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Journal articles on the topic 'Harmonics (Ptolemy)'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Crane, Joseph. "Ptolemy’s Digression: Astrology’s Aspects and Musical Intervals." Culture and Cosmos 11, no. 1 and 2 (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 acco

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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 eac

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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

Цыпин, В. Г. "О трех главных терминах древнегреческой гармоники". Научный вестник Московской консерватории 16, № 1(60) (2025): 8–19. https://doi.org/10.26176/mosconsv.2025.60.1.01.

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В статье рассматриваются три главных термина древнегреческой науки о гармонии: звук, интервал,система. Они наиболее употребительны в трактатах о музыке и на первый взгляд просты; вместе с тем за ними стоят не вполне однозначные понятия, подчас весьма сложные конфигурации смыслов, не совпадающие у разных авторов — пифагорейцев, Аристоксена, Птолемея. Исследование терминологической системы гармоники по доступным в настоящее время источникам — один из путей к пониманию музыкальной культуры далекого прошлого. The article deals with the three main terms of the ancient Greek study of harmonics: soun

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6

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 (2016): 392–94. http://dx.doi.org/10.1017/s0009840x16001323.

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7

Raffa, Massimo. "Ancient Musical Writings as Persuasive Texts." Greek and Roman Musical Studies 9, no. 2 (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 h

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8

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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9

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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10

Olson, S. Douglas, and Ineke Sluiter. "An emendation in Porphyry's commentary on Ptolemy's Harmonics." Classical Quarterly 46, no. 2 (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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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-Aristox

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12

Campion, Nicholas. "Harmony, Politics and Utopia in the Cosmology of Jean Bodin and Johannes Kepler." Culture and Cosmos 25, no. 0102 (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 discipl

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13

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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14

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 (2019): 167–71. http://dx.doi.org/10.1163/22129758-12341339.

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15

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 (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 tha

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16

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 (2012): 585–94. http://dx.doi.org/10.1016/j.shpsa.2012.06.006.

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17

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 (2006): 267–71. http://dx.doi.org/10.1093/bjps/axi159.

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18

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 (2001): 227–28. http://dx.doi.org/10.1093/gr/48.2.227.

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19

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

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20

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

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21

Lynch, Tosca A.C. "Unlocking the Riddles of Imperial Greek Melodies II: Ptolemy's harmogaí, the Louvre aulos and the Imperial Musical Documents." May 10, 2022. https://doi.org/10.5281/zenodo.6536669.

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SELECT BIBLIOGRAPHY Barker, A. (1989). Greek Musical Writings 2. Cambridge: CUP. Barker, A. (2007). The Science of Harmonics in Classical Greece. Cambridge: CUP. Barker, A. (2020). ‘Harmonics’ in Lynch, T. A.C. and Rocconi, E. (eds) A Companion to ancient Greek and Roman Music, Malden: Blackwell, 257–274. DAGM = Pöhlmann, E. and West, M.L. (2001). Documents of Ancient Greek Music: The Extant Melodies and Fragments. Oxford. dDAGM = Lynch, T. A.C. (2021). Database ‘Documents of Ancient Greek Music’. Version 1.1.

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22

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

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23

Lautner, Peter. "Mental images in Porphyry’s commentary on Ptolemy’s Harmonics." Apeiron 48, no. 2 (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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24

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 (d

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