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  1.  34
    Zeus in the Persae.R. P. Winnington-Ingram - 1973 - Journal of Hellenic Studies 93:210-219.
  2.  13
    Προεπιλογή πυθαγόρα, το «πείραμα» με τα σφυριά, ελικών.Jon Solomon, T. J. Mathiesen, R. P. Winnington-Ingram, A. Barker, W. S. Hett, H. S. Macran, L. Rowell, L. Pearson, C. B. Gulick & C. Bower - 1986 - American Journal of Philology 107 (4):455-479.
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  3.  19
    Apollo's last words in aeschylus'eumenides.O. Taplin, P. Victorius, So H. Weil & R. P. Winnington-Ingram - 2006 - Classical Quarterly 56:12-18.
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  4.  12
    Aeschylus, Agamemnon 1343–71.R. P. Winnington-Ingram - 1954 - Classical Quarterly 4 (1-2):23-.
    When the death-cry of Agamemnon is heard, the Chorus talks, but does nothing. This is the locus classicus of a Chorus which, in a situation that seems to demand effective intervention, is debarred from intervening by the necessity of remaining a Chorus. Did Aeschylus and his audience feel a difficulty here? No, says Professor G. Thomson; it is merely that modern taste is influenced by ‘the crude realism of the Elizabethan drama’. But this will not do, for it is Aeschylus (...)
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  5.  63
    Aristoxenus and the Intervals of Greek Music.R. P. Winnington-Ingram - 1932 - Classical Quarterly 26 (3-4):195-.
    Ancient Greek music was purely or predominantly melodic; and in such music subtleties of intonation count for much. If our sources of information about the intervals used in Greek music are not always easy to interpret, they are at any rate fairly voluminous. On the one hand we have Aristoxenus, by whom musical intervals were regarded spatially and combined and subdivided by the processes of addition and subtraction; for him the octave consisted of six tones, and the tone was exactly (...)
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  6.  19
    Aeschylus. Eumenides, 674–680.R. P. Winnington-Ingram - 1935 - The Classical Review 49 (01):7-8.
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  7.  29
    D. W. Lucas: The Greek Tragic Poets. Second edition. Pp. xiv + 274. London: Cohen & West, 1959. Cloth, 24 s. net.R. P. Winnington-Ingram - 1961 - The Classical Review 11 (02):160-.
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  8.  33
    Euripides André Rivier: Essai sur le Tragique d'Euripide. Pp. 240. Lausanne, Rouge, 1944. Paper, 6 Sw. fr.R. P. Winnington-Ingram - 1948 - The Classical Review 62 (01):17-18.
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  9.  23
    Euripides, Electra 1292–1307.R. P. Winnington-Ingram - 1937 - The Classical Review 51 (02):51-52.
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  10.  30
    Emil Staiger: Euripides, Ion. Deutsch mit einer Einleitung. Pp. 66. Bern: Francke, 1947. Boards, 5.50 Sw. fr.R. P. Winnington-Ingram - 1949 - The Classical Review 63 (02):71-.
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  11.  31
    Greek Tragedy - D. W. Lucas: The Greek Tragic Poets. Pp. ix+253. London: Cohen & West, 1950. Cloth, 15 s. net.R. P. Winnington-Ingram - 1952 - The Classical Review 2 (01):21-22.
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  12.  28
    The Greek Modes K. Schlesinger: The Greek Aulos. Pp. 1+577; 18 plates. London: Methuen, 1939. Cloth, 42s.R. P. Winnington-Ingram - 1939 - The Classical Review 53 (5-6):185-186.
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  13.  23
    The Loeb Aeschylus.R. P. Winnington-Ingram - 1959 - The Classical Review 9 (03):239-.
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  14.  19
    Two Latin Idioms.R. P. Winnington-Ingram - 1955 - The Classical Review 5 (02):139-141.
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  15.  22
    Two Passages of Horace.R. P. Winnington-Ingram - 1935 - The Classical Review 49 (04):127-128.
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  16.  26
    The Pentatonic Tuning of the Greek Lyre: A Theory Examined.R. P. Winnington-Ingram - 1956 - Classical Quarterly 6 (3-4):169-.
    It has commonly been assumed that, on ancient Greek instruments of the lyre-type , when a string had been tuned to a certain note, that note and that note only could be played, until the string was retuned; thus, that a separate string was required for each note of a given scale. This view involves certain difficulties. The canonical number of strings was seven, and seven-stringed lyres and citharas continue to be represented in art throughout the classical period. But, with (...)
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  17.  21
    The Rôle of Apollo in the Oresteia.R. P. Winnington-Ingram - 1933 - The Classical Review 47 (03):97-104.
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  18.  10
    The second Stasimon of the "Oedipus Tyrannus".R. P. Winnington-Ingram - 1971 - Journal of Hellenic Studies 91:119-135.
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  19.  22
    The Spondeion Scale.R. P. Winnington-Ingram - 1928 - Classical Quarterly 22 (2):83-91.
    Our information about the early stages of Greek music is so slight that these references of Aristides Quintilianus to an the Pseudo-Plutarch to a scale employed by the legendary figure Olympus take on an immense value for us. The dialogue itself is an unskilful patchwork, but the author's sources are often good. These particular passages are almost certainly both derived with small alteration from Aristoxenus, in whose time the traditional music ascribed to Olympus was still in use. For the elucidation (...)
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  20.  37
    A Literary Study of Greek Tragedy H. D. F. Kitto: Greek Tragedy: a Literary Study. Pp. x+410. London: Methuen, 1939. Cloth, 15s. [REVIEW]R. P. Winnington-Ingram - 1940 - The Classical Review 54 (02):79-80.
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  21.  44
    Aeschylus' Persae H. D. Broadhead: The Persae of Aeschylus. Edited with introduction, critical notes and commentary. Pp. lxxiii+350. Cambridge: University Press, 1960. Cloth, 45s. net. [REVIEW]R. P. Winnington-Ingram - 1962 - The Classical Review 12 (02):122-125.
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  22.  36
    Aulos und Kithara in der griechischen Musik bis zum Ausgang der klassischen Zeit. Von Helmut Huchzermeyer. Pp. 76. Emsdetten (Westf.): H. und J. Lechte, 1931. Paper. [REVIEW]R. P. Winnington-Ingram - 1932 - The Classical Review 46 (05):233-.
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  23.  53
    Fraenkel's Agamemnon- Aeschylus: Agamemnon. Edited With A Commentary By Eduard Fraenkel. 3 vols. Vol. I, pp. xvi + 195; Vols. II and III, pp. viii + 850. Oxford: Clarendon Press, 1950. Cloth, £4. 4s. net. [REVIEW]R. P. Winnington-Ingram - 1951 - The Classical Review 1 (3-4):147-151.
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  24.  32
    Greek Music Otto Johannes Gombosi: Tonarten und Stimmungen der antiken Musik. Pp. xiii+148; 1 plate. Copenhagen: Munksgaard, 1939 [1950]. Paper, kr. 25. [REVIEW]R. P. Winnington-Ingram - 1952 - The Classical Review 2 (01):34-36.
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  25.  23
    Music and Metre Émile Martin: (I) Trois documents de musique grecque. Pp. 78; 2 plates. (2) Essai sur les rythmes de la chanson grecque antique. Pp. viii+365. Paris: Klincksieck, 1953. Paper, 800 fr., 1, 600 fr. [REVIEW]R. P. Winnington-Ingram - 1955 - The Classical Review 5 (01):83-86.
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  26.  49
    The Agamemnon (1) J. D. Denniston and Denys Page: Aeschylus, Agamemnon. Pp. xxxix + 240. Oxford: Clarendon Press, 1957. Cloth, 21s. net. (2) Eduard Fraenkel: Der Agamemnon des Aeschylus. Pp. 38. Zürich: Artemis-Verlag, 1957. Paper, 3.80 Sw. fr. [REVIEW]R. P. Winnington-Ingram - 1959 - The Classical Review 9 (01):23-26.
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  27.  36
    The Loeb Aeschylus - Aeschylus. With an English translation by Herbert Weir Smyth. Vol. ii. Reprinted with an Appendix edited by Hugh Lloyd-Jones. (Loeb Classical Library.) Pp. 611. London: Heinemann, 1957. Cloth, 15 s. net. [REVIEW]R. P. Winnington-Ingram - 1959 - The Classical Review 9 (03):239-241.