Προκιθαριστής [Nina Almazova: Προκιθαριστής]

Abstract

The word προκιθαριστής is known only from epigraphical evidence: it occurs three times in the inscriptions from Miletus and Didyma dating from the end of I – III AD (IDid 182; 264; MDAI Ist. 15 [1965] 122). According to these inscriptions, the honorable duty of the procitharist was considered a priesthood for Apollo Delphinius fulfilled for a year by young people competent enough to be able to take part in musical competitions.

Further conclusions are possible only from the analysis of the meaning of the prefix προ- in the compounds. (1) The meaning ‘playing publicly’ adds nothing to the word κιθαριστής (public performance is a musician's natural task). (2) ‘Playing for’ (Apollo) would duplicate the possessive genitive τοῦ Δελφινίου Ἀπόλλωνος and imply that Apollo is not capable of playing himself. Thus, the first two meanings prove unconvincing. (3) ‘Position before / in front’: a musician could hardly stand in front of other worshipers, for that would hinder their performance of the sacrifice. But he could move in front, either in a dance (that dancing with a stringed instrument was quite possible, we see from literary evidence and vase painting) or in a procession (though the musicians are in most cases pictured in the middle of a πομπή, αὐληταί coming first, followed by κιθαρισταί). (4) ‘Priority of order’: many terms with the prefix προ- mean an instrumental introduction, such as προαύλιον, προβολή, and even προοίμιον (Hesych. π 3328). The procitharist would perform a prelude; the most probable continuation would be a choral hymn. (5) ‘Priority of rank’: the meaning of ‘a chief, leading citharist’ suits well the honorable title mentioned in inscriptions. This meaning of προ- corresponds to that of πρῶτος (πρωτο-). In the inscriptions of I–III AD the term πρωταυλής, meaning evidently a conductor of a group of musicians, can be found. A taste for large ensembles seems to have spread over various spheres of musical practice in the Roman period. The reasons for preferring a leading citharist to a leading aulete in Didyma are to be sought in the peculiarity of the cult of Apollo. The second parts could be performed both by instrumentalists and singers (such as the well-known guild of μόλποι).

As a chief musician the procitharist could occupy the first place at some stage of a ceremony as well as play the introduction. The preference for a youth over a mature master makes us suppose that such matters as his appearance, skill in dancing or ability to traverse the long distance from Miletus to Didyma could be of importance for his duties.