摘要
The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings were parts of wider narrations of archeology and how Greeks perceived their past.This research is largely based on primary sources of that time; its arguments construct two levels of critique： （1） Admiration （the ＇proper＇ aesthetic examples are German models, as exemplified in Wagner＇s work）; and （2） ＂Hellenism＂ as a means to distancing from Wagner （The past of ancient Greece is still believed to be better understood by the Greeks）. The principal conclusions are： （1） Wagner＇s views were admired because Wagner＇s example （ancient culture） should also be an example for Greek composers; and （2） Wagner＇s views were judged on the grounds of： Ideology： the expression of the ＂soul＂; the theory of ＂historic continuity＂; the balance between music, poetry, and dance; Wagner gave superiority to music, modem Greeks （should） give a predominant role to language as a means of expression in an ancient drama, or achieve a balance among the three arts of music, poetry, and dance.
