Harry Morgan
Lecturer on Ancient History, Harvard University
https://scholar.harvard.edu/hbmorgan
I hold a BA and MPhil in Classics from the University of Cambridge and a DPhil in Ancient History from the University of Oxford (2018). Before coming to Harvard in Fall 2019, I spent the 2018-2019 academic year as Lecturer in Ancient History at Somerville College, Oxford.
My research focuses on the social and political history of ancient Rome, with a particular interest in musical culture, slavery, and non-elites. My current book project, entitled Music, Politics and Society in Ancient Rome, explores how music shaped Roman politics and social attitudes in the republican and imperial periods. My next project looks at the anti-Roman uprisings of the late Republic, including the Slave Wars and the Sertorian War.
Address: Department of the Classics,
Boylston Hall,
Harvard University,
Cambridge, MA
https://scholar.harvard.edu/hbmorgan
I hold a BA and MPhil in Classics from the University of Cambridge and a DPhil in Ancient History from the University of Oxford (2018). Before coming to Harvard in Fall 2019, I spent the 2018-2019 academic year as Lecturer in Ancient History at Somerville College, Oxford.
My research focuses on the social and political history of ancient Rome, with a particular interest in musical culture, slavery, and non-elites. My current book project, entitled Music, Politics and Society in Ancient Rome, explores how music shaped Roman politics and social attitudes in the republican and imperial periods. My next project looks at the anti-Roman uprisings of the late Republic, including the Slave Wars and the Sertorian War.
Address: Department of the Classics,
Boylston Hall,
Harvard University,
Cambridge, MA
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Papers by Harry Morgan
http://onlinelibrary.wiley.com/book/10.1002/9781444338386.
Conference Presentations by Harry Morgan
The surge of interest in ancient music in recent decades has made only a superficial impression on Roman historiography. There remains a widespread assumption among Roman historians that music is a recondite subject of limited scope, and yet specialists in the field have made little attempt to develop a sophisticated sociohistorical framework which might help to deepen our understanding of Roman musical thought and practice. This paper outlines some of the ways in which this problem might be addressed. My approach will be to consider a small number of case studies (texts and images) from the imperial period, which serve to illustrate the wider interface of musical history and cultural history. In particular, I consider how the study of music can enable us to tap into the cultural tensions and anxieties that shaped the relationship between elite and non-elite and Roman and non-Roman social groups.
Books by Harry Morgan
http://onlinelibrary.wiley.com/book/10.1002/9781444338386.
The surge of interest in ancient music in recent decades has made only a superficial impression on Roman historiography. There remains a widespread assumption among Roman historians that music is a recondite subject of limited scope, and yet specialists in the field have made little attempt to develop a sophisticated sociohistorical framework which might help to deepen our understanding of Roman musical thought and practice. This paper outlines some of the ways in which this problem might be addressed. My approach will be to consider a small number of case studies (texts and images) from the imperial period, which serve to illustrate the wider interface of musical history and cultural history. In particular, I consider how the study of music can enable us to tap into the cultural tensions and anxieties that shaped the relationship between elite and non-elite and Roman and non-Roman social groups.