"Weiss offers us a new way of seeing how choruses are central characters in Euripides’ late plays, even when they seem at first glance far removed from what is going on around them. Her work is an excellent example of the current revolution in the study of ancient music, which is refuting definitively the facile assumption that tragedy's music in unknowable and therefore uninteresting."—Bryn Mawr Classical Review
“[This] work is highly valuable. It will add depth of understanding to those interested in Euripides and Greek tragedy, and the role of mousikê in a variety of genres. It adds a new perspective on debate regarding the nature of the New music and provides extra dimension to the currently voguish focus on the role of the chorus. Most critically, it relocates the reader through time and space, allowing at least a glimpse of the immersive choral culture for which we are in want.” —Matthew Shipton The Classical Review
"This outstanding book is the first entirely devoted to Euripidean music."—Greek and Roman Musical Studies
“Naomi Weiss offers a refreshing departure from traditional scholarship on Greek tragedy. Her close consideration of the place of music in Euripides’ later tragedies makes this an important and original book.”
Armand D’Angour, Associate Professor of Classics, Oxford University, and author of The Greeks and the New: Novelty in Ancient Greek Imagination and Experience
“This is a valuable work of scholarship that makes an important contribution to the study of Euripides and to broader questions about the development of Greek poetry. It should have a wide readership among the many scholars who are interested in these questions and will significantly advance ongoing discussions about Euripides’ distinctive use of the chorus and about the scope and significance of the 'New Music.’"
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Sheila Murnaghan, Allen Memorial Professor of Greek, University of Pennsylvania