[12] 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[13] the opening lines of a fragment of Pindar (fr.
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.
In August 2024 D'Angour began hosting the podcast series It's All Greek (and Latin) to Me with comedian and television presenter Jimmy Mulville for Hat Trick Productions.
[21] 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.
[25] 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;[26] and in July 2017 the first public performance of his musical reconstructions of the chorus preserved on papyrus from Euripides Orestes (408 BC)[27] and the Delphic Paean of Athenaeus (127 BC) was given at the Ashmolean Museum, Oxford.
At the request of Dame Mary Glen-Haig, senior member of the International Olympic Committee, D'Angour composed an Ode to Athens[29] 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.
[35][36] 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.
D'Angour's research into the early life of the philosopher Socrates led him to propose an 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.
Tim Whitmarsh, reviewing Socrates in Love in The Guardian, commends D'Angour's application of prosopographical methods to the Athenian male elite, but avoids addressing the arguments made for the Socrates–Aspasia relationship.
[43] Whitmarsh early on observes in his review that "This is a learned, agile and slickly written book, but it is not without its problems"; he concludes that the portrayal of Socrates and Aspasia in it is a "donnish just-so story ... best left to the Victorians."