral, dance	Bernabe et al. (2013), Redefining Dionysos, 240, 241, 381

List of validated texts:

16 validated results for "choral"

1. Hesiod, Works And Days, 619-620 (8th cent. BCE - 7th cent. BCE)
Tagged with subjects: • choral, • dance, choral

Found in books: Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 390; Bowie (2021), Essays on Ancient Greek Literature and Culture, 539

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619 εὖτʼ ἂν Πληιάδες σθένος ὄβριμον Ὠαρίωνος'⁶²⁰ φεύγουσαι πίπτωσιν ἐς ἠεροειδέα πόντον, ' None

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619 One’s skin. Bring in your crops and don’t be slow.'⁶²⁰ Rise early to secure your food supply. ' None

2. None, None, nan (8th cent. BCE - 8th cent. BCE)
Tagged with subjects: • chorus χορός, choral • merging in choral performance • theoria, choral polis-theoria • tragedy, interacting with choral poetry

Found in books: Bernabe et al. (2013), Redefining Dionysos, 88; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 59, 60, 61, 62, 63, 64, 65, 66, 67, 103

3. Aeschylus, Agamemnon, 1119-1120, 1186-1193 (6th cent. BCE - 5th cent. BCE)
Tagged with subjects: • Alexandra (Lycophron), choral • choral poetry, and the posture of the vates • choral voices in Alexandra

Found in books: Bowditch (2001), Cicero on the Philosophy of Religion: On the Nature of the Gods and On Divination, 80; Pillinger (2019), Cassandra and the Poetics of Prophecy in Greek and Latin Literature, 130

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1119 ποίαν Ἐρινὺν τήνδε δώμασιν κέλῃ'¹¹²⁰ ἐπορθιάζειν; οὔ με φαιδρύνει λόγος. ¹¹⁸⁶ τὴν γὰρ στέγην τήνδʼ οὔποτʼ ἐκλείπει χορὸς ¹¹⁸⁷ ξύμφθογγος οὐκ εὔφωνος· οὐ γὰρ εὖ λέγει. ¹¹⁸⁸ καὶ μὴν πεπωκώς γʼ, ὡς θρασύνεσθαι πλέον, ¹¹⁸⁹ βρότειον αἷμα κῶμος ἐν δόμοις μένει, ¹¹⁹⁰ δύσπεμπτος ἔξω, συγγόνων Ἐρινύων. ¹¹⁹¹ ὑμνοῦσι δʼ ὕμνον δώμασιν προσήμεναι ¹¹⁹² πρώταρχον ἄτην· ἐν μέρει δʼ ἀπέπτυσαν ¹¹⁹³ εὐνὰς ἀδελφοῦ τῷ πατοῦντι δυσμενεῖς. ' None

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1119 What this Erinus which i’ the house thou callest '¹¹²⁰ To raise her cry? Not me thy word enlightens! ¹¹⁸⁶ For, this same roof here — never quits a Choros ¹¹⁸⁷ One-voiced, not well-tuned since no 1188 And truly having drunk, to get more courage, ¹¹⁸⁹ Man’s blood — the Komos keeps within the household ¹¹⁹⁰ — Hard to be sent outside — of sister Furies: ¹¹⁹¹ They hymn their hymn — within the house close sitting — ¹¹⁹² The first beginning curse: in turn spit forth at ¹¹⁹³ The Brother’s bed, to him who spurned it hostile. ' None

4. None, None, nan (6th cent. BCE - 5th cent. BCE)
Tagged with subjects: • chorus χορός, choral • theoria, choral polis-theoria • tribute, religious, choral, to Delos

Found in books: Bernabe et al. (2013), Redefining Dionysos, 87; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 57, 61, 62

5. Euripides, Bacchae, 155-162 (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: • chorostatas (kho-), self-reference, choral • chorus χορός, choral • self-consciousness, in tragedy, choral self-reference

Found in books: Bernabe et al. (2013), Redefining Dionysos, 47, 162, 356; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 257

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155 μέλπετε τὸν Διόνυσον'¹⁵⁷ βαρυβρόμων ὑπὸ τυμπάνων, ¹⁵⁸ εὔια τὸν εὔιον ἀγαλλόμεναι θεὸν ¹⁵⁹ ἐν Φρυγίαισι βοαῖς ἐνοπαῖσί τε, ¹⁶⁰ λωτὸς ὅταν εὐκέλαδος ' None

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155 ing of Dionysus, beneath the heavy beat of drums, celebrating in delight the god of delight with Phrygian shouts and cries,'¹⁵⁶ ing of Dionysus, beneath the heavy beat of drums, celebrating in delight the god of delight with Phrygian shouts and cries, ¹⁶⁰ when the sweet-sounding sacred pipe sounds a sacred playful tune suited ' None

6. Euripides, Ion, 1080-1081 (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: • chorus χορός, choral • dance, choral

Found in books: Bernabe et al. (2013), Redefining Dionysos, 281; Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 389

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1080 χορεύει δὲ σελάνα'¹⁰⁸¹ καὶ πεντήκοντα κόραι ' None

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1080 the moon, and Nereus’ fifty daughters, that trip it lightly o’er the sea and the eternal rivers’ tides, join the dance in honour'¹⁰⁸¹ the moon, and Nereus’ fifty daughters, that trip it lightly o’er the sea and the eternal rivers’ tides, join the dance in honour ' None

7. Sophocles, Ajax, 695-701 (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: • Sophocles, and the chorus/choral song • chorostatas (kho-), self-reference, choral • chorus χορός, choral • self-consciousness, in tragedy, choral self-reference

Found in books: Bernabe et al. (2013), Redefining Dionysos, 289; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 258

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695 O Pan, O Pan, appear to us, sea-rover, from the stony ridge of snow-beaten Cyllene. King, dancemaker for the gods, come, so that joining with us you may set on the Nysian and the Cnosian steps,'⁶⁹⁶ O Pan, O Pan, appear to us, sea-rover, from the stony ridge of snow-beaten Cyllene. King, dancemaker for the gods, come, so that joining with us you may set on the Nysian and the Cnosian steps, ⁷⁰⁰ your self-taught dances. Now I want to dance. And may Apollo, lord of Delos , step over the Icarian sea ' None

8. Sophocles, Antigone, 1146-1152 (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: • Sophocles, and the chorus/choral song • chorostatas (kho-), self-reference, choral • chorus χορός, choral • dance, choral • self-consciousness, in tragedy, choral self-reference

Found in books: Bernabe et al. (2013), Redefining Dionysos, 277, 280, 289, 290; Borg (2008), Paideia: the World of the Second Sophistic: The World of the Second Sophistic, 389; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 258

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1146 O Leader of the chorus of the stars whose breath is fire, overseer of the chants in the night, son begotten of Zeus,'¹¹⁴⁷ O Leader of the chorus of the stars whose breath is fire, overseer of the chants in the night, son begotten of Zeus, ¹¹⁵⁰ appear, my king, with your attendant Thyiads, who in night-long frenzy dance and sing you as Iacchus the Giver! ' None

9. Sophocles, Women of Trachis, 216-221 (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: • chorostatas (kho-), self-reference, choral • chorus χορός, choral • self-consciousness, in tragedy, choral self-reference

Found in books: Bernabe et al. (2013), Redefining Dionysos, 289; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 257

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216 and to the nymphs her neighbors! I am uplifted, I will not spurn the flute—O you master of my heart! Behold, his ivy stirs me! Euoe! '²¹⁷ and to the nymphs her neighbors! I am uplifted, I will not spurn the flute—O you master of my heart! Behold, his ivy stirs me! Euoe! ²²⁰ Quickly it wheels me round in Bacchus’s race! Oh, oh, Paean! Look, dear lady! All is taking shape, plain to see, before your gaze. Deianeira: ' None

10. None, None, nan (5th cent. BCE - 4th cent. BCE)
Tagged with subjects: • chorus χορός, choral • theoria, choral polis-theoria • tribute, to Athens, blurring of religious and monetary in choral dance

Found in books: Bernabe et al. (2013), Redefining Dionysos, 41, 48; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 115

11. None, None, nan (5th cent. BCE - 4th cent. BCE)
Tagged with subjects: • chorus / choral lyric • chorus χορός, choral

Found in books: Bernabe et al. (2013), Redefining Dionysos, 48, 175, 281, 373; de Jáuregui (2010), Orphism and Christianity in Late Antiquity, 187, 293

12. None, None, nan (5th cent. BCE - 4th cent. BCE)
Tagged with subjects: • chorus χορός, choral • dance, dancing,choral • theoria, choral polis-theoria

Found in books: Bernabe et al. (2013), Redefining Dionysos, 381; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 122

13. None, None, nan (5th cent. BCE - 5th cent. BCE)
Tagged with subjects: • Sophocles, and the chorus/choral song • choral, • chorus χορός, choral

Found in books: Bernabe et al. (2013), Redefining Dionysos, 47; Bowie (2021), Essays on Ancient Greek Literature and Culture, 540; Liapis and Petrides (2019), Greek Tragedy After the Fifth Century: A Survey from ca, 245

14. Philo of Alexandria, On Husbandry, 79-82 (1st cent. BCE - missingth cent. CE)
Tagged with subjects: • Exodus, choirs • On the Contemplative Life, allegorical interpretation of choirs by Red sea • Philo Judaeus, Agriculture, choirs • Philo Judaeus, Life of Moses II, choirs • Philo of Alexandria, choirs, characterization of • Therapeutae,choir

Found in books: Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 279; Kraemer (2010), Unreliable Witnesses: Religion, Gender, and History in the Greco-Roman Mediterranean, 84, 91, 94, 95, 96, 98, 101, 103, 106, 107, 108, 109

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79 But the divine army is the body of virtues, the champions of the souls that love God, whom it becomes, when they see the adversary defeated, to sing a most beautiful and becoming hymn to the God who giveth the victory and the glorious triumph; and two choruses, the one proceeding from the conclave of the men, and the other from the company of the women, will stand up and sing in alternate songs a melody responsive to one another's voices. "⁸⁰ And the chorus of men will have Moses for their leader; and that of the women will be under the guidance of Miriam, "the purified outward Sense." For it is just that hymns and praises should be uttered in honour of God without any delay, both in accordance with the suggestions of the intellect and the perceptions of the outward senses, and that each instrument should be struck in harmony, I mean those both of the mind and of the outward sense, in gratitude and honour to the holy Saviour. ⁸¹ Accordingly, all the men sing the song on the sea-shore, not indeed with a blind mind, but seeing sharply, Moses being the leader of the song; and women sing, who are in good truth the most excellent of their sex, having been enrolled in the lists of the republic of virtue, Miriam being their leader. XVIII. ⁸² And the same hymn is sung by both the choruses, having a most admirable burden of the song which is beautiful to be sung. And it is as follows: "Let us sing unto the Lord, for he has been glorified gloriously; the horse and his rider hath he thrown into the Sea." ' "' None

15. Philo of Alexandria, On The Life of Moses, 2.256 (1st cent. BCE - missingth cent. CE)
Tagged with subjects: • Exodus, choirs • On the Contemplative Life, allegorical interpretation of choirs by Red sea • Philo Judaeus, Agriculture, choirs • Philo Judaeus, Life of Moses II, choirs

Found in books: Cosgrove (2022), Music at Social Meals in Greek and Roman Antiquity: From the Archaic Period to the Age of Augustine, 279; Kraemer (2010), Unreliable Witnesses: Religion, Gender, and History in the Greco-Roman Mediterranean, 84, 95, 96, 98

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2.256 For this mercy Moses very naturally honoured his Benefactor with hymns of gratitude. For having divided the host into two choruses, one of men and one of women, he himself became the leader of that of the men, and appointed his sister to be the chief of that of the women, that they might sing hymns to their father and Creator, joining in harmonies responsive to one another, by a combination of dispositions and melody, the former being eager to offer the same requital for the mercies which they had received, and the latter consisting of a symphony of the deep male with the high female voices, for the tones of men are deep and those of women are high; and when there is a perfect and harmonious combination of the two a most delightful and thoroughly harmonious melody is effected. '' None

16. None, None, nan
Tagged with subjects: • chorus χορός, choral • theoria, choral polis-theoria • tribute, to Athens, blurring of religious and monetary in choral dance

Found in books: Bernabe et al. (2013), Redefining Dionysos, 103; Kowalzig (2007), Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece, 114

Please note: the results are produced through a computerized process which may frequently lead to errors, both in incorrect tagging and in other issues. Please use with caution.
Due to load times, full text fetching is currently attempted for validated results only.
Full texts for Hebrew Bible and rabbinic texts is kindly supplied by Sefaria; for Greek and Latin texts, by Perseus Scaife, for the Quran, by Tanzil.net

For a list of book indices included, see here.

Tiresias: The Ancient Mediterranean Religions Source Database