Armand D'Angour

Reviews also appeared in the Times (by Patrick Kidd), Telegraph (by Nikhil Krishnan), Financial Times (by Peter Stothard), and numerous other journals. In a detailed review published in 2021 in Ancient Philosophy, philosopher David Hoinski accepts D'Angour's contention that the contribution of women such as Aspasia to ancient philosophy has received too little attention by modern scholars.

D'Angour became Professor of Classics in 2020 Oxford Recognition of Distinction. His book How to Innovate: an Ancient Guide to Creative Thinking(Princeton, 2021) summarises some of the ideas that were presented in The Greeks and the New, and offers a four-part template for understanding how innovation comes about and how it might be fostered.

D'Angour's book Socrates in Love (2019) presents new evidence for a radically revisionist historical thesis regarding the role of Aspasia of Miletus in the development of Socrates' thought. How to Innovate: An Ancient Guide to Creative Thinking (2021) distils for the general reader some of the findings relating to innovation explored in his academic monograph The Greeks and the New: Novelty in Ancient Greek Imagination and Experience (Cambridge 2011).

In March 2019 he published Socrates in Love: The Making of a Philosopher, in which he presents new evidence for the identification of Diotima in Plato's Symposium with Aspasia of Miletus.

With his colleague Melinda Letts at Jesus College Oxford, D'Angour has pioneered since 2019 the revival of the use of teaching ancient languages in the original language (the "Active Method") at Oxford University. In April 2022 he was invited to deliver a talk in Latin entitled Musica linguae, Lingua Musicae ('The music of language, The language of music') at the Delphi Economic Forum, Greece, to demonstrate both the use of Active Latin and the enduring tradition of ancient Greek music. In July 2022 his impromptu translation into Latin Elegiac Verse of Philip Larkin's 'This Be The Verse' was cited in the Times Literary Supplement.

D'Angour's research into the early life of the philosopher Socrates led him to propose a wholly new argument for Plato's modelling (rather than identification, as had long been suggested by 18th and 19th century writers) of Diotima in Symposium on Aspasia of Miletus. His book on the subject, Socrates in Love, was reviewed in the Wall Street Journal in May 2019, with reviewer Jamie James writing:

D'Angour has challenged long-held views by arguing for the affective symbolism and tonal basis of Greek music of the Classical period, and for its connection to much later European musical traditions. His numerous public talks, media interviews, and online presentations on the topic led to the award in 2017 by the Vice-Chancellor of Oxford University Louise Richardson of a prize for public engagement with research. He subsequently composed music in ancient Greek style to accompany a series of performances of Euripides' play Alcestis (438 BC) staged in the Greek theatre at Bradfield College in June 2019, and his research has inspired other stage performances including that of Euripides' Herakles at Barnard College, Columbia in 2019.

In May 2015 D'Angour appeared in a BBC Four documentary entitled 'Sappho', for which he used scholarly evidence to recompose the music for two stanzas of an ancient Sapphic song; in July 2016 he organised and presented a research-driven concert of ancient music in the Nereids Gallery of the British Museum. In January 2017 he was interviewed about his research into ancient Greek music by Labis Tsirigotakis as part of the programme 'To the Sound of Big Ben' on Greek TV's ERT1 Channel; and in July 2017 the first public performance of his musical reconstructions of the chorus preserved on papyrus from Euripides Orestes (408 BC) and the Delphic Paean of Athenaeus (127 BC) was given at the Ashmolean Museum, Oxford.

D'Angour has conducted research into the sounds of ancient Greek music (since 2013), aiming to recreate the sound of the earliest substantial notated document of Greek music (from Euripides' drama Orestes), and to establish connections with much later Western musical traditions.

In 2013-15 D'Angour conducted a Research Fellowship awarded by the British Academy to investigate the way music interacted with poetic texts in ancient Greece. In 2013 he published a conjectural verse reconstruction of the lost portion of Sappho's famous fragment 31.

In 2010 Boris Johnson, then Mayor of London, commissioned D’Angour to write an ode in English and Ancient Greek for the London Olympics 2012, and declaimed it at the IOC Opening Gala. Johnson arranged for the 2012 ode to be engraved on a bronze plaque in the Queen Elizabeth Olympic Park, and gave a performance of it at the site during a ceremony (2 August 2012) attended by the Lord Mayor of London (Sir David Wootton) to mark the unveiling of the plaque.

On behalf of the Society for the Promotion of Hellenic Studies, D'Angour wrote a poem in Latin Sapphics in honour of the Society for the Promotion of Roman Studies for its 2010 centenary. Two compositions in Latin verse (elegiacs and Sapphics) celebrating the land of Luxembourg (Terra Ego Sum and Wou d’ Uelzecht) were commissioned in 2020 and set to music by composer Catherine Kontz. They were part of a series of full-scale choral performances put on in France and Luxembourg in June 2022.

At the request of Dame Mary Glen-Haig, senior member of the International Olympic Committee, D'Angour composed an Ode to Athens in 2004, in the appropriate Pindaric style, Doric dialect and metre (dactylo-epitrite) of ancient Greek, together with an English verse translation. The ode was recited at the 116th Closing Session of the IOC in 2004 and gained wide media coverage, including a full-page spread in the Times headed up by veteran journalist and classicist Philip Howard.

In 2000 D'Angour was appointed Fellow in Classics at Jesus College, Oxford. He extended the chronological scope of this doctoral research to produce The Greeks and the New (published by Cambridge University Press in 2011), a wide-ranging academic study of novelty and innovation in ancient Greece; he has applied the findings of his research to business and to other domains, including music and psychoanalytic theory. His TedED lessons on Archimedes' Eureka Moment and the Origins of the Ancient Olympics have attracted millions of views.

In the course of his doctoral research, D'Angour published his first scholarly article (in Classical Quarterly 1997) "How the Dithyramb Got Its Shape", in which he restored the opening lines of a fragment of Pindar (fr. 70b from Dithyramb 2, first published in 1919) to show that it refers to the creation of the 'circular dance' (kuklios choros), the form in which the dithyramb was performed in Athens in the early fifth century BC. The article contributed to a renewed interest in the ancient genre of the dithyramb, and has featured in numerous articles and books (including Dithyramb in Context, ed. B. Kowalzig and P. Wilson, Oxford 2013) that explore the subject from different angles. He also published an article (1999) detailing the technical and political background to the adoption of the Ionic alphabet (still the standard Greek script) by a decree of Eucleides in Athens in 403 BC.

From 1987 to 1994 D'Angour worked in and eventually managed a family business. In 1994-8 he researched for a PhD at University College London on the dynamics of innovation in ancient Athens, a topic inspired by both his classical background and his experience of innovation in business. During this period he co-authored a book with Steven Shaw on swimming in relation to the principles of the Alexander Technique.

In 1981-2 he conducted the Kodály Choir and orchestra, with performances including Brahms' 1st Piano Concerto (with Colin Stone, piano), Poulenc's Organ Concerto (with Michael Emery, organ) and Fauré's Requiem (with Rudolf Piernay, baritone). In 1983, he sat for a Prize Fellowship by Examination at All Souls College, but was unsuccessful. He then studied cello in the Netherlands with cellist Anner Bylsma, and now regularly performs as cellist with the London Brahms Trio.

D'Angour went on to read classics at Oxford (1979–83), during which he won the Gaisford Greek Prose Prize, the Chancellor's Latin Verse Prize, the Hertford Scholarship, and the Ireland and Craven Scholarship, and graduated with a Double First (BA Hons, Literae Humaniores).

D'Angour was born in London and educated at Sussex House School and as a King's Scholar at Eton College. While at Eton he won the Newcastle Scholarship in 1976 (the last year in which the original twelve exams in Classics and Divinity were set), and was awarded a Postmastership (full academic scholarship) to Merton College, Oxford to read classics.

Having learned to play the piano from age 6 and the cello from age 11, from 1976 to 1979 D'Angour undertook a Performer's Course, with piano and cello as joint first instruments, at the Royal College of Music, London, where he studied piano with Angus Morrison and cello with Anna Shuttleworth and Joan Dickson.

Armand D'Angour (born 23 November 1958) is a British classical scholar and classical musician, Professor of Classics at Oxford University and Fellow and Tutor in Classics at Jesus College, Oxford. His research embraces a wide range of areas across ancient Greek culture, and has resulted in publications that contribute to scholarship on ancient Greek music and metre, innovation in ancient Greece, Latin and Greek lyric poetry, the biography of Socrates and the status of Aspasia of Miletus. He writes poetry in ancient Greek and Latin, and was commissioned to compose odes in ancient Greek verse for the 2004 and 2012 Olympic Games.