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The Manual of Harmonics

af Nicomachus of Gerasa

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725366,758 (3.67)Ingen
In ancient Greek thought, the musical scale discovered by the philosopher Pythagoras was seen as a utopian model of the harmonic order behind the structure of the cosmos and human existence. Through proportion and harmony, the musical scale bridges the gap between two extremes. It encapsulates the most fundamental pattern of harmonic symmetry and demonstrates how the phenomena of nature are inseparably related to one another through the principle of reciprocity. Because of these relationships embodied in its structure, the musical scale was seen as an ideal metaphor of human society by Plato and other Pythagorean thinkers, for it is based on the cosmic principles of harmony, reciprocity, and proportion, whereby each part of the whole receives its just and proper share. This book is the first ever complete translation of The Manual of Harmonics by the Pythagorean philosopher Nicomachus of Gerasa (second century A.D.) published with a comprehensive, chapter-by-chapter commentary. It is a concise and well-organized introduction to the study of harmonics, the universal principles of relation embodied in the musical scale. Also included is a remarkable chapter-by-chapter commentary by the translator, Flora Levin, which makes this work easily accessible to the reader today. Dr. Levin explains the principles of Pythagorean harmony, provides extensive background information, and helps to situate Nicomachus' thought in the history of ideas. This important work constitutes a valuable resource for all students of ancient philosophy, Western cosmology, and the history of music.… (mere)
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Viser 5 af 5
A rather difficult book. Without musical training in the past, it would be a rather unbearable read. Fortunately the comments are methodically enlightening. I find ancient works to have an impulse of curiosity, therefore before submersing my mind into modern musical theory, it is wonderful to think in the "ancient mode" inasmuch as possible, attempting to re-discover it in philosophical manner on our own - such a brilliant enterprise! It is opening new paths to ideas and sometimes gets us into places no one ventured since ages. Surveying my mind for hints from modern cymatics, electro-magnetic synergy, planetary ratios in the Solar System, astronomy, astrology, and the "Seven Pillared Mighty House", as Lawrence of Arabia put it, it is also a quest for the platonic divine - if not - pure and simple - for the Numinous. A fragment from Nichomachus at the very end proves the essence of the ancients' quest - to relate to the world, cosmos and the Divine, it was not just a journey and mental gymnastics in music, it was theology and music as a form of theurgy and goetia that was the goal - uniting the High with the low. Theories thus were mere refinements of these methods of thinking for the purpose of grasping the harmonia of the universe better. ( )
  Saturnin.Ksawery | Jan 12, 2024 |
A rather difficult book. Without musical training in the past, it would be a rather unbearable read. Fortunately the comments are methodically enlightening. I find ancient works to have an impulse of curiosity, therefore before submersing my mind into modern musical theory, it is wonderful to think in the "ancient mode" inasmuch as possible, attempting to re-discover it in philosophical manner on our own - such a brilliant enterprise! It is opening new paths to ideas and sometimes gets us into places no one ventured since ages. Surveying my mind for hints from modern cymatics, electro-magnetic synergy, planetary ratios in the Solar System, astronomy, astrology, and the "Seven Pillared Mighty House", as Lawrence of Arabia put it, it is also a quest for the platonic divine - if not - pure and simple - for the Numinous. A fragment from Nichomachus at the very end proves the essence of the ancients' quest - to relate to the world, cosmos and the Divine, it was not just a journey and mental gymnastics in music, it was theology and music as a form of theurgy and goetia that was the goal - uniting the High with the low. Theories thus were mere refinements of these methods of thinking for the purpose of grasping the harmonia of the universe better. ( )
  SaturninCorax | Sep 27, 2021 |
A rather difficult book. Without musical training in the past, it would be a rather unbearable read. Fortunately the comments are methodically enlightening. I find ancient works to have an impulse of curiosity, therefore before submersing my mind into modern musical theory, it is wonderful to think in the "ancient mode" inasmuch as possible, attempting to re-discover it in philosophical manner on our own - such a brilliant enterprise! It is opening new paths to ideas and sometimes gets us into places no one ventured since ages. Surveying my mind for hints from modern cymatics, electro-magnetic synergy, planetary ratios in the Solar System, astronomy, astrology, and the "Seven Pillared Mighty House", as Lawrence of Arabia put it, it is also a quest for the platonic divine - if not - pure and simple - for the Numinous. A fragment from Nichomachus at the very end proves the essence of the ancients' quest - to relate to the world, cosmos and the Divine, it was not just a journey and mental gymnastics in music, it was theology and music as a form of theurgy and goetia that was the goal - uniting the High with the low. Theories thus were mere refinements of these methods of thinking for the purpose of grasping the harmonia of the universe better. ( )
  vucjipastir | Jun 7, 2020 |
A rather difficult book. Without musical training in the past, it would be a rather unbearable read. Fortunately the comments are methodically enlightening. I find ancient works to have an impulse of curiosity, therefore before submersing my mind into modern musical theory, it is wonderful to think in the "ancient mode" inasmuch as possible, attempting to re-discover it in philosophical manner on our own - such a brilliant enterprise! It is opening new paths to ideas and sometimes gets us into places no one ventured since ages. Surveying my mind for hints from modern cymatics, electro-magnetic synergy, planetary ratios in the Solar System, astronomy, astrology, and the "Seven Pillared Mighty House", as Lawrence of Arabia put it, it is also a quest for the platonic divine - if not - pure and simple - for the Numinous. A fragment from Nichomachus at the very end proves the essence of the ancients' quest - to relate to the world, cosmos and the Divine, it was not just a journey and mental gymnastics in music, it was theology and music as a form of theurgy and goetia that was the goal - uniting the High with the low. Theories thus were mere refinements of these methods of thinking for the purpose of grasping the harmonia of the universe better. ( )
  vucjipastir | Jun 7, 2020 |
There are not too many extant Greek philosophical works dedicated to music. That does make this work unique. Pythagoreans certainly considered the study of music to be kindred to the study of math and number. The philosophical importance accorded to music by the Pythagoreans was probably inherited from the Orphic tradition. Plato later took it up as well.
Nicomachus was a Pythagorean philosopher, well respected in his day. Porphyry and Iamblichus were both influenced by him. Unfortunately, very little of his writings remain.
While Nicomachus' Manual certainly gives evidence of his Pythagorean sympathies, he also seems to have been influenced by Aristoxenus, who was another philosopher of music, and by Plato.
What you have here is one of the earliest documented examples of music theory. I've been playing guitar for over 20 years and have some acquaintance with music theory already, so I could more or less follow along; although, I must admit that I did lose the contextual thread with some of the discussions referring to numerics and the related strings of musical ratios. It might pay off to read this book again. Unfortunately, it came at a time when I was balancing a full work schedule. I had to put the book down a little too often to be able to keep the thread in mind. I have to say though that without some knowledge of music theory, one probably would struggle a lot more to apprehend the material.
The commentary is provided by Flora R. Levin, and while I have to say that in some cases the commentary is incredibly informative and insightful, other times it pushes the limits of credulity. For instance, at the bottom of page 120, the commentator says this:

"Thus, Plato's calculations led to the inescapable fact that there was no center to the octave, no halving of the whole-tone, no perfect union of opposites, no rationality to the cosmos."

She is referring to Plato's calculations in the Timaeus. I think one can safely say that the above conclusion is patently absurd and false. While I understand that she is most likely using the term "rationality" in the sense of "ratio" in it's musical context, Plato and Pythagoras would not have made any such distinction between geometric and musical ratios and rationality as reason. Flora Levin apparently thinks that Nicomachus was involved in some kind of Pythagorean conspiracy to hide the semi-tone and whole-tone conundrum. The subject is complicated, but one can simplify it by keeping in mind that instruments in the West are pre-tempered, i.e. guitars have frets set in certain places and wind instruments have keys set in particular areas of the body. This gives the illusion of a more equal and less ambiguous pitch chroma. If one uses fretless stringed instruments, or a slide, one has a little more cognizance of the tonal shading. Anyway, to summarize, the chrominance and related intervals are not equal across the tonal spectrum. And so what? This doesn't mean that ratio doesn't exist, it simply means that there are various levels of ratio indicative of folding and/or splitting. The inequality in tonality points to the original eidos of which the tones are only an approximate reflection. Plato was certainly not of the opinion there was no ratio(nality) to the cosmos. In no dialogue of his could someone reasonably draw such a conclusion.
As it it stands, this book was certainly interesting and worth revisiting, but I would advise the perspective reader to take some of the opinions of the commentator with a grain of salt. ( )
1 stem Erick_M | Aug 27, 2018 |
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Even though the study of intervals and their relations within the harmonic elements is in itself complex and hard to encompass within a single commentary, and even though I, being in a state of acute mental distraction because of the confusion and haste occasioned by travel, am unable to devote myself to your instruction on these subjects with the appropriate lucidity that demands above all one's leisurely and undivided attention- nevertheless, I must exert myself with all zeal, since it is you who bid me, Your Noble Majesty, to set before you the main points in brief, undocumented though they may be, without proper foundation and detailed explication, so that, using this brief note as a manual, you may, with one glance at the chapter headings, recall what is discussed and explained at greater length in each chapter.
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In ancient Greek thought, the musical scale discovered by the philosopher Pythagoras was seen as a utopian model of the harmonic order behind the structure of the cosmos and human existence. Through proportion and harmony, the musical scale bridges the gap between two extremes. It encapsulates the most fundamental pattern of harmonic symmetry and demonstrates how the phenomena of nature are inseparably related to one another through the principle of reciprocity. Because of these relationships embodied in its structure, the musical scale was seen as an ideal metaphor of human society by Plato and other Pythagorean thinkers, for it is based on the cosmic principles of harmony, reciprocity, and proportion, whereby each part of the whole receives its just and proper share. This book is the first ever complete translation of The Manual of Harmonics by the Pythagorean philosopher Nicomachus of Gerasa (second century A.D.) published with a comprehensive, chapter-by-chapter commentary. It is a concise and well-organized introduction to the study of harmonics, the universal principles of relation embodied in the musical scale. Also included is a remarkable chapter-by-chapter commentary by the translator, Flora Levin, which makes this work easily accessible to the reader today. Dr. Levin explains the principles of Pythagorean harmony, provides extensive background information, and helps to situate Nicomachus' thought in the history of ideas. This important work constitutes a valuable resource for all students of ancient philosophy, Western cosmology, and the history of music.

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