analysis of the association of prooimion and nomos in a specifically choral context of kitharōidiā (021-026): Pindaric diction presents a khoros ('chorus') of Muses (023) who are specifically singing (ἄειδ’ 022), and in their midst is the god Apollo himself, taking control as he strikes up a lyre that is heptaglōssos ('having seven languages,' 024), leading the choral performance of 'all sorts of nomoi' (παντοίων νόμων, 025); the chorus of Muses is represented as performing not just the subsequent nomoi (021-026) but also the prooimion that is expected to introduce a nomos (although the word prooimion is not used in the passage, the phraseology of the Muses’ paraphrased words (025-026) is in accordance with the proper syntax and rhetorical strategy of attested prooemia)