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Journal articles on the topic 'Harmonics (Ptolemy)'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2024

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1

Crane, Joseph. "Ptolemy’s Digression: Astrology’s Aspects and Musical Intervals." Culture and Cosmos 11, no. 1 and 2 (October 2007): 211–27. http://dx.doi.org/10.46472/cc.01211.0221.

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The rationale behind aspects has been relatively unexamined in astrology’s tradition, although much development has occurred over the centuries. This article explores a passage in Ptolemy’s Tetrabiblos Book I, Chapter 14. While presenting the different aspect relationships, Ptolemy alludes to musical intervals, in addition to arithmetical relationships. Examining this and similar passages in Ptolemy’s Harmonics and Plato’s Timaeus, this article asserts the importance of specific harmonizing musical intervals to bring together planets, solve the ancient problem of action at a distance, and account for astrology’s aspects.

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2

Tolsa, Cristian. "Porphyry's Distortion of Ptolemy Harmonics II.1." Phoenix 71, no. 1-2 (2017): 44–65. http://dx.doi.org/10.1353/phx.2017.0030.

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3

Bobo de la Peña, Miguel. "Ptolemy on Sound: Harmonics 1.3 (6.14-9.15 Düring)." Mnemosyne 62, no. 4 (2009): 548–85. http://dx.doi.org/10.1163/156852509x339897.

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AbstractPtolemy's acoustics develops throughout his Harmonics chapter 1.3. He defines sound as παος αερος πλησσομενου, expressing it—as most authors at the time—in terms of a stroke (πληγη), and thus linking the study of sound attributes to that of the strokes. His tripartite analysis of sound stroke represents an original description of sound production by means of an agent (το πληττον) exciting a medium (το δι' ου η πληγη) which, in turn, stimulates the air (το πληττομενον). However clear Ptolemy's explanation is, a wide consensus on its interpretation has not been reached, since almost each scholar has read Ptolemy's three factors in a different way. As a result, several problems arise in different authors, especially the contradiction between η του δι' ου η πληγη σοδροτης seen as responsible for pitch and η του πληττοντος βια thought of as cause of loudness, but also the understanding of η αποχη του πληττομενου προς την αρχην της κινησεως as a differential cause of sounds. This paper tries to settle the aforesaid factors and to clear up the difficulties arising, as well as to comment on some fundamental aspects of Ptolemy's acoustics.

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4

Cristian Tolsa. "Porphyry's Distortion of Ptolemy Harmonics II.1." Phoenix 71, no. 1/2 (2017): 44. http://dx.doi.org/10.7834/phoenix.71.1-2.0044.

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5

Tolsa, Cristian. "PTOLEMY, HARMONICS - A. Barker Porphyry's Commentary on Ptolemy's Harmonics. A Greek Text and Annotated Translation. Pp. viii + 581, figs. Cambridge: Cambridge University Press, 2015. Cased, £100, US$160. ISBN: 978-1-107-00385-9." Classical Review 66, no. 2 (July 21, 2016): 392–94. http://dx.doi.org/10.1017/s0009840x16001323.

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6

Raffa, Massimo. "Ancient Musical Writings as Persuasive Texts." Greek and Roman Musical Studies 9, no. 2 (August 20, 2021): 271–84. http://dx.doi.org/10.1163/22129758-bja10025.

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Abstract This contribution is meant to shed light on how ancient Greek music theorists structure argumentations and address their readership in order to be understandable, effective and persuasive. On the one hand, some of the most important treatises, e.g. Ptolemy’s Harmonics (with Porphyry’s Commentary) and what remains of Archytas’ and Theophrastus’ works, are taken as case studies; on the other hand, the paper deals with some argumentative patterns recurring in harmonics demonstrations, especially with reference to the usage of everyday life experience as evidence supporting acoustic and harmonic theories.

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7

Solomon, Jon, and Andrew Barker. "Scientific Method in Ptolemy's "Harmonics"." Classical World 96, no. 3 (2003): 329. http://dx.doi.org/10.2307/4352768.

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8

Sefrin-Weis, Heike. "Scientific Method in Ptolemy's Harmonics (review)." Journal of the History of Philosophy 41, no. 1 (2003): 123–24. http://dx.doi.org/10.1353/hph.2002.0110.

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9

Olson, S. Douglas, and Ineke Sluiter. "An emendation in Porphyry's commentary on Ptolemy's Harmonics." Classical Quarterly 46, no. 2 (December 1996): 596. http://dx.doi.org/10.1093/cq/46.2.596.

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So far am I from rejecting the use of what has been well stated by others, that I would wish that everyone said the same things about the same things and, as Socrates puts it, in the same words, and then there would be no undisputed quarrelling among men about the matters at hand.

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10

Campion, Nicholas. "Harmony, Politics and Utopia in the Cosmology of Jean Bodin and Johannes Kepler." Culture and Cosmos 25, no. 0102 (October 2021): 125–65. http://dx.doi.org/10.46472/cc.01225.0213.

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This paper explores Harmonice Mundi as a political text and considers the influence on Kepler of the French political theorist Jean Bodin (1530–1596). Both Bodin and Kepler subscribed to the political cosmology inherited from Plato, Aristotle and the Stoics, and elaborated in detail by Claudius Ptolemy, in which the terrestrial state was part of a wider entity including the celestial spheres and the use of the planets to identify changes in the quality of time and fluctuations in natural influences. Both sought to remedy failures in contemporary astrology and create a new and empirical discipline which could avert future crises by predicting them. The paper examines Bodin’s theories and then locates the work of both him and Kepler as attempts to establish ways to create stability in the unstable politics of the post-Reformation era, and contextualises Kepler’s attempts to delineate the perfect state as utopian.

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11

Raffa, Massimo. "The Debate on logos and diastēma in Porphyry’s Commentary on Ptolemy’s Harmonics." Greek and Roman Musical Studies 1, no. 1 (2013): 243–52. http://dx.doi.org/10.1163/22129758-12341245.

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Abstract Introducing his commentary on Ptol. Harm. I.5, Porphyry discusses at length the vocabulary of musical intervals and in particular the question whether the words λόγος and διάστηµα should or not be used as synonyms. This paper aims, on the one hand, at analysing the way in which he chooses and arranges his sources; on the other hand, at restoring them to the original debate to which they belong—a debate in which a seminal role seems to have been played by Plato’s Timaeus and the contributions of its early commentators (Eratosthenes, Aelianus, Panaetius) in the framework of post-Aristoxenian harmonics.

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12

ACERBI, Fabio, and Sofia DI MAMBRO. "Barlaam’s Refutation of the Chapters Added to Ptolemy’s Harmonics. A Critical Edition." Jahrbuch der Österreichischen Byzantinistik 1 (2024): 1–56. http://dx.doi.org/10.1553/joeb73s1.

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13

Taub, Liba. "Porphyry’s Commentary on Ptolemy’s Harmonics: A Greek Text and Annotated Translation, edited and translated by Barker, A." Greek and Roman Musical Studies 7, no. 1 (March 21, 2019): 167–71. http://dx.doi.org/10.1163/22129758-12341339.

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14

Meriani, Angelo. "Notes on the Prooemium in Musicam Plutarchi ad Titum Pyrrhynum by Carlo Valgulio (Brescia 1507)." Greek and Roman Musical Studies 3, no. 1-2 (February 9, 2015): 116–36. http://dx.doi.org/10.1163/22129758-12341031.

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The Prooemium in Musicam Plutarchi ad Titum Pyrrhinum, written by Carlo Valgulio at the end of the 15th century and published in Brescia in 1507 as an introduction to his Latin translation of the Plutarchean De musica, was one of the first descriptions and re-evaluations of ancient Greek music in the Modern Age. It was an extremely important text for music theorists such as Franchino Gaffurio, Vincenzo Galilei and Gioseffo Zarlino. This text is based upon a wide range of Greek sources, almost all of which derive from Porphyry’s Commentary on Ptolemy’s Harmonics. On the basis of manuscripts that were at his disposal, Valgulio produced the first Latin translations of all of these materials, commented on them and related them to his general argument, often adding personal observations. This study examines several passages of this text dealing with psycho-musicological topics, with the conative function of music and the relationship between music and dance.

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15

Feke, Jacqueline. "Mathematizing the soul: The development of Ptolemy’s psychological theory from On the Kritêrion and Hêgemonikon to the Harmonics." Studies in History and Philosophy of Science Part A 43, no. 4 (December 2012): 585–94. http://dx.doi.org/10.1016/j.shpsa.2012.06.006.

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16

Taub, Liba. "Andrew Barker, Scientific Method in Ptolemy's ‘Harmonics’. Cambridge: Cambridge University Press, 2000 cloth £45.00 ISBN: 0-521-55372-5." British Journal for the Philosophy of Science 57, no. 1 (March 1, 2006): 267–71. http://dx.doi.org/10.1093/bjps/axi159.

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17

Manning, W. H. "Ptolemy's Geography. An Annotated Translation of the Theoretical Chapters. By J. Lennart Berggren and Alexander Jones. Princeton U.P., 2000. Pp. xiii + 192, with 7 Plates, 20 figures, and 13 maps. £24.95. - Scientific Method in Ptolemy's ‘Harmonics'. By Andrew Barker. Cambridge U.P., 2000. Pp. viii + 281. £45.00." Greece and Rome 48, no. 2 (October 2001): 227–28. http://dx.doi.org/10.1093/gr/48.2.227.

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18

Цыпин, Вячеслав Геннадьевич. "Aristides Quintilianus and the Theory of Mode in Antiquity." Научный вестник Московской консерватории, no. 4(47) (December 30, 2021): 26–33. http://dx.doi.org/10.26176/mosconsv.2021.47.4.03.

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В статье комментируется небольшой фрагмент из книги Аристида Квинтилиана «О музыке» (III в. н. э.), имеющий непосредственное отношение к античной теории лада. В нем содержится указание на то, как осмысливался процесс ладообразования в древнегреческой музыке: за основу принимался звукоряд двухоктавной полной системы, после чего на него накладывались так называемые виды октавы, различавшиеся по своей интервальной структуре. В результате образовывались всевозможные «гармонии», как их называл - вслед за своими предшественниками - Аристид, или лады: дорийский, фригийский, лидийский и т. п. Ценность данного сообщения во многом определяется скудостью наших знаний в этой области. Вместе с тем оно хорошо согласуется с музыкально-теоретической концепцией Птолемея - единственным античным источником, в котором музыкальная гармоника изложена систематически, - и является важным дополнением к ней. The subject of the present article is a small fragment from “De musica” by Aristides Quintilianus (3rd century A. D.), which immediately relates to the doctrine of musical mode in Antiquity. It reveals how the formation of ancient Greek modes was conceptualized: the point of departure constituted the basic two-octave Perfect System (systema teleion), on which then the so-called “octave species” of diverse intervallic structure have been superimposed. As a result there arose multiple “harmoniai” (according to Aristides’ vocabulary which followed here the earlier tradition), or “tonoi”: Dorian, Phrygian, Lydian, etc. The importance of the studied fragment comes out from the scarcity of our knowledge of ancient modes, of which a little evidence is preserved. Also this excerpt correlates to Ptolemy’s music theory (the only source in Antiquity where a discipline of musical harmony has been treated systematically), and makes a relevant addition to it.

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19

Milesi, Matteo. "Quantities or Qualities? A Forgotten Debate about Sounds between Ptolemy and Porphyry." Phronesis, January 16, 2023, 1–32. http://dx.doi.org/10.1163/15685284-bja10068.

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Abstract In his Commentary on Ptolemy’s Harmonics, Porphyry debunks Ptolemy’s quantitative theory of pitches by demonstrating that pitches are qualitative attributes of sound. I argue that Porphyry’s main concern is to save the phenomenological dimension of sound while preserving the possibility of a quantitative analysis of music. I show how he draws on the Aristotelian tradition to develop a theory of pitches as emergent properties that covary with some underlying quantitative features without being reducible to them. Porphyry offers an original and compelling solution to the classic problem of how to provide a quantitative analysis of a qualitative phenomenon.

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20

Lynch, Tosca A. C. "Unlocking the Riddles of Classical Greek Melodies I: Dorian Keys to the Harmonic Revolution of the New Music and the Hellenistic Musical Documents." Greek and Roman Musical Studies, July 25, 2022, 1–33. http://dx.doi.org/10.1163/22129758-bja10046.

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Abstract Bringing together evidence preserved by Aristoxenus, Aristides Quintilianus, Ptolemy, Porphyry and the Greek musical handbooks in a unified framework, this article and its sequels show how the reconstruction of the Classical modulation system offered in Lynch 2018 is confirmed by the melodies recorded in the Greek musical documents. Taken jointly, these articles offer the first comprehensive account of the use of notation tónoi in the ancient Greek musical documents that is fully consistent with the extant technical evidence on Greek harmonic theory and with literary testimonies about the harmonic innovations introduced by the New Musicians. The present article focuses on the Classical/Hellenistic harmonic system, whereas its Imperial counterpart will be discussed in Lynch forthcoming 1 and 2. These theoretical analyses are based upon a newly developed database (dDAGM) that collects all the musical notes attested in the standard edition of the Greek musical fragments (DAGM), comprising over 3,500 notes.

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21

Lautner, Peter. "Mental images in Porphyry’s commentary on Ptolemy’s Harmonics." Apeiron 48, no. 2 (January 1, 2015). http://dx.doi.org/10.1515/apeiron-2014-0056.

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AbstractThe paper aims to show that /1/ on the theory of concept acquisition we gain universal concepts at the end of a process in which pictorial and conceptual phases are alternating, with the implication that the representational capacity (phantasia) produces pictures of a universal nature, and that /2/ even if the excursus Porphyry’s theory of knowledge in the preface of the Harmonics-commentary may heavily rely on theories from the early Middle Platonism, Porphyry could adopt it for his own purposes, in a way to be in line with what he says elsewhere in his works.

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22

Lynch, Tosca A. C. "Unlocking the Riddles of Imperial Greek Melodies: The ‘Lydian’ Metamorphosis of the Classical Harmonic System." Greek and Roman Musical Studies, December 21, 2023, 1–50. http://dx.doi.org/10.1163/22129758-bja10073.

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Abstract Building upon Lynch 2022a and 2022b, this article offers the first account of the historical evolution of the Greek harmonic system and notation keys (tónoi) that bridges the gap between Classical and Imperial music. This new solution allows us to reconstruct, for the first time, a continuous, if evolving, tradition that stretches from Euripides’ Orestes to late antiquity, reconciling key theoretical insights provided by Ptolemy, Porphyry and others with documentary evidence that illustrates the structure of the Imperial harmonic system and its use in the Imperial musical documents (dDAGM). This approach also enables us to trace the gradual expansion of the Greek notation system from an initial set of symbols (–) to the full array recorded by Aristides and Alypius, mapping its development onto key historical milestones including the revolutionary innovations of the New Musicians and Damon of Oa’s inclusion of the Lydian mode into the Greek modulation system.

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