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Claude Calame’s work on choruses is still the basic work of reference (2001). Mullen 1982 focuses on Pindar, but the first two chapters are of interest to students of choral performance in general. Stehle 1997 is a reading of poetry performed on communal occasions and at the symposium and is informed by gender and performance theory. Kowalzig 2007 is a demonstration of the importance of the choral performance of myth and ritual for the life of the polis, and its power to effect social change on the local and Panhellenic level. Athanassaki 2009b, an extensive part of which has been subsequently published in English in the form of updated articles, considers the art displayed in the Panhellenic centers as a visual “intertext” shared by poets, performers, and audiences, and it explores the inspiration it offered to poets and the poems’ subsequent commemorative and emotional impact on their audiences (Athanassaki 2009a, 2011, 2012a, 2012b, 2016a, 2016b). The collection of essays in Peponi 2013 gives the Laws center-stage and demonstrates its importance for the study of the Greek performance culture. Those interested in dithyrambic choruses should consult the essays in Kowalzig and Wilson 2013. Billings, Budelmann, and Macintosh 2013 examine the position of choral studies in classical scholarship and explore their reception by ancient and modern authors and the fascination they still exercise on thinkers and artists of different societies. Steiner’s extensive investigation of the representation of choruses in Greek culture (Steiner 2021b) came out when this chapter was already in production.