DePauw University, Greencastle, Indiana in Association with Project Theophrastus
Aristoxenus: Music, Biography, and Philosophy in the Early Peripatetic School
Preliminary Program
[To print pdf version] Aristoxenus: Music, Biography, and Philosophy in the Early Peripatetic School
September 10-12, 2009 - De Pauw University, Greencastle, Indiana. In association with Project Theophrastus
All sessions will be held in the DePauw Memorial Student Union, Room 240 (the boardroom).
Thursday, September 10
Session 1: 9:00 AM- 10:30 AM
Stefan Schorn (Katholieke Universiteit Leuven, Belgium) - Aristoxenus and Peripatetic Biography
10:30-10:45 Break
Session 2: 10:45 AM- 12:15 PM
Carl Huffman (DePauw University, Greencastle, USA) - Aristoxenus' Life of Socrates
Lunch and Break 12:15- 2:15
Session 3: 2:30- 4:00
Andrew Barker (University of Birmingham, England) – Aristoxenus mousikos and the Early Academy
4:00-4:15 Break
Session 4: 15 – 5:45
John Dillon (Trinity College, Dublin, Ireland) – Aristoxenus’ Life of Plato
Dinner 7:00- 9:00 (At Little Mexico in Crawfordsville, IN. Vans leave at 6:30 from the Walden Inn).
Friday, September 11
Session 5: 9:00 AM- 10:30 AM
William W. Fortenbaugh (Rutgers University, New Brunswick, USA) - Apollonius on Theophrastus on Aristoxenus
10:30-10:45 Break
Session 6: 10:45 AM- 12:15 PM
Antonella Provenza (University of Palermo, Italy) - Aristoxenus and Music Therapy: Fr. 26 Wehrli Within the Tradition on Music and katharsis.
Lunch and Break 12:15- 2:15
Session 7: 2:15- 3:45
David Creese (University of British Columbia, Vancouver, Canada) – Instruments and empiricism in Aristoxenus’ Elementa harmonica
3:45- 4:00 Break
Session 8: 4:00-5:30
Eleonora Rocconi (University of Pavia, Italy) - Aristoxenus and the Theory of Musical Ethos
Dinner 7:00- 9:00 (At the house of Carl Huffman and Martha Rainbolt, 707 E. Seminary Street – 5 blocks to the right down the street in front of the hotel)
Saturday, September 12
Session 9: 9:00 AM- 10:30 AM
Stephen White (University of Texas, Austin, USA) – Aristoxenus’ Presentation of Pythagoras
10:30-10:45 Break
Session 10: 10:45 AM- 12:15 PM
Timothy Power (Rutgers University, New Brunswick, USA) – Aristoxenus and the Neoclassicists
Lunch and Break 12:15-2:15
Session 11: 2:15- 3:45
Leonid Zhmud (Russian Academy of Sciences, St. Petersburg, Russia) - Aristoxenus and the Pythagoreans
3:45- 4:00 Break
Session 12: 4:00 – 5:30
Elisabetta Matelli (Università Cattolica del Sacro Cuore, Milan, Italy) – Aristoxenus on Dance
Dinner 7:00- 9:00 (In the Emerald Room (upstairs) at Almost Home on the square in Greencastle).
Fragment 2687 of the Oxyrhynchus Papyri, which supplements fragment 9. (View Larger)
The earliest surviving fragments of the writings on music by the fourth century BCE Greek peripatetic philosopher and writer on harmonic theory, music and rhythm, Aristoxenus (Ἀριστόξενος) of Tarentum, are papyri found at Oxyrhynchus.
"Perhaps the most amazing papyrus fragment is a large excerpt from Aristoxenus' Rhythmica, a part of which was first published in 1898 as fragment 9 of the Oxyrhynchus Papyri. In 1968 it was revealed that fragment 2687 of the Oxyrhynchus Papyri completed columns 2-4 by supplying fourteen or fifteen lines at the bottom; this same fragment added substantially to columns 1 and 5. Nearly one hundred lines of the text have now been uncovered in papyrus dating from the third century C.E. But this is not all. Fragments 667 and 3706 of the Oxyrhynchus Papyri preserve in characteristic Aristoxenian language an analysis of conjunct and disjunct scales and of genera. These fragments, too, date from the second or third centuries C.E. and may very well contain parts of the sections of Aristoxenus' Harmonica missing in the manuscript tradition" (Mathiesen, "Hermes or Clio? The transmission of Ancient Greek Music Theory", Palisca, Baker, Hanning [eds.] Musical Humanism and its Legacy. Essays in Honor of Claude Palisca [1992] 5-6).
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Aristoxenus "Elements of Rhythm": Text, translation, and commentary with a translation and commentary on POxy 2687 by Marchetti, Christopher C., Ph.D., RUTGERS THE STATE UNIVERSITY OF NEW JERSEY - NEW BRUNSWICK, 2009, 322 pages; 3379159
Abstract:
Aristoxenus of Tarentum makes productive use of Aristotelian concepts and methods in developing his theory of musical rhythm in his treatise Elements of Rhythm . He applies the Aristotelian distinction between form and material and the concept of hypothetical necessity to provide an explanation for why musical rhythm is manifested in the syllables of song, the notes of melody, and the steps of dance. He applies the method of formulating differentiae , as described in Aristotle's Parts of Animals , to codify the formal properties of rhythm.
Aristoxenus' description of the rhythmic foot presents several interpretive challenges. Our text is fragmentary, and we lack Aristoxenus' definitions of several key terms. This study seeks to establish the meanings of these terms on the basis of a close examination of the structure of Aristoxenus' argument. Parallel passages in Aristides Quintilianus' On Music are considered in detail for their consistency or lack thereof with Aristoxenian usage. Parallel passages in POxy 2687 are cited as illustrations for several rhythmic constructions and principles Aristoxenus mentions; because these involve original interpretations of some points in POxy 2687, they are supported by a thorough presentation of POxy 2687 in a separate chapter.
One central conclusion of this study is that Aristoxenus viewed rhythmic feet as musical functions, analogous to the theory of melodic functions he had presented in his Elements of Harmony . Only limited conclusions about the applicability of Aristoxenus' theory to the history of ancient Greek music can be justified. While some of the extant remains of Greek music are in accord with Aristoxenian theory, others contradict it. Much of ancient poetry is more rhythmically complex than what is presented in our text of E.R. , but regular poetic forms such as the anapestic dimeter and the stately rhythms of religious hymns may have provided the original starting points for subsequent rhythmic developments Aristoxenus seeks to explain.
Advisor: Figueira, Thomas School: RUTGERS THE STATE UNIVERSITY OF NEW JERSEY - NEW BRUNSWICK Source: DAI-A 70/11, p. , May 2010 Source Type: Ph.D. Subjects: Classical studies; Music Publication Number: 3379159
http://gradworks.umi.com/33/79/3379159.html
Aristoxenus' Elements of Rhythm: Text, Translation, and Commentary with a Translation and Commentary on POxy 2687. By Christopher C. Marchetti ... mss3.libraries.rutgers.edu/dlr/TMP/rutgers-lib_25847-PDF-1.pdf
A. topon tan kaleimenan Damatreian IG 9(1).32.80 (Stiris, ii B.C.)), place, region, first in A. (v. infr.), afterwds. freq. in all writers; periphr., chthonos pas t., i.e. the whole earth, A. Eu.249; es ton Hellênôn t. Id.Pers.790 ; en Hellados topois in Greece, ib.796; en Aulidost. Id.Ag.191 (lyr.); Pelopos ent. Id.Eu.703 , cf. 292; pros hesperous t. towards the West, Id.Pr.350; prosthe Salaminos topôn before Salamis, Id.Pers.447; Thrêikês ek topôn E.Alc.67 ; Dirkaiôn ek t. Id.Ph.1027 (lyr.): so in Prose, district, ho t. ho Hellênikos Isoc. 5.107 , cf. Ep.1.8; ho peri Thraikên t. D.20.59 ; ho epi Thraikês t. Aeschin. 2.9 , 3.73; ho t. houtos, en toutois tois t., X.An.4.4.4, Cyr.2.4.20; holos t. a whole region, D.19.230; kata topous kai kômas Pl.Criti. 119a ; hoi tês chôras t. the places of a country, Id.Lg.760c, etc. (but ho t. tês chôras the geographical position, D.4.31; region, Pl.Lg.705c); ho hagiost., of Jerusalem, LXX 2 Ma.2.18 (cf. infr. 5); the universe divided into three topoi, Arist.IA706b3, Cael.312a8 (contrast PA666a15, etc.); hoi koinoi t. public sites or buildings, IG42(1).65.8 (Epid.); asulos t. BGU1053 ii 9 (i B. C.), PTeb.5.83 (pl., ii B. C.); oikiai kai topoi houses and sites, ib.281.12 (ii B.C.); so psiloi t. sites not built upon, OGI52.2 (Ptolemais, iii/ii B. C.).
2. place, position, ou ton tropon, alla ton t. monon metallaxai Aeschin.3.78 ; hupolipou t. leave a space (in a document), PCair.Zen.327.83 (iii B.C.); perikêpôi t. katalipein ib.193.8 (iii B.C.); t. echein have a place, D.H.Dem.23, Plu.2.646a; philou t. echein hold the place of . . , Arr.Epict.2.4.5; Merolas ho hairetheis hupatos eis ton tou Kinna t. D.S.38 /39.3; enegraphê eis tên hierôsunên eis ton Aeukiou Domitiou t. teteleutêkotos Nic. Dam.Fr. 127.4J., cf. D.H.2.73; anaplêroun ton t. tou idiôtou 1 Ep.Cor.14.16 ; t. echein also = have room (to grow), Thphr.HP1.7.1; topôi c. gen., in place of, instead of, Hdn.2.14.5; ana topon on the spot, immediately, E.Supp.604 (lyr., dub.l.); so en topôi IG12(7).515.63 (Amorgos); epi topou Plb.4.73.8 ; epi tôn t. PEnteux.55.5 (iii B. C.), UPZ70.16 (ii B.C.), CIL3.567.3 (Delph., ii B. C.), POxy.2106.23 (iv A. D.), etc.; kata ton auton t. S.E.P.3.1 ; para topon at a wrong place, Str.10.2.21, Arr.Epict.3.21.16 (but para t. kai para kairon by virtue of the place and the time, ib.3.21.14).
3. place or part of the body, Hp.Aph. 2.46, Loc.Hom.tit., Sor.2.40, al., Gal. in titles of works, e.g. peri tôn peponthotôn topôn, peri suntheseôs pharmakôn tôn kata topous; esp. ho topos, pudendum muliebre, Arist.HA572b28, 583a15, cf. Sor.2.62 (pl.).
4. place, passage in an author, kata topous tinas tês historias Plb.12.25f .1, cf. Ph.2.63, Ev.Luc.4.17, Sor.2.57,58, etc.; the word is prob. interpolated in X.Mem.2.1.20.
5. burial-place, IG12(7).401 (Amorgos), al., Ev.Marc. 16.6; also in codd. of E.Heracl. 1041 (fort. leg. taphon); later ho hagios t. is freq. of the grave of a martyr, or of a monastery associated with it, PMasp.94.18 (vi A.D.), etc.
6. in Egypt, district, department, a sub-division of the nomos, = toparchia, PMich.Zen.43.8 (iii B. C.), Theb.Ostr.27.2 (ii B. C.): but most freq. in pl., ho epi tôn t. stratêgos, praktôr, etc., PEnteux.27.9 (iii B. C.), PRein.7.17,35 (ii B. C.), etc.; hoi exô t. dub. sens. in PEnteux.87.2 (iii B. C.), BGU1114.6 (i B. C.), etc.
7. a room in a house, topon hena aneu enoikiou ib.896.4 (ii A. D.); duo topous êtoi sumposia POxy. 1129.10 (V A. D.), cf. 502.34 (ii A. D.), 912.13 (iii A. D.).
8. position on the zodiac, Vett.Val.139.13; esp. the twelve regions of 300, Ptol. Tetr.128, Heph.Astr.1.12.
9. autos ho theos kaleitai topos, tôi periechein ta hola Ph.1.630 , cf. Corp.Herm.2.12, Hippol. Haer.6.32.
II. topic, Isoc.5.109, 10.38, Aeschin.3.216, Plb.21.19.2, Phld. Rh.1.119S., etc.
2. common-place or element in Rhetoric, ho tou mallon kai hêtton t. Arist.Rh.1358a14 , cf. 1396b30, 1397a7; to auto legô stoicheion kai t. ib. 1403a18: pl., Phld.Rh.1.226S.
b. = homologoumenou pragmatos auxêsis, Hermog Prog.11; koinos t. ib.6.
c. generally, sphere, ho pragmatikos t. D.H.Comp.1 .
III. metaph., opening, occasion, opportunity, en t. tini aphanei Th.6.54 (but tropôi is prob. cj.); orgêi didonai t. Plu.2.462b ; mê didote t. tôi diabolôi Ep.Eph.4.27 ; dote t. têi orgêi leave room for the wrath (of God), i.e. let God punish, Ep.Rom.12.19; mê kataleipesthai sphisi t. eleous Plb.1.88.2 ; metanoias t. ouch heure Ep.Hebr.12.17 ; oude phugês topon eumoirêsantes Hld.6.13 ; t. didonai tini c. inf., give occasion to . . , LXX Si.4.5.
A. figure marked out by lines, plan, Pl.R.529e: esp. geometrical figure, X.Mem.4.7.3, Pl.Phd.73b, Arist.Cael.280a1, etc.
b. geometrical proposition, Id.EN1112b21, APr.41b14, Ascl.in Metaph.174.9.
2. in Music, scale, Phan.Hist.17; but aph' henos d. hupokrekein on one note, Plu.2.55d, cf. Dem.13.
3. horoscope, nativity, Id.Mar.42.
4. map, Jul.Ep.10.
II. list, register, D. 14.21; inventory, skeuôn Id.47.36 ; register of taxable property, PRev.Laws39.17, al. (iii B. C.), Harp., Suid.
III. ordinance, regulation, GDI5040.64 (Cret.), PEleph.14.27 (iii B. C.), D.S.18.57; to d. tô Antigonô OGI7 (Cyme); = Lat. edictum, Plb.22.10.6, Plu.Marc.24.
The ancient science of harmonics investigates the arrangements of pitched sounds which form the basis of musical melody, and the principles which govern them. It was the most important branch of Greek musical theory, studied by philosophers, mathematicians, astronomers and others as well as by musical specialists. This book examines its development during the period when all its central ideas and its rival schools of thought were established, laying the foundations for the speculations of later antiquity, the Middle Ages and the Renaissance. It concentrates particularly on the theorists' methods and purposes and the controversies which their various approaches to the subject provoked. It also seeks to locate the discipline within the broader cultural environment of the period; and it investigates, sometimes with surprising results, the ways in which the theorists' work draws on and in some cases influences that of philosophers and other intellectuals,
Περισσότερες λεπτομέρειες The science of harmonics in Classical Greece Των Andrew Barker Εκδόθηκε από Cambridge University Press, 2007 ISBN 0521879515, 9780521879514 494 σελίδες
Andrew Barker - 2007 - Science - 494 σελίδες The term katapyknosis is cognate with the expression to pyknon, ... Katapyknosis, of course, also recalls the word pyknoma which we met in the Republic (p.
A. stud thickly, trêmasi to teichos Plb.8.5.6 ; thuras hêlois D.S.18.71 ; tois aphônois tas sullabas D.H.Comp.16 ; paradeigmatôn plêthei tên polin Plu.Lyc.27 ; tois huperbatois Phld.Rh.1.160 S.:--Pass., of the sky, katapepuknôsthai . . plêthei asterôn Arist.Mete.346a29 ; of a country, elaiais katapepuknôsthai to be thickly planted with . . (v.l. for -pephuteusthai), D.S. 3.44: metaph., bios en thaliais -pepuknômenos Porph.Plot.23 .
II. force into a small compass, compress, condense, Epikouros houtô katepuknou tên hêdonên Damox.2.62 ; talant' egô soi katepuknôsa tettara spent four talents in a lump, ib.4; to illustrate this is cited the dogma of Epicur., Sent.9, ei katepuknouto pasa hêdonê ktl., cf. katapuknôsis; ho Lukourgos tous politas têi siôpêi piezôn sunêge kai katepuknou Plu.2.510f :--Pass., -pepuknôtai hê pragmateia Porph. Plot.14 ; also ei mê -puknoutai soi to apo dogmatôn orthôn hekasta prassein that your habit of acting . . is not consolidated, M.Ant.5.9.
2. in Music, k. to diagramma fill up the intervals in a scale (with smaller intervals), Aristox.Harm.p.7 M.:--Pass., Theo Sm.p.91 H., Nicom. Exc.7.
III. Pass., to be condensed, of complex forms of inference (cf. puknoô v), Arist.APo.79a30.
A. condensation (v. katapuknoô 11 ), tou hêdomenou densification, solidification of pleasure by filling in unoccupied gaps in time and completing the penetration of the organism, Epicur.Fr.432: pl., Dam.Pr.354.
2. in Music, close packing of the intervals in a scale, Aristox.Harm.p.7 M., Nicom.Harm.11.
