title: Rock Art in Africa: Mythology and Legend
author: Jean-Loic Le Quellec
description: <div>Jean-Lo&iuml;c Le Quellec is an ethnologist, anthropologist, and specialist in prehistory and Saharan cave art who has published a dozen books on the subject.<br>Translator Paul Bahn is an expert on archaeology who has written, among other works, The Cambridge Illustrated History of Prehistoric Art, Archeology: A Very Short Introduction (Oxford Press, 2000). He edited the Collins Dictionary of Archaeology and has translated numerous books on cave art.<br></div>
zlib_text: © koninklijke brill nv, leiden, 2018 | doi 10.1163/22129758-12341308
  brill.com/grms
  Greek and Roman Musical Studies 6 (2018) 1-13
  Migrating Musical Myths
  The Case of the Libyan Aulos
  Andrew D. Barker
  University of Birmingham, Birmingham, United Kingdom
  andrewqbarker@hotmail.com
  Abstract
  Allusions to the ‘Libyan aulos’ or ‘Libyan lōtos’ are quite common in Euripides, but 
  occur nowhere in earlier texts and only sporadically later. The identity of the instru-
  ment to which these unusual expressions refer is something of a mystery. I argue that 
  it cannot be a special kind of instrument distinct from the familiar aulos, but that the 
  designation reflects a mythological tradition, difficult but by no means impossible to 
  trace in our sources, according to which the aulos and its music originated in North 
  Africa rather than in Phrygia, where the more familiar legends locate it.
  Keywords
  aulos – lōtos – Euripides – Libya – Phrygia – Greek myths – M.L. West
  I’m acutely aware that being asked