[1.24.15-21] > Touton houtos horismenon pros toi baryteroi ton > menonton phthongon eilephtho to elachiston pyknon; touto > d' estai to ek duo dieseon (enarmonion elachiston; epeita > deuteron pros toi autoi; touto de estai to ek duo dieseon) > chromatikon elachiston. esontai de (hai) duo li|chanoi > eilemmenai duo genon barytatai, he men harmonias he de chromatos. > >> let us take the smallest pyknon, placed next to the lower >> of the fixed notes. This will be the one composed of two >> enharmonic or two of the smallest chromatic diesis. The two >> lichanoi thus specified will be the lowest in each of the >> two genera, one in the enharmonic, the other in the chromatic:
Extracting what is relevant to this genus:
[1.24.15-21] >> let us take the ... _pyknon_ ... composed of two enharmonic >> ... dieses. The ... [_lichanos_] thus specified will be the >> lowest in ... the enharmonic [genus]. THIS ALREADY APPEARS ABOVE vvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvvv
[2.50.23-24] > Mia men oun ton diaipeseon estin enarmonios en he > to men pyknon hemitonion esti to | de loipon ditonon. > >> One of these divisions is enharmonic, in which the _pyknon_ >> is a semitone and the remainder a ditone.
> [2.50.22 ...] Mia men [23] oun ton diaipeseon estin enarmonios, > [24] en he to men pyknon, hemitonion esti; > to [25] de loipon, ditonon. > >> One of these divisions [of the tetrachord] is enharmonic, in >> which the pyknon is a semitone and the remainder a ditone
[25.11 ...] He men oun [12] barytate chromatike lichanos tes [13] enarmoniou barytates hektoi merei to-[14]nou oxytera estin. [25.11 ...]Thus the [12] lowest chromatic lichanos from [13] the lowest enharmonic a sixth part of a tone [14] is higher.
epeideper he chro-[15]matike diesis tes enarmoniou dieseos [16] dodekatemorioi tonou meizon esti. since the chromatic [15] diesis from the enharmonic diesis [16] by a twelfth part of a tone is greater.
Dei [17] gar to tou autou tritemorion tou tetartou [18] merous dodekatemorioi hyperechein. A [17] third part of anything from a quarter of the [18] same thing a twelfth-part must exceed.
[19] hai de duo chromatikai ton duo [20] enarmonion delon hos toi diplasioi. [19] and the two chromatics from the two [20] enharmonics evidently must double that.
[21] touto de estin hektemorion elatton dia-[22]stema tou elachistou ton meloidoume-[23]non. [21] This is a sixth part, an interval smaller [22] than the least of the melodic [23] ones.
Ta de toiauta ameloideta [24] estin. ameloideton gar legomen, ho me [25] tattetai kath' heauto en systemati. Such intervals are unmelodic, [24] since we call 'unmelodic' any [25] that is not placed in a systema.
He de [26] barytate diatonos tes barytates [27] chromatikos hemitonioi kai dodekate-[28]morioi tonou oxytera estin. The [26] lowest diatonic (lichanos) from the lowest [27] chromatic a semitone and a twelfth [28] part of a tone is higher.
epi men gar [29] ten tou hemioliou chromatos lichanon [30] hemitonion en ep' autes. We said that [29] from the hemiolic chromatic lichanos, [30] it is a semitone.
apo de tes hemio-[31]liou epi ten enarmonion, diesis. and from the hemiolic [31] to the enharmonic is a diesis.
apo [32] de tes enarmoniou epi ten baryta-[33]ten chromatiken, hektemorion. from [32] the enharmonic to the lowest [33] chromatic is a sixth part.
apo de [34] tes barytates chromatikes epi ten hemiolion, dodekatemorion tonou. from [34] the lowest chromatic to the hemiolic is a twelfth part of a tone.
to [26.1] de tetartemorion ek trion dodeka-[2]temorion synkeitai. Now [26.1] a quarter of three twelfth-[2]parts is composed.
host' einai phane-[3]ron, so that it is clear [3] that
hoti to eiremenon diastema estin [4] apo tes barytates diatonou, epi ten [5] barytaten chromatiken. it is the interval stated [4] from the lowest diatonic, to the [5] lowest chromatic.
he de syn-[6]tonotate diatonOS tes barytates [7] diatonou, diesei esti syntonotera. The tensest [6] diatonic (lichanos) from the lowest [7] diatonic is a diesis tenser.
[1.24.15-25.11] > [Meibom:] 15> Touton houtos horismenon, pros toi 16> baryteroi ton menonton phthongon eile- 17> phtho to elachiston. pyknon d' estai to 18> ek duo dieseon enarmonion kai chro- 19> matikon elachiston. esontai duo de li- 20> chanoi eilemmenai duo genon bary- 21> tatai. he men harmonias; he de, chro- 22> matos. katholou gar barytatai 23> men hai enarmonioi lichanoi esan. 24> echomenai de, hai chromatikai. syn- 25> tonotatai de, hai diatonoi. Meta tau- 26> ta triton eilephtho pyknon pros toi 27> autoi. tetarton eilephtho pyknon to- 28> niaion. pempton de pros toi autoi, 29> to ex hemitoniou kai hemioliou diastem- 30> matos synestekos systema eilephtho. 31> hekton de, ex hemitoniou kai tonou. Hai 32> men oun ta duo ta prota lephthen- 33> ta pykna horizousai lichanoi eiren- 34> tai; he de to triton pyknon horizousa [25] 1> lichanos, chromatike men estin; kalei- 2> tai de to chroma, en hoi estin, hemiolion. 3> he de to tetarton pyknon horizousa li- 4> chanos, chromatike men estin; kaleitai 5> de to chroma, en hoi esti, toniaion. he de 6> to pempton lephthen systema horizousa 7> lichanos, ho meizon ede pyknou en. 8> epeideper isa esti ta duo toi heni, ba- 9> rytate diatonos estin. he de to hekton 10> lephthen systema horizousa lichanos, 11> syntonotate diatonos estin. > [Macran:] > Touton houtos horismenon pros toi baryteroi ton menonton > phthongon eilephtho to elachiston pyknon; touto d' estai to ek > duo dieseon autoi; touto de estai to ek duo dieseon> chromatikon elachiston. > esontai de duo li|chanoi eilemmenai duo genon barytatai, > he men harmonias he de chromatos. katholou gar barytatai men > hai enarmonioi lichanoi esan, echomenai d' hai chromatikai, > syn|tonotatai d' hai diatonoi. Meta tauta triton eilephtho > pyknon pros toi autoi; tetarton eilephtho pyknon toniaion; > pempton de pros toi autoi, to ex hemitoniou kai hemioliou > diastem|matos synestekos systema eilephtho; hekton de to ex > hemitoniou kai tonou. Hai men oun ta duo [ta] prota lephthenta > pykna horizousai lichanoi eirentai; he de to triton pyknon > horizousa || lichanos chromatike men estin, kaleitai de to > chroma en hoi estin hemiolion. He de to tetarton pyknon horizousa > lichanos chromatike men estin, kaleitai | de to chroma en hoi > esti toniaion. he de to pempton lephthen systema horizousa > lichanos, ho meizon ede pyknou en, epeideper isa esti ta duo > toi heni, barytate diatonos estin. he de to hekton lephthen | > systema horizousa lichanos syntonotate diatonos estin. > >> Given these definitions, let us take the smallest pyknon, placed >> next to the lower of the fixed notes. This will be the one >> composed of two enharmonic or two of the smallest chromatic >> diesis. The two lichanoi thus specified will be the lowest in >> each of the two genera, one in the enharmonic, the other in the >> chromatic: for we have explained that, taken overall, the >> enharmonic lichanoi are the lowest, the chromatic next, and the >> diatonic the highest. After these, consider a third pyknon >> placed next to the same note, and then a fourth one, which >> is a tone: fifthly, from the same note take the systema composed >> of a semitone and an interval one and a half times as great, and >> sixthly, that composed of a semitone and a tone. >> We have already spoken of the lichanoi bounding the first two >> pykna listed. The one that bounds the third is chromatic, and >> the chroma in which it is is called hemiolic. That bounding the >> fourth pyknon is chromatic, and the chroma in which it is is >> called tonic. The lichanos bounding the fifth systema mentioned, >> which was specified as greater than a pyknon, since the two >> intervals are equal to the one, is the lowest diatonic: that >> which bounds the sixth systema mentioned is the highest diatonic.
[1.25.11-26.7] [Meibom:] [25] 11> .................. He men oun 12> barytate chromatike lichanos tes 13> enarmoniou barytates hektoi merei to- 14> nou oxytera estin. epeideper he chro- 15> matike diesis tes enarmoniou dieseos 16> dodekatemorioi tonou meizon esti. Dei 17> gar to tou autou tritemorion tou tetartou 18> merous dodekatemorioi hyperechein. 19> hai de duo chromatikai ton duo 20> enarmonion delon hos toi diplasioi. 21> touto de estin hektemorion elatton dia- 22> stema tou elachistou ton meloidoume- 23> non. Ta de toiauta ameloideta 24> estin. ameloideton gar legomen, ho me 25> tattetai kath' heauto en systemati. He de 26> barytate diatonos tes barytates 27> chromatikos hemitonioi kai dodekate- 28> morioi tonou oxytera estin. epi men gar 29> ten tou hemioliou chromatos lichanon 30> hemitonion en ep' autes. apo de tes hemio- 31> liou epi ten enarmonion, diesis. apo 32> de tes enarmoniou epi ten baryta- 33> ten chromatiken, hektemorion. apo de 34> tes barytates chromatikes epi ten hemiolion, dodekatemorion tonou. to [26] 1> de tetartemorion ek trion dodeka- 2> temorion synkeitai. host' einai phane- 3> ron, hoti to eiremenon diastema estin 4> apo tes barytates diatonou, epi ten 5> barytaten chromatiken. he de syn- 6> tonotate diatonOS tes barytates 7> diatonou, diesei esti syntonotera. [Macran:] > He men oun barytate chromatike lichanos tes > enarmoniou barytates hektoi merei tonou oxytera estin, epeideper > he chro|matike diesis tes enarmoniou dieseos dodekatemorioi > tonou meizon esti. Dei gar to tou autou tritemorion tou tetartou > merous dodekatemorioi hyperechein, hai de duo chromatikai ton > duo | enarmonion delon hos toi diplasioi. touto de estin > hektemorion, elatton diastema tou elachistou ton meloidoumenon. > Ta de toiauta ameloideta estin, ameloideton gar legomen ho me | > tattetai kath' heauto en systemati. He de barytate diatonos > tes barytates chromatikos hemitonioi kai dodekatemorioi tonou > oxytera estin. epi men gar ten tou hemioliou chromatos lichanon | > hemitonion en ap' autes, apo de tes hemioliou epi ten > enarmonion diesis, apo de tes enarmoniou epi ten barytaten > chromatiken hektemorion, apo de tes barytates chromatikes epi > ten hemiolion dodekatemorion tonou. to || de tetartemorion > ek trion dodekatemorion synkeitai, host' einai phaneron, hoti to > eiremenon diastema estin apo tes barytates diatonou epi ten | > barytaten chromatiken. He de syntonotate diatonos tes barytates > diatonou diesei esti syntonotera. > >> Thus the lowest chromatic lichanos is higher than the lowest >> enharmonic by a sixth part of a tone, since the chromatic diesis >> is greater by a twelfth part of a tone than the enharmonic diesis. >> A third part of anything must exceed a quarter of the same thing >> by a twelfth part, and the two chromatic dieses must evidently >> exceed the two enharmonic ones by twice that amount. This is >> a sixth part, an interval smaller than the least of the melodic >> intervals. Such intervals are unmelodic, since we call 'unmelodic' >> any interval that is not placed in a systema in its own right. >> The lowest diatonic lichanos is higher than the lowest chromatic >> by a semitone and a twelfth part of a tone. We said that it is >> a semitone from the lichanos of the hemiolic chromatic, and from >> there to the enharmonic lichanos is a diesis: from the enharmonic >> to the lowest chromatic lichanos is a sixth part of a tone, and >> from the lowest chromatic to the hemiolic lichanos is a twelfth >> part of a tone. Now a quarter is composed of three twelfth parts, >> so that it is clear that from the lowest diatonic to the lowest >> chromatic lichanos is the interval stated. The highest diatonic >> lichanos is higher than the lowest diatonic by a diesis. [Monzo edit - it's a poem!] >> >> Thus the lowest chromatic lichanos >> is higher than the lowest enharmonic >> by a sixth part of a tone, >> >> since the chromatic diesis >> is greater by a twelfth part of a tone >> than the enharmonic diesis. >> >> >> A third part of anything >> must exceed a quarter of the same thing >> by a twelfth part, >> >> and the two chromatic dieses >> must evidently exceed the two enharmonic ones >> by twice that amount. >> >> This is a sixth part, >> an interval smaller >> than the least of the melodic intervals. >> >> Such intervals are unmelodic, >> since we call 'unmelodic' >> any interval that is not placed in a systema in its own right. >> >> The lowest diatonic lichanos >> is higher than the lowest chromatic >> by a semitone and a twelfth part of a tone. >> >> We said that it is a semitone >> from the lichanos of the hemiolic chromatic, >> >> and from there >> to the enharmonic lichanos >> is a diesis: >> >> from the enharmonic >> to the lowest chromatic lichanos >> is a sixth part of a tone, >> >> and from the lowest chromatic >> to the hemiolic lichanos >> is a twelfth part of a tone. >> >> Now a quarter >> is composed of three twelfth parts, >> >> so that it is clear that >> >> from the lowest diatonic >> to the lowest chromatic lichanos >> is the interval stated. >> >> The highest diatonic lichanos >> is higher than the lowest diatonic >> by a diesis.
[2.51.32] Lichanoi men oun eisin hex. mia enarmo-[33]nios, treis chromatikai, kai duo diato-[34]noi. {parypatai de tettares,} hosai per ai [2.52.1] ton tetrachordon diaipeseis. parypatai [2] de duo{in} elattous. te gar hemitoniaia [3] chrometha pros te tas diatonous, kai [4] pros ten tou toniaiou chromatos diaipe- [5]sin.
There are thus as many _lichanoi_ as there are divisions of the tetrachord [i.e., six], and two fewer _parhypatai_, since we use that which stands at a semitone both for the diatonic divisions and for that of the tonic chromatic.
[1.26.30-33, text from Mathiesen 1976, eliminating emendations] parypates de duo eisi topoi - ho men koinos tou te diatonou kai tou chromatos, ho d' heteros idios tes harmonias - ; koinonei gar duo gene ton parypaton. enarmonios men oun esti parypate pasa he barytera tes barytates chromatikos, ...
[Mathiesen 1976, p 14, translating Aristoxenus 1.26.30-33] There are two positions for the parhypate, the one common to the diatonic and _color_, the other unique to the _Harmonia_, for the two genera share the parhypate. For every parhypate is _enharmonic_ which is lower than the lowest _chromatic_ [parhypate], ...
[2.52.5 ...] tettaron d' ouson parypaton, he [6] men enarmonios idia esti tes harmo-[7]nias; hai de treis koinai tou te diatonou, [8]kai tou chromatos.
Of the four _parhypatai_, the enharmonic one is peculiar to the enharmonic genus, while the other three are common to the diatonic and chromatic.
[2.46.34-47.8] to de parypates diastema elatton men hoti ouk an genoito dieseos || enarmoniou phaneron, epeide panton ton melodoumenon elachiston esti diesis enarmonios; hoti de kai touto eis to diplasion auxetai, katanoeteon. hotan | gar epi ten auten tasin aphikontai he te lichnos aniemene kai he parypate epiteinomene, horizesthai dokei ekateras ho topos. host' einai phaneron,
the ranges do not overlap, but their point of conjunction is their limit, since when _parhypate_ and _lichanos_ reach the same pitch, as the one is tensed and the other relaxed, their ranges have their limit, the range below it being that of _parhypate_, the range above it that of _lichanos_.
That the interval between _parhypate_ and _hypate_ cannot be less than an enharmonic diesis is obvious, since the enharmonic diesis is the smallest of all melodic intervals: that it too will increase to double the size remains to be shown. When _lichanos_ in its descent and _parhypate_ in its ascent reach the same pitch, the range of each evidently arrives at its limit, so that it is plain that the range of _parhypate_ is not greater than the smallest diesis.
[1.26.13-27] Noeteon gar apeirous ton arithmon tas lichanous; ohu gar | an steseis ten phonen tou apodedeigeenou lichanoi topou lichanos estai, diakenon d' ouden esti tou lichanoeidous topou oude toiouton hoion me dechesthai lichanon. Host' einai me peri mikrou ton | amphisbetesin; hoi men gar alloi diapherontai peri tou diastematos monon, hoion poteron ditonos estin he lichanos e syntonotera hos mias ouses enarmoniou; hemeis d' ou monon pleious en | hekastoi genei phamen einai lichanous mias alla kai prostithemen hoti apeiroi eisi ton arithmon
[1.26.24-27] hemeis d' ou monon pleious en | [25] hekastoi genei phamen einai lichanous mias alla kai prostithemen hoti apeiroi eisi ton arithmon.
[1.26.14-18] ohu gar | an steseis ten phonen tou apodedeigeenou lichanoi topou lichanos estai, diakenon d' ouden esti tou lichanoeidous topou oude toiouton hoion me dechesthai lichanon.
For it must be understood that the lichanoi are unlimited in number. Wherever you arrest the voice in the range that accommodates the _lichanos_ will be a _lichanos_, and no place in the lichanos range is empty or incapable of receiving a lichanos. Hence the present controversy is of no little importance. Other people argue only about the interval in question, for instance whether the lichanos stands at a ditone or is higher, as if there were only one enharmonic lichanos. But we not only say that there is more than one _lichanos_ in each genus, but also add that they are unlimited in number.
Wherever you arrest the voice in the range that accommodates the _lichanos_ will be a _lichanos_, and no place in the lichanos range is empty or incapable of receiving a lichanos.
[1.24.22-25] katholou gar barytatai men hai enarmonioi lichanoi esan, echomenai d' hai chromatikai, syn|tonotatai d' hai diatonoi.
[1.22.27-30] Lichanou men oun esti toniaios ho sympas topos en hoi kineitai, oute gar elatton aphistatai meses toniaiou diaste|matos oute meizon ditonou.
[2.46.28-33] phainetai de syntonotate men einai lichanos he tonon apo meses apechousa, | poiei d' haute diatonon genos, barytate d' he ditonon, gignetai d' haute enarmonios; host' einai phaneron ek touton, hoti toniaios estin ho tes lichanou topos.
taken overall, the enharmonic _lichanoi_ are the lowest, the chromatic next, and the diatonic the highest.
The total range in which _lichanos_ moves is a tone, since it does not stand at less than the interval of a tone from _mese_, nor at a greater interval than a ditone.
It appears that the highest _lichanos_ is that which lies at a tone from _mese_, and creates the diatonic genus; and the lowest is that at a ditone from _mese_, which belongs to the enharmonic. Hence it is clear that the range of _lichanos_ is a tone.
TITLE THE TECHNICAL VOCABULARY OF THE RHYTHMIC OF ARISTOXENOS
AUTHOR ALLEN, MAY ALICE
DEGREE PHD
SCHOOL YALE UNIVERSITY
DATE 1908
SOURCE ADD S0265
SUBJECT LANGUAGE AND LITERATURE, GENERAL (0586)
[1:23.12-22]
12 ..... Ο'ι μεν γαρ τηι νυν κατεχουσηι
13 μελοποιιαι συνηθεις μονον οντες εικο-
14 τως την διτονον λιχανον εξοριζουσι
15 συντονωτεραις γαρ χρωνται σχεδον ο'ι
16 πλειστοι των νυν. τουτου δ' αιτιον το βουλε-
17 σθαι γλυκαινειν αει. σημειον δ' 'οτι του-
18 του στοχαζονται. μαλιστα μεν γαρ και
19 πλειστον χρονον εν τωι χρωματι δια-
20 τριβουσιν. 'οταν δ' αφικωνται ποτε εις
21 την 'αρμονιαν, εγγυς του χρωματος
22 προσαγουσι συνεπισπωμενου του ηθους
....... Hoi men gar tei nun katechousei
melopoiiai synetheis monon ontes eiko-
tos ten ditonon lichanon exorizousi;
syntonoterais gar chrontai schedon hoi
pleistoi ton nun. toutou d' aition to boules-
thai glukainein aei, semeion d' hoti tou-
tou stochazontai, malista men gar kai
pleiston chronon en toi chromati dia-
tribousin, hotan d' aphikontai pote eis
ten harmonian, engus tou chromatos
prosagousi synepispomenou tou ethous
....... It is to be expected that those who are used
only to the style of composition at present in vogue
rule out the ditone lichanos,
since most people nowadays use
higher ones. The reason is their
endless pursuit of sweetness: that this is
their objective is shown by the fact that
they spend most time and effort on the chromatic,
whereas when they do occasionally come to
the enharmonic they force it close to the chromatic,
and the melody is correspondingly pulled out of shape.
HEARING GREEK MICROTONES John Curtis Franklin American School of Classical Studies at Athens Forthcoming in Hagel, S./Danek, G. (eds.), Performing Ancient Greek Music Today (Vienna, 2005?).
Order No: AAC 3051119
Title: Dance scenes in early archaic Greek vase-painting
Author: Buboltz, Lisa Ann
School: HARVARD UNIVERSITY (0084) Degree: PhD Date: 2002 pp: 382
Advisor: Mitten, David G.
Source: DAI-A 63/04, p. 1159, Oct 2002
Subject: ART HISTORY (0377)
ISBN: 0-493-65555-7
Abstract: Late eighth- and early seventh-century Greek vase-painting presents us with several hundred dance images: processional figures, acrobats, mourners, men clapping their hands, musicians, armed warriors, and even seated rattle players—all of these can be fairly and accurately termed “dance scenes.” Yet the majority of these images conform to a recognized iconography: a group of figures who are similar in clothing, attribute and pose, and who often hold hands. This iconography is consistent with what we know of Greek choral performance.
The first chapter introduces the reader to the images themselves, some of the problems of researching them, and attempts to define the most important terms. The second chapter gives a brief history of the ways in which research into ancient dance and choral performance have been conducted in the past. The third chapter is a chronological introduction to the images, and focuses on the emergence of choral performance as a visual theme in the LGII period. The next chapter proposes a more productive approach, a typology arranged by general context. Two major and five minor categories are proposed and examined. The fifth chapter covers the various categories in more detail, beginning with the larger categories of funerary and nonfunerary choral performance, and ending with the smaller categories: acrobatic, armed, competitive, ritual and processional, and mixed dance. The sixth chapter explores what anthropological evidence can contribute to an investigation of these images of choral performance. The last chapter, the conclusion, emphasizes broader readings which can be applied to larger numbers of dance scenes, and the usefulness of anthropological approaches in general.
Above all, this dissertation emphasizes two points: that these images must be properly understood as depictions of the popular Greek practice of choral performance, and that choral performance, a common feature in preliterate societies, should be viewed as a positive social force.
Εγγραφή 12 Μονογραφία
Γλωσσικό υλικό, έντυπο intARGOS
Ταυτότητα Εγγραφής: 101955
Τίτλος: Diatribe de Aristoxeno philosopho Peripatetico
Συγγραφέας: Mahne, Wilhelm Leonard
Δημοσίευση: Amsterdam : [s.n.], 1793
Φυσική Περιγραφή: p. ; cm.
Θέματα: Aristoxenus
Αντίτυπα Αριθμός Εισαγωγής Συλλογή Ταξιθετικό Σύμβολο Στοιχεία Μέρους Δανείζεται Κατάσταση
**74801 11 GC 3446 - Όχι Διαθέσιμο
MARC Εμφάνιση Συνοπτική Εμφάνιση Πλήρης Εμφάνιση
Εγγραφή 13 Μονογραφία
Γλωσσικό υλικό, έντυπο intARGOS
Ταυτότητα Εγγραφής: 102909
Τίτλος: Aristoxenus, rhythmische und metrische Messungen ...
Συγγραφέας: Brill, Bernhard
Δημοσίευση: Leipzig : F.C.W. Vogel, 1870
Φυσική Περιγραφή: [6], 88 p. ; 22 cm.
Θέματα: Aristoxenus
Αντίτυπα Αριθμός Εισαγωγής Συλλογή Ταξιθετικό Σύμβολο Στοιχεία Μέρους Δανείζεται Κατάσταση
**84603 11 GC 4606 - Όχι Διαθέσιμο
MARC Εμφάνιση Συνοπτική Εμφάνιση Πλήρης Εμφάνιση
Εγγραφή 14 Μονογραφία
Γλωσσικό υλικό, έντυπο intARGOS
Ταυτότητα Εγγραφής: 109557
Τίτλος: {Gli }elementi ritmici di Aristosseno / tradotti ed illustrati da Paolo Segato
Συγγραφέας: Segato, Paolo (tr.)
Δημοσίευση: Feltre : tip. Panfilo Castaldi, 1897
Φυσική Περιγραφή: 58 p. ; 22 cm.
Θέματα: Aristoxenus
Αντίτυπα Αριθμός Εισαγωγής Συλλογή Ταξιθετικό Σύμβολο Στοιχεία Μέρους Δανείζεται Κατάσταση
**91878 11 GC 4606 - Όχι Διαθέσιμο
MARC Εμφάνιση Συνοπτική Εμφάνιση Πλήρης Εμφάνιση
Εγγραφή 15 Μονογραφία
Γλωσσικό υλικό, έντυπο intARGOS
Ταυτότητα Εγγραφής: 113158
Τίτλος: Étude sur Aristoxène et son école ...
Συγγραφέας: Ruelle, Ch.-Em., 1833-1912
Δημοσίευση: [Paris : C. Lahure, 1857]
Φυσική Περιγραφή: 38 p. ; 25cm
Σημειώσεις: "Extrait de la Revue archéologique, XIVc année, 1858, 1-38."
Caption-title.
Θέματα: Aristoxenus
Αντίτυπα Αριθμός Εισαγωγής Συλλογή Ταξιθετικό Σύμβολο Στοιχεία Μέρους Δανείζεται Κατάσταση
**106021 11 GC 4614 - Όχι Διαθέσιμο
MARC Εμφάνιση Συνοπτική Εμφάνιση Πλήρης Εμφάνιση
Εγγραφή 16 Μονογραφία
Γλωσσικό υλικό, έντυπο intARGOS
Ταυτότητα Εγγραφής: 113864
Τίτλος: Notice et variantes d'un manuscrit de Strasbourg contenant les Élements harmoniques d'Aristoxène
Συγγραφέας: Ruelle, Charles Émile, 1833-1912
Δημοσίευση: [S.l. : s.n., s.a.]
Φυσική Περιγραφή: p. ; cm.
Σημειώσεις: (Révue de philologie, 6, 1882, 37-51; extrait).
Θέματα: Aristoxenus
Αντίτυπα Αριθμός Εισαγωγής Συλλογή Ταξιθετικό Σύμβολο Στοιχεία Μέρους Δανείζεται Κατάσταση
**107790 11 GC 4614 - Όχι Διαθέσιμο
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Εγγραφή 17 Μονογραφία
Γλωσσικό υλικό, έντυπο intARGOS
Ταυτότητα Εγγραφής: 116150
Τίτλος: Lexique d'Aristoxène...
Συγγραφέας: Laloy, Louis, 1874-1944
Δημοσίευση: Paris : Société française d'imprimerie et de librairie, 1904
Φυσική Περιγραφή: 2 p. 1., xlii p. ; 26 cm.
Σημειώσεις: Thèse--Univ. de Paris.
Θέματα: Aristoxenus
Αντίτυπα Αριθμός Εισαγωγής Συλλογή Ταξιθετικό Σύμβολο Στοιχεία Μέρους Δανείζεται Κατάσταση
**112031 11 GC 4604 - Όχι Διαθέσιμο
MARC Εμφάνιση Συνοπτική Εμφάνιση Πλήρης Εμφάνιση
Εγγραφή 18 Μονογραφία
Γλωσσικό υλικό, έντυπο intARGOS
Ταυτότητα Εγγραφής: 120498
Τίτλος: {De }Aristoxeni Pythagoricis sententiis et vita Pythagorica
Συγγραφέας: Mewaldt, Johannes, 1880-
Δημοσίευση: [n.p. : s.n.], 1904
Φυσική Περιγραφή: 56 p. ; cm.
Σημειώσεις: Dissertation--Berlin.
Θέματα: Aristoxenus
Αντίτυπα Αριθμός Εισαγωγής Συλλογή Ταξιθετικό Σύμβολο Στοιχεία Μέρους Δανείζεται Κατάσταση
**112308 11 GC 3447 - Όχι Διαθέσιμο
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Εγγραφή 19 Μονογραφία
Γλωσσικό υλικό, χειρόγραφο intARGOS
Ταυτότητα Εγγραφής: 124540
Τίτλος: {An }Aristotelian view of a method of observation as seen in Aristoxenus of Tarentum and Lysippos of Sikyon
Συγγραφέας: Long, Glenn Alan
Δημοσίευση: Ann Arbor : University Microfilms, [1983]
Φυσική Περιγραφή: 161 leaves ; cm.
Σημειώσεις: Dissertation--Ohio University, 1970.
Θέματα: Aristoteles
Αντίτυπα Αριθμός Εισαγωγής Συλλογή Ταξιθετικό Σύμβολο Στοιχεία Μέρους Δανείζεται Κατάσταση
Τίτλος: Aristoxeni musici antiquiss[imi] Harmonicorum elementorum libri III.Cl. Ptolomaei Harmonicorum, seu de musica lib.III.Aristotelis De obiecto auditus fragmentum ex Porphyrij commentarijs / omnia nunc primum latine conscripta & edita ab Ant. Gogauino grauiensi
Άλλες παραλλαγές τίτλου: Musici antiquissimi harmonicorum elementorum
Harmonicorum elementorum
Συγγραφέας: Aristoxenus
Porphyry, ca. 234-ca. 305
Δημοσίευση: Venetijs : Apud Vincentium Valgrisium, 1562
Φυσική Περιγραφή: 165, [3] p. : ill. ; 23 cm. (4to)
Σημειώσεις: "Index capitum quae in hisce libris Harmonicorum Cl. Ptolemaei continentur.": p. [48-50].
"Porphyrii de decem praedicamentis ...": p. [161]-165.
Printer's marks on t.-p. & verso of last leaf.
Each work has separate t.p.
Final leaf blank.
Woodcuts: printer's devices (2), historiated and decorated initials, ill.
Aristotle.. De obiecto auditus fragmentum.
Ptolemy, 2nd cent.. Harmonicorum, seu de musica.
Θέματα: Aristoxenus
Aristotle
Ptolemaeus. Claudius... Harmonica.
Music, Greek and Roman--History and criticism
LCC Ταξινόμηση: Z233.I8A73 1562
Τίτλος: Aristoxène de Tarente et la musique de l'antiquité
Συγγραφέας: Laloy, Louis, 1874-
Δημοσίευση: Paris : Société française d'impr. et de libr, 1904
Φυσική Περιγραφή: 371, xlii p., 1 leaf ; 25 cm.
Σημειώσεις: "Lexique d'Aristoxène": xlii p.
Θέματα: Aristoxenus
Music, Greek and Roman
LCC Ταξινόμηση: ML169.A7L2
Τίτλος: Aristoxenvs.Nicomachvs.Alypivs : Auctores musices antiquissimi, hactenus non editi / Ioannes Mevrsivs nunc primus vulgavit, & notas addidit
Άλλες παραλλαγές τίτλου: Aristoxenus. Nicomachus. Alypius
Συγγραφέας: Meurs, Johannes van, 1579-1639
Nicomachus, of Gerasa
Aristoxenus
Alypius, Saint, d. 1114
Δημοσίευση: Lvgdvni Batavorvm : ex officinâ Lvdovici Elzeviri, typis G. Blasson, 1616
Φυσική Περιγραφή: 4 p.l., 160 (i.e. 196) p. ; 18 cm.
Σημειώσεις: Printer's mark: open music book.
The last page numbered 160 for 196.
Θέματα: Scriptores musici
Music, Greek and Roman
Τίτλος: {A }brief history of musick : wherein is related the several changes, additions, and improvements, from its origin to this present time. Collected from Aristoxenus, Plutarch, Boetius, Bontempi, Zarlino, Tho ; Salmon, and many others
Δημοσίευση: London : Printing Office in Bow Church Yard, [1731]
Φυσική Περιγραφή: 20, 4 p. : front., ill. (music), tab. (fold.) ; 24 cm.
Θέματα: Music--History and criticism
Harmony
Τίτλος: Adnotata de Aristoxeni elementis rhythmicis
Συγγραφέας: Caesar, Julius, 1816-1886
Δημοσίευση: Marburgi : Typis Academicis R. Friedrich, 1885
Φυσική Περιγραφή: [III]-XII p. ; cm.
Σημειώσεις: Issued in the "Indices Lectionum et Publicarum et Privatarum quae in Academia Marburgensi." October 15 to March 15, 1885.
Θέματα: Aristoxenus
Aristoxenus von Tarent / Melik und rhythmik des classischen hellenenthums ; ubersetzt und erläutert durch R. Westphal
Συγγραφέας: Aristoxenus
Saran, Franz Ludwig, 1866-1931 (ed.)
Gogava, Antonius Hermannus, 1529-1569
Δημοσίευση: Leipzig : A. Abel, 1883-93
Φυσική Περιγραφή: 2 v. : ill. (music) ; 24 cm.
Σημειώσεις: "Aristoxeni mvsici antiqviss. Harmonicorvm elementorvm libri III, omnia nunc primum latine conscripta et edita ab Ant. Gogauino Grauiensi. Venetiis, apud Vincentium Valgrisium. MDLXII": v. 2, 31 p. following p. ccxl.
Title of v. 2: Aristoxenos von Tarent. Melik und rhythmik ... Berichtigter original text nebst prolegomena von R. Westphal ... Hrsg. von F. Saran.
Περιεχόμενα: v. 1. Vorwort. Aristoxenus theorie des rhythmus. Aristoxenus theorie des melos. Aristoxenus Symposion oder Vermischte tischreden -- v. 2. Prolegomena. Aristoxeneae restitutionis apparatus
Θέματα: Music, Greek and Roman
LCC Ταξινόμηση: ML168.A7 W5
004845
Τίτλος: Elementa harmonica / Aristoxeni ; Rosetta da Rios recensvit
Συγγραφέας: Aristoxenus
Rios, Rosetta da.
Δημοσίευση: Romae : Typis Pvblicae Officinae Polygraphicae, 1954
Φυσική Περιγραφή: cxvii, 189, 131 p. : ill. ; 24 cm.
Σειρές: (Scriptores graeci et latini consilio Academiae Lynceorum editi)
Σημειώσεις: Latin, Greek, and Italian.
Includes bibliographical references and index.
Θέματα: Music, Greek and Roman
007369
Τίτλος: Aristosseno di Taranto : biografia e formazione spirituale / Amedeo Visconti
Συγγραφέας: Visconti, Amedeo
Δημοσίευση: Naples : Centre Jean Bérard, 1999
Φυσική Περιγραφή: 196 p. ; 24 cm.
Σειρές: (Etudes ; 4)
ISBN: 2903189595
Σημειώσεις: Includes bibliographical references.
Θέματα: Aristoxenus
DDC Ταξινόμηση: 185
LCC Ταξινόμηση: PA3934.A6V583 1999
Αντίτυπα Αριθμός Εισαγωγής Συλλογή Ταξιθετικό Σύμβολο Στοιχεία Μέρους Δανείζεται Κατάσταση
42062A 08 R.II.B.34 - Όχι Διαθέσιμο
MARC Εμφάνιση Συνοπτική Εμφάνιση Πλήρης Εμφάνιση
A tonus mai ertelmezese.
