"...mores of the states change with them" - Plato (Jowett Translation) Republic (Forgotten Books, 2009) pg. 146
"...the entirety of an education" - E. Pottier Douris and the Painters of Greek Vases (London: J Murray, 1908) pg. 78
"...more than ever before." - S. D. Bundrick Music and Image in Classical Athens (New York, NY: Cambridge UP, 2006) pg. 1-12
"...provoking the gods were it to praise Athens too much" - E. Potter (1908) pg. 70
On attributed dates being more or less accurate, see T. B. L. Webster "Attic Vase Painting During the Persian Wars" in Greece & Rome 1:3 (May 1932) pg. 137
"is the Greek use." - S. D. Bundrick (2005) pg. 43; cf. Xenophon (Marchantt and Bowersock Translation) On The Cavalry Commander (Harvard University Press - 1968) 3.11-12
"..quite common during the time" - Webster (1932) pg. 140
"...with scenes of the symposium" - Bundrick (2005) pg. 44
"...First few sparks of the Peloponnesian War" - The vase shown circa 430 BCE is a vase from Southern Italy. However, the market in southern Italy wanted not just vases made by Athenians, but with Athenians images and themes. see. Robin Osborne "Why Did Athenian Pots Appeal to the Etruscans" in World Archaeology 33:2 Archaeology and Aesthetics (Oct, 2001) pg. 277-295
"...when such is needed" cf. "Above all scenes of violence" mark Attic vase painting at this time, Webster (1932) pg. 138
"..to send back the Persians" cf. M. H. Hansen. The Ancient Greek City-state: Symposium on the Occasion of the 250th Anniversary of the Royal Danish Academy of Sciences and Letters, July 1-4 1992 (Copenhagen, 1993) pg. 67
"...aristocratic affair" - Hansen (Copenhagen, 1993) pg. 75
"...have the effect of statues" - Webster (1932) pg. 140
"...fill as much space as he can" - Betty Grossman "Greek Vase By The Berlin Painter" in Bulletin of the City Art Museum of St. Louis 44:1 (1960) pg. 11
"...shoulders of the vase" - "He (the Berlin Painter) boldly ignores the sharp angle between the shoulder and the body of the vase and triumphantly throws a large, single, erect figure over the body and shoulder - J D Beazley Der Berliner Maler (1930) pg. 13
"...same time period as the current discussion" - Webster (1932) pg. 141
"...greater respect for the individual" - Ibid; for a good vase of the older style to use for contrast, one may try the reverse of an amphora by the Dikaios Painter, British Museum Vase E254
"...complicated kind of lyre" - Aristotle calls it an organon technikon, Politics (1341a)
"...drawing attention to the kithara" - J V Noble The Techniques of Painted Attic Pottery (London Thames and Hudson, 1988) pg. 313, Noble refers to it as the "Attic relief line"
"...to produce the relief lines" - Ibid
"...an interesting link with the times" - G Comotti, Music In Greek and Roman Culture (Baltimore: John Hopkins UP, 1989_ pg. 19-21
"...and after the Persian Wars - e.g. "They escalate in popularity after the Persian Wars" - S. D. Bundrick (2005) pg. 144
"...only with the chelys lyre" - Ibid
"...as the aristocratic, educated god- Ibid, and Ibid, pg. 14
"...are less involved in education" - F. Graf. Apollo London: (Routledge, 2009) pg. 32
"...and other instruments" - M Maas & J M Snyder Stringed Instruments of Ancient Greece (New Haven: Yale UP, 1989) pg. 99 says she holds a chelys lyre in some depictions, but these are so far not found, and one has seen a kithara mistaken for one before. However, it does suggest a similar thing going on as with the transition between instruments seen with Apollo.
"...it hangs in silence" - On a recently found vase there Nike is playing a kithara in these scenes, though this could be an innovation. S. D. Bundrick (2005) pg. 167
"...dons an Ionic chiton" - Grossman (1960) pg. 12
"...victors of musical contests" - Maas & Snyder (1989) pg. 61
"...are a particularly Greek phenomenon" - "The Greeks were the first people in the world to play" see E. Hamilton The Greek Way (New York: W W Norton, 1942) pg. 24-25
"...as an Asiatic instrument" - Maas & Snyder (1989) pg. 54
"...inscribed Sapho and Alkaios" - Patricia Rosenmeyer, "From Syracuse To Rome: The Travails of Silanion's Sappho" in Transactions of the American Philological Association 137:2 (2007) pg. 288
"...muse more than a poet" - J Snyder "Sappho in Archaic Vase Painting" in Naked Truths: Women, Sexuality, and Gender in Classical Art and Archaeology (London and New York: Routledge. 1997) pg. 108-119
"...perhaps in deference to the man" - Snyder makes similar arguments, Ibid, pg. 114-115
"...labeled as such" - Rosenmeyer (2007) pg. 289
"...depicted playing music" - S. D. Bundrick (2005) pg. 92-102
"...barbarians and satyrs" - The barbitos is sometimes shown with Eros, but it seems a reasonable assumption to say this is because Eros is often only a boy, and so he perhaps requires an easier instrument. Of course, depiction is not always meant to show any lack of skill, it is simply more likely to do so with a barbitos.
"...domestic setting" - S. D. Bundrick (2005) pg. 92
"...hetairai or muses" - Ibid, pg. 96
"...on through the rest of it" - Ibid, pg. 118
"...become his murderer" - Ibid, pg. 120-121
"...lyre is often their symbol" - Ibid, pg. 14
"...as told by Aeschylus" - Ibid, pg. 120
"...ethnic clothing" - Ibid, pg. 122
"...lazily played tune" Contrast with how Apollo or Alkaios strikes his lyre
"...such as death" - cf. D. Ogden A Companion To Greek Religion (Malden, MA: Blackwell Pub., 2007) pg. 333
"...various unofficial capacities" - D Kagan The Outbreak of the Peloponnesian War (Cornell University Press, 1969) pg. 64-65
"...for all time" - Aeschylus, P. Meineck, & H P Foley, Oresteia (Indianapolis, IN: Hackett Pub 1998) pg. ix-x
"...politician Thucydides" - D Kagan (1969), pg. 136-138
"...Pan-Hellenism" - Ibid, pg. 159
"...good old times before the Persian Wars" - cf. the views of A B Follman in Der Pan Maler (Bonn 1968)
