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Although rhapsodies—since the mid-19th century predominantly identified as musical compositions without fixed form—were composed by a number of prominent European and American composers, it was Franz Liszt, the author of Rhapsodies hongroises, who played the seminal role in establishing the status of rhapsody as a musical genre intrinsically joined with the imaginary ideal of gypsyness (defined as an intellectual construct). The chapter discusses consequences of uniting the concept of rhapsody with gypsyness, but also underlines the similarities between instrumental rhapsodies and ballads. It argues that although both genres shared a number of resemblances, the distinctive feature of the rhapsody remained its close association with romantic ideals of gypsyness. This strong link, the author claims, has been affecting the development and reception of the rhapsody as a genre.

Some of the so-called Homeric Hymns, dating from the seventh century bc, provide evidence of poetic performance at festivals in Greece. Alongside the sung hexameter epics, two other verse traditions appear to have been recited without music: iambics and elegiacs, both of which were used in public performances. We hear of a new kind of recited performance in the sixth century, that of the rhapsode, the fullest account of which (admittedly from a hostile perspective) is that given by Plato in the Ion. This chapter discusses the figure of the rhapsode, and the significance of a performance tradition in which a fixed text is used, perhaps with the aid of a written script. The chapter ends with a consideration of Plato’s hostility to poetry and Aristotle’s response to his arguments.

This chapter reviews the evidence for the rhapsodic performance of Archilochus and argues that through it we can see a fundamental polarity between Archilochus and Homer. In turn, it shows that this polarity is revealed in hints of a ‘Synkrisis’ tradition that developed as a result of a shared context of performance. If, as it maintains, the rhapsodic context is the primary (but not only) context of performance for Archilochean iambos, then the agonistic character of this performance context generates the ancient critical tradition which compares Archilochus and Homer.

This essay discusses diverse modes and contexts in recent performances of translations and adaptations of Homer’s Iliad and Odyssey, with special emphasis on the interplay between audience experiences, aesthetics, and contexts that generate moments of heightened receptivity. Radio is a key medium because of its creation of interplay between the aural and visual imaginations and its potential for transferring these to the stage. Analysis of the physical aspects of speech enhances comparisons between radio and different types of live theatre, including the rhapsode or solo performer, the ensemble performance with minimalist staging, and the ‘epic’ staging with full cast and scenery. The versatility of epic in performance demonstrates its capacity to accommodate and sustain changes in poetics, performance styles, and media and to involve spectators and listeners in responding to and transforming perceptions of differing artistic, social, and political environments.