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Journal articles on the topic 'Pythagorean music'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Veneri, Claudio. "Pythagoras and the 13 Sounds of Music." Symmetry: Culture and Science 35, no. 4 (2024): 492–503. https://doi.org/10.26830/symmetry_2024_4_493.

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The actual Birth of Scientific Thought is attributed to Pythagoras and the Pythagoreans, a story that today we can reconstruct through "The Fragments of the Pythagoreans". From the 6th-5th century BC of Pythagoras to 500 AD of Severino Boethius, the succession of fragments of the Pythagoreans is the only written testimony that survived the destruction of the fabulous Library of Alexandria, the Temple of Knowledge in Antiquity. The reconstruction of this history, interrupted for almost a thousand years, reappears in the Middle Ages of 1400 and in the sixteenth century Renaissance: the "Quadrivi

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Provenza, Antonietta. "Correcting ēthos and Purifying the Body. Musical Therapy in Iamblichus’ De vita pythagorica." Greek and Roman Musical Studies 3, no. 1-2 (2015): 94–115. http://dx.doi.org/10.1163/22129758-12341033.

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The tradition relating to the Pythagoreans and music therapy is most widely attested in two Neoplatonic works, Porphyry’s The Life of Pythagoras, and Iamblichus’ On the Pythagorean Way of Life. Although the chronological distance from the early Pythagoreans makes their accounts controversial, they offer interesting evidence on the beneficial effects of music. Iamblichus, whose work will be focused on in this paper, describes the effects of music on health through the notion of catharsis, which he often links with musical ēthos. The latter is not in fact attested before Plato, but Iamblichus, p

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Rašić, Dunja. "Music of the Spheres in Akbarian Sufism." Religions 13, no. 10 (2022): 928. http://dx.doi.org/10.3390/rel13100928.

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As per tradition, no human could hear the music of the spheres save for Pythagoras. Ibn ʿArabī, however, claimed he heard this music each time he prayed sincerely. This article examines how the Pythagorean concept of the music of the spheres came to be integrated and reinterpreted in Akbarian Sufism, with a special emphasis on Ibn ʿArabī’s notion of samāʻ and the modes of recreating the music of the spheres in Sufi gatherings.

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Apri Yardi, Yesyurun Munthe, Chris Letnora, and Octa Maria Sihombing. "The Musical Harmony Of The Cosmos And The Soul After Pytagoras." TUTURAN: Jurnal Ilmu Komunikasi, Sosial dan Humaniora 2, no. 1 (2023): 112–35. http://dx.doi.org/10.47861/tuturan.v2i1.721.

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The writing begins with a literature review as part of the research method on musical harmonisation. Music harmonisation is a diverse field with varying definitions, including those from music, anthropology, culture, and economics. It focuses on the philosopher Pythagoras' thoughts on music as a materialist instrument. The research method employs a qualitative approach and gathers data from secondary sources, specifically previous research. The findings indicate that Pythagorean-based music harmonisation demonstrates music as an organised rhythm, melody, and harmony, similar to the harmonisati

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Yardi, Apri, Yesyurun Munthe, Chris Letnora, and Octa Maria Sihombing. "The Musical Harmony of The Cosmos and The Soul After Pytagoras." Jurnal Ilmiah Dan Karya Mahasiswa 2, no. 2 (2024): 264–85. http://dx.doi.org/10.54066/jikma.v2i2.1328.

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The writing begins with a literature review as part of the research method on musical harmonisation. Music harmonisation is a diverse field with varying definitions, including those from music, anthropology, culture, and economics. It focuses on the philosopher Pythagoras' thoughts on music as a materialist instrument. The research method employs a qualitative approach and gathers data from secondary sources, specifically previous research. The findings indicate that Pythagorean-based music harmonisation demonstrates music as an organised rhythm, melody, and harmony, similar to the harmonisati

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Pongsarayuth, Sasi, and Suphot Manalapanacharoen. "Pythagorean Music Theory and Its Application in Renaissance Architectural Design." Malaysian Journal of Music 13, no. 1 (2024): 18–29. http://dx.doi.org/10.37134//mjm.vol13.1.2.2024.

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This article concerns Alberti's approach to architectural design integrates Pythagorean consonance ratios from music theory, not by direct application but as a conceptual guide for aesthetic ratios in buildings. He expands spatial dimensions using methods derived from past artisans, adhering to and building upon the foundational consonance ratios. While applying these two-number proportions to width and length poses no problem, calculating height in a three-dimensional space requires a three-number proportion. Alberti resolves this issue by adopting the mean value strategy from music theory, w

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Kolomiets, G. G., and D. Rasul-Kareyev. "Philosophical Conversations about Music in Simple Language. Pythagoras: the Divine Number and World Musical Harmony." Concept: philosophy, religion, culture 7, no. 2 (2023): 154–67. http://dx.doi.org/10.24833/2541-8831-2023-2-26-154-167.

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The article is written on the basis of a conversation on the philosophy of music by Professor G.G. Kolomiets, author of the book Value of music: philosophical aspect, with a musician from France, Dmitry Rasul-Kareev, Clarinet solo of Orchestra de la Suisse Romande. The dialogue gives a detailed and simple understanding of the philosophical view of music on the example of the ancient philosopher Pythagoras. His cosmological teaching saw the kinship of music, mathematics and philosophy and stated that the divine perception of the world is contained in the divine Number permeating the entire cosm

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8

Leedy, Douglas, and Kenneth Sylvan Guthrie. "The Pythagorean Sourcebook and Library: An Anthology of Ancient Writings Which Relate to Pythagoras and Pythagorean Philosophy." Notes 47, no. 3 (1991): 729. http://dx.doi.org/10.2307/941863.

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9

Loosen, Franz. "The Effect of Musical Experience on the Conception of Accurate Tuning." Music Perception 12, no. 3 (1995): 291–306. http://dx.doi.org/10.2307/40286185.

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The present study investigates the relationship between musical experience and subjects' conception of accurate tuning. In a paired comparisons experiment, 7 violinists, 7 pianists, and 10 nonmusicians evaluated the tuning of computer-generated, ascending and descending eight-tone diatonic scales of C major. Subjects were required to indicate which member of the pair was "most accurately tuned." The subjects were unaware that all scales were perfectly tuned in the Pythagorean, just, or equal-tempered intonation, respectively. Results showed that (1) violinists, as a group, preferred Pythagorea

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Restani, Donatella. "Embryology as a Paradigm for Boethius’ musica humana." Greek and Roman Musical Studies 4, no. 2 (2016): 161–90. http://dx.doi.org/10.1163/22129758-12341274.

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At the beginning of Boethius’ De institutione musica, musica humana is defined as a coaptatio, a well ordered relationship between body and soul and between the parts of the body and the parts of the soul. Boethius promised to expand the topic later, but he never returned to it. As a consequence Medieval and Renaissance music theorists gave it different interpretations. This paper is part of a wider project which aims at recovering the historical meaning of musica humana and its natural implications for human life, by identifying Boethius’ sources on the relationship between music and the huma

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Parncutt, Richard, and Graham Hair. "A Psychocultural Theory of Musical Interval." Music Perception 35, no. 4 (2018): 475–501. http://dx.doi.org/10.1525/mp.2018.35.4.475.

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The Pythagoreans linked musical intervals with integer ratios, cosmic order, and the human soul. The empirical approach of Aristoxenus, based on real musicians making real music, was neglected. Today, many music scholars and researchers still conceptualize intervals as ratios. We argue that this idea is fundamentally incorrect and present convergent evidence against it. There is no internally consistent “Just” scale: a 6th scale degree that is 5:3 above the 1st is not a perfect 5th (3:2) above the 2nd (9:8). Pythagorean tuning solves this problem, but creates another: ratios of psychologically

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Podlipniak, Piotr. "The neo-Pythagorean view of musical structure in the light of music psychology." Roczniki Psychologiczne 22, no. 2 (2020): 121–34. http://dx.doi.org/10.18290/rpsych.2019.22.2-2.

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The aim of this paper is to show why the neo-Pythagorean claims concerning musical structure are out-of-date and require the incorporation of contemporary psychological knowledge. The neo-Pythagorean view of musical structure has been analyzed and confronted with the contemporary neuropsychological view of music perception. It has been also suggested that musical intervals exist solely in human brains as a kind of interpretation of acoustic sounds. These sounds can be interpreted differently depending on many factors, which the popular speech-to-song illusion clearly illustrates. Another examp

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Konovalova, N. R. "The philosophy of music of Pythagoras." Mathematics in Modern Technical University 2021, no. 1 (2021): 47–59. http://dx.doi.org/10.20535/mmtu-2021.1-047.

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The article reproduces the image of the great thinker Pythagoras - one of the most popular scientists and the most mysterious personality, the philosopher. Pythagoras created the brightest and most modern "religion": he nurtured in humanity a belief in the power of reason, the belief that the key to the mysteries of the worldview is mathematics. Music for Pythagoras became not only a means of inspiration but also a subject of scientific research, it was in music that Pythagoras found direct proof of his statement: "Everything is a number." 2,500 years ago, Pythagoras guided people on the path

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Ilnitchi, Gabriela. "MUSICA MUNDANA, ARISTOTELIAN NATURAL PHILOSOPHY AND PTOLEMAIC ASTRONOMY." Early Music History 21 (September 4, 2002): 37–74. http://dx.doi.org/10.1017/s0261127902002024.

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Emanating from a cosmos ordered according to Pythagorean and Neoplatonic principles, the Boethian musica mundana is the type of music that ‘is discernible especially in those things which are observed in heaven itself or in the combination of elements or the diversity of seasons’. At the core of this recurring medieval topos stands ‘a fixed sequence of modulation [that] cannot be separated from this celestial revolution’, one most often rendered in medieval writings as the ‘music of the spheres’ (musica spherarum). In the Pythagorean and Neoplatonic cosmological traditions, long established by

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Nikolsky, Sergei S. "Musical Scales with Pythagorean Intervals." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2020): 17–23. http://dx.doi.org/10.33779/2587-6341.2020.3.017-023.

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SALĞAR, Ercan. "Religion and Science in the Pythagorean Doctrine." Selçuk Üniversitesi Edebiyat Fakültesi Dergisi, no. 47 (June 15, 2022): 279–96. http://dx.doi.org/10.21497/sefad.1128596.

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The main purpose of this study is to reveal clearly and distinctly how the relationship between religion and science is established in Pythagorean doctrine. Religion and science are two important disciplines that provide people to understand and explain themselves and those around them in their life journey. Therefore, these two disciplines have been always in a mutual interaction throughout the historical process. While some thinkers argue that the interaction between religion and science supports and nurtures each other, the dominant opinion is that these disciplines are opposed to each othe

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BANDO, Hiroshi, Akiyo Yoshioka, Masahiro Bando, and Yu Nishikiori. "Certain frequency music has attracted attention for possible effective healing." International Journal of Complementary and Alternative Medicine 16, no. 2 (2023): 119–20. http://dx.doi.org/10.15406/ijcam.2023.16.00639.

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Music has various power for human body and mind. For 12 music tone, two types of scales are Pythagorean Tuning (just intonation) and equal temperament. This minute difference may generate human feeling for music. Music with 528Hz frequency has been in focus as healing music, which is called as “solfeggio frequency music”. Certain frequency music has been known such as 96, 432, 528, 639, 852 Hz, that contributes reducing tension and anxiety. It seems to show beneficial efficacy, but scientific evidence is not enough. Similar to former Mozart effect, further accumulation of evidence and research

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18

Borthwick, E. Kerr. "‘The Wise Man and the Bow’ in Aristides Quintilianus." Classical Quarterly 41, no. 1 (1991): 275–78. http://dx.doi.org/10.1017/s0009838800003876.

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In the second book of the De Musica, Aristides Quintilianus discourses at length on the educational value of music, drawing on many earlier sources, Pythagorean, Damonian, and of course Plato and Aristotle. In ch. 6 (p. 60 W.-I.) Plato's censorious views in the Republic are particularly referred to, but, like Aristotle in the eighth book of his Politics, Aristides takes a less severe attitude towards the pleasure-giving content of melody on appropriate occasions, and points to the natural human taste for such music: τ⋯ς δ ϕὺσεως κα τ τοιατα παιτοσης, μποδίζειν μν δνατον (εὖ γρ εἴρηται τῷ σοϕῷ

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19

Rehding, Alexander. "Three Music-Theory Lessons." Journal of the Royal Musical Association 141, no. 2 (2016): 251–82. http://dx.doi.org/10.1080/02690403.2016.1216025.

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AbstractThis article is an attempt to understand music theory from the perspective of written and sounding media. It examines three radically different music-theoretical practices, which operate with different forms of written notation and different musical instruments, and have surprisingly different purposes in mind: the monochord-based theory of Franchinus Gaffurius (1518), the siren-based theory of Wilhelm Opelt (1834) and the piano-and-score-based theory commonly practised in our age. The instruments used in these three music theories hold the key to a fuller understanding: they can be un

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Latinčić, Dragan. "Possible principles of mathematical music analysis." New Sound, no. 51 (2018): 153–74. http://dx.doi.org/10.5937/newso1851153l.

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The text is a summary of many years of research in the domains of micro-intervals, metric-rhythmic projection of the spectrum harmonics, and the establishment of a link with mathematics, more precisely, geometry, with a special focus on the application of the Pythagorean Theorem. Mathematical music analysis enables the establishment of methods for constructing right, obtuse, and acute musical triangles as well as projections of their edges (sides), which are recognized in trigonometry as the functions of angles: the sine, cosine, and so on; as well as the establishment of methods for construct

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Beyhom, Amine. "Dossier: Was the Early Arabian ʿūd 'fretted'?" NEMO-Online / NEAR EASTERN MUSICOLOGY ONLINE 5, № 9 (2020): 113–96. https://doi.org/10.5281/zenodo.7903102.

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<strong>Excerpt</strong> [...] This dossier is a complement to the dossier on Hellenistic Orientalism published in 2016 in NEMO-Online, in which I explained the main process of Orientalism in musicology and how it was based on Music theories beginning with Greek Neo-Pythagorean theories and ending with the so-called "Resonance" theory. [...]

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BENAKIS, Linos G. "Byzantine Musical Theory (Harmonics)." WISDOM 10, no. 1 (2018): 98–104. http://dx.doi.org/10.24234/wisdom.v10i1.206.

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Harmonics was one of the four mathematical sciences in the Byzantine higher education curriculum, together with Arithmetic, Geometry, and Astronomy (what was called quadrivium in the Latin West). Our knowledge of Byzantine harmonics is rather limited, as only two or three of the relevant treatises have been published in new editions. In this paper a systematic approach is attempted, while, at the same time, keeping distances from the well-studied practical aspect of Byzantine music, i.e. ecclesiastical music. Furthermore, the tradition of Greek musical theory (both Pythagorean and Aristoxenian

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Petroff, Valery V. "Art, Science and Paideia in Aristides Quintilianus’ De Musica." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, no. 2 (2021): 935–65. http://dx.doi.org/10.25205/1995-4328-2021-15-2-935-965.

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The study aims to clarify the meaning of the philosophical views of Aristides Quintilianus, presented in his treatise “On Music”: concepts from the field of ontology, epistemology, psychology, anthropology, ethics are discussed in the context of theories developed by his contemporaries. Aristides’ arguments concerning the benefits of arts and sciences (and, accordingly, music) are discussed. It is pointed out that the “accuracy” that Aristides repeatedly speaks about in relation to music means that he prefers to consider music rather as science than art. The definitions of music proposed by Ar

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Lowerre, Kathryn. "Masqued Mysteries Unmasked: Early Modern Music Theater and its Pythagorean Subtext (review)." Notes 58, no. 3 (2002): 564–65. http://dx.doi.org/10.1353/not.2002.0026.

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Chao-Fernández, Rocío, Dorinda Mato-Vázquez, and Aurelio Chao-Fernández. "Fractions and Pythagorean Tuning—An Interdisciplinary Study in Secondary Education." Mathematics 7, no. 12 (2019): 1227. http://dx.doi.org/10.3390/math7121227.

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Formal education is experiencing a series of reforms that favor the integration of the contents of different areas in the teaching and learning of the different educational stages. The present study examined the use of an interdisciplinary music and mathematics experience in Secondary Education in Galicia (Spain) in the 2016/17 academic year. A descriptive–exploratory design was used, through a Likert questionnaire applied to 197 students with a diagnostic test and a reference test, and a study of multiple cases was carried out in which information was collected through classroom observations.

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Redding, Paul. "Projective Geometry as a Model for Hegel’s Logic." Logics 2, no. 1 (2024): 11–30. http://dx.doi.org/10.3390/logics2010002.

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Recently, historians have discussed the relevance of the nineteenth-century mathematical discipline of projective geometry for early modern classical logic in relation to possible solutions to semantic problems facing it. In this paper, I consider Hegel’s Science of Logic as an attempt to provide a projective geometrical alternative to the implicit Euclidean underpinnings of Aristotle’s syllogistic logic. While this proceeds via Hegel’s acceptance of the role of the three means of Pythagorean music theory in Plato’s cosmology, the relevance of this can be separated from any fanciful “music of

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Ballard, Dennis L. "Relationships Between College-level Wind Instrumentalists’ Achievement in Intonation Perception and Performance." Bulletin of the Council for Research in Music Education, no. 187 (January 1, 2011): 19–32. http://dx.doi.org/10.2307/41162321.

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Abstract Undergraduate wind instrument majors’ (N = 60) perceptual and performance intonation achievement were measured and compared on four separate tasks. Paired tasks between perception and performance and between instrumental and vocal performances were included. Multiple tuning conditions (equal temperament, Pythagorean, and just intonation) were compared on both perceptual and performance tasks. No significant correlations were found between any of the four tasks. The influence of tuning condition was mixed with some advantage for equal temperament for performance. Vocal performances wer

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Louria Hayon, Adi. "Sonorous Touches: Listening to Jean-Luc Nancy’s Transimmanent Rhythms." Arts 12, no. 5 (2023): 209. http://dx.doi.org/10.3390/arts12050209.

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Luigi Russolo’s Intonarumori together with his manifesto L’arte dei rumori (1913) marked a break with the art of clear signification. From here on, noise and dispersed sounds replaced the concept of music reverberating the harmony of the spheres by propelling the quandaries of immanence contingent on palpable resonance performing the differential relational manner of heterogeneous existence. This somatic turn is central to Jean-Luc Nancy’s Listening, where he proposes listening as a tangible fundamental resonance rumbling the corpse sonore. This paper elaborates on the move from the art of mus

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Rehding, Alexander. "Music Theory's Other Nature: Reflections on Gaia, Humans, and Music in the Anthropocene." 19th-Century Music 45, no. 1 (2021): 7–22. http://dx.doi.org/10.1525/ncm.2021.45.1.7.

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The new historical paradigm ushered in by the Anthropocene offers a timely and urgent opportunity to rethink the relationship of humans and nature. Bruno Latour's take on the Gaia hypothesis, which rejects the traditional subject/object divide, shows how the human can be inscribed into the work of music theory. This turn toward Latour's Actor-Network Theory, which erases the categorical difference between human and nonhuman agents, now dressed up in cosmic garb under the banner of the Gaia hypothesis, appears to be distant from traditional music-theoretical concerns, but the connection is in f

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Barlow, Jon, Joscelyn Godwin, Mark Lindley, and Ronald Turner-Smith. "The Harmony of the Spheres: A Sourcebook of the Pythagorean Tradition in Music." Notes 50, no. 4 (1994): 1422. http://dx.doi.org/10.2307/898329.

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Prins, Jacomien. "Cardano and Scaliger in Debate on the Revival of Ancient Music." Journal of Musicology 39, no. 1 (2022): 109–32. http://dx.doi.org/10.1525/jm.2022.39.1.109.

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The rediscovery of ancient ideas about the power of music inspired Renaissance scholars to formulate a tantalizing view of the restoration of the wonderful music of the ancient Greeks. But from the start of this revival, skeptical voices questioned the feasibility of any attempt to establish a historically informed music practice. This article explores the changing status and authority of classical music-theoretical sources in sixteenth-century Italy by analyzing the famous debate between Girolamo Cardano and Julius Caesar Scaliger on ancient ideas about sound, hearing, and the power of music.

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Krušinský, Peter, and Eva Capková. "Geometric Analysis of the Truss above the Nave and Presbytery of the Roman-Catholic Church in Village Bela Dulice." Advanced Materials Research 1020 (October 2014): 736–40. http://dx.doi.org/10.4028/www.scientific.net/amr.1020.736.

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The truss above the nave and presbytery was managed to date to the year 1409d and is one of the few well-preserved medieval structures in this region. This truss has a rafter structure with collar tie and lengthwise binding of the Central frame. At the time of the truss creation the geometry had an important significance, as evidenced by its position in the system of education, since it was a part of seven liberal arts. The part of seven liberal arts was Music and Musica Humana (the theory of proportions) as well, based mainly on Pythagorean theory of proportions. In the Middle Ages geometry s

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Witkowska-Zaremba, Elzbieta. "The Medieval Concept of Music Perception. Hearing, Calculating and Contemplating." Scripta Instituti Donneriani Aboensis 16 (January 1, 1996): 369–76. http://dx.doi.org/10.30674/scripta.67239.

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Seeking to indicate the most salient features of the medieval perception of music, we must first of all point to the close relationship between the sensual and intellectual elements. This relationship is most conspicuous in the term "harmonica" introduced in the Latin Middle Ages by Boethius and defined as follows: "harmonica is the faculty of perceiving through senses and the intellect the differences between high and low sounds". The same definition reveals another significant feature of the perception of music, namely, that the importance is attached not to individual sounds, but to the dif

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Witkowska-Zaremba, Elżbieta. "Between Intellectus, Visus and Auditus: Jean des Murs’s Musica Speculativa, Version A (1323)." Erudition and the Republic of Letters 4, no. 1 (2019): 64–97. http://dx.doi.org/10.1163/24055069-00401004.

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The title of this paper draws attention to the description of the diagrams given by Jean des Murs in his Musica speculativa (Version A). He defines them as ‘sensible figures’ very much appreciated by mathematicians, because the truth which is in the intellect is, thanks to them, properly transmitted to the judgment of sight and hearing. This description refers the reader to three other questions that are crucial for understanding the treatise. These are: the place of music among the mathematical disciplines; the epistemological/cognitive process leading from intellect to sight, and then to hea

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Petuhov, Sergey. "MUSIC, UNIVERSALS OF GENOMIC DNAs, GENETIC INTELLIGENCE, AND THE CONCEPT OF A STOCHASTIC SYSTEM OF PROTOREGULATION." Medicine and Art 1, no. 2 (2023): 40–57. http://dx.doi.org/10.60042/2949-2165-2023-1-2-40-57.

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This work is devoted to the structural links between the musical harmony of the Pythagorean fifth scales and the system of hydrogen bonds in genetic molecules DNAs. Hidden regularities in the stochastic organization of hydrogen bond sequences in the genomic DNAs of higher and lower organisms have been discovered. The regularities described are candidates for the role of universal regularities of biological evolution. An idea is advanced on the fundamental role of stochastic regularities in the genetically inherited organization of biological bodies. In the presented study, the author's method

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Quehenberger, Renate C. Z., Ivan Stepanyan, and Benjamin Skepper. "[C G A T] Epita Matrix Genetics: Toward a Visualization of Genetic Codes via “Genetic Music”." Leonardo 53, no. 1 (2020): 88–89. http://dx.doi.org/10.1162/leon_a_01840.

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The authors describe the scientific background and technical details of the visualization of the mathematics underlying genetic codes applied to musical scales. “Genetic Music” provides audible access to genetic structures that become visible based on the fundamental level of nature as permutations of space itself. The carriers of genetic information characteristically possess hydrogen bonds in quantities 2 and 3 in complementary pairs of nitrogenous bases [GACT] in DNA and [GACU] in RNA. Since hydrogen is observed to expose the symmetries of the Penrose Patterns, visual access is achieved by

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Morrill, Thomas. "Difference tones in “ non-Pythagorean” scales based on logarithms." Journal of Mathematics and Music 14, no. 1 (2020): 48–57. http://dx.doi.org/10.1080/17459737.2019.1704084.

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Kahalo, Alina. "THE IMPLICIT CONCEPTION OF MUSIC IN BOETHIUS' "DE CONSOLATIONE PHILOSOPHIAE"." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 79–83. http://dx.doi.org/10.17721/ucs.2023.1(12).17.

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The paper is an attempt to demonstrate the possibility and necessity of an implicit conception of music in Boethius. An explicit conception is something that is obviously present in a text. That is what is usually studied within the 'history of ideas'. Contrary to this, an implicit conception is an unconscious picture of the author's world, in which the basic concepts of explicit conception are grounded. Therefore, the implicit conception is a condition for the possibility of any explicit text. So, the well-known text of Boethius' "De institutione musica", which but replicates mostly Pythagore

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Frykberg, Susan. "Using Spiritual Intelligence as a Framework to Link Electroacoustic Music and Spirituality." Organised Sound 25, no. 3 (2020): 302–6. http://dx.doi.org/10.1017/s1355771820000254.

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There are a number of electroacoustic (EA) composers who draw on spiritual or religious material for their work. However, for some the word ‘spiritual’ is problematic, being too vague or broad, and the word ‘religious’ too narrow. To refine the word ‘spiritual’ therefore, in a way that might be acceptable also to those who are religious, I employ the contemporary concept of spiritual intelligence (SI) as a proposed framework for linking a discourse of spirituality with electroacoustic music. In addition to postulating SI as a way of framing the word ‘spirituality’, I identify three different w

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Kolomiets, G. G. "A. F. Losev on the Neoplatonic Essence of Music in the Context of the Philosophy of Substantial Musical Existence (to the 130th Anniversary of the Birth of Aleksey Fedorovich Losev)." Intellect. Innovations. Investments, no. 5 (2023): 121–29. http://dx.doi.org/10.25198/2077-7175-2023-5-121.

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The article is written in connection with the anniversaries of the life of the great Russian thinker Alexey Fedorovich Losev and is devoted to one of the aspects of his aesthetic research related to the interpretation of music in Neoplatonism. This article makes sense to emphasize the substantial ontological essence of music, relying on Losev’s phenomenological-dialectical method, on his commitment to Neoplatonism as the last significant ancient philosophical movement. Losev considered the philosophical foundations of music in the cosmological treatises of such philosophers as Quintilian, Proc

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Croton, Feano of, Mia of Croton, Melissa philosopher, Fintis of Spartan, Esara of Lucan, and Ptolemais of Cyrene. "Woman philosopher of the Pythagorean school about human nature and upbringing." Filosofiya osvity. Philosophy of Education 27, no. 1 (2021): 239–60. http://dx.doi.org/10.31874/2309-1606-2021-27-1-14.

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The article offers academic translation into Ukrainian of a number of works by Pythagorean woman philosophers, which reveal the problems of human nature and personality education. The focus is on such pseudo-epigraphs of ancient woman thinkers as two letters by Theano of Crotone, letters of Miya of Crotone and Melissa, as well as treatises by Fintys of Sparta "On a woman prudence", Aesara of Lucania "On human nature" and excerpts from Porphyry’s "Pythagorean music" which contain fragments of the works of Ptolemais of Cyrene. The main themes of the above works and letters are the education of t

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Cordoneanu, Ion. "HARMONY, CICERO`S PRINCIPLE OF GOVERNING." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 4, no. 1 (2020): 11–16. http://dx.doi.org/10.26520/mcdsare.2020.4.11-16.

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Harmony is one of the concepts that permeate the history of human creation in varied fields: philosophy, arts, music, science, economics, politics, etc. It is a preoccupation of the Pythagorean, of Plato and Aristotle, and a governing principle theorised during the times of the Byzantine Empire. However, in Cicero’s political thinking, harmony is the foundation stone of the organisation and functioning of the republic as body politic, a political principle which reflects the principle of the entire universe. Somnium Scipionis (The Dream of Scipio), an allegory on the harmony of the universe, i

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Poletti, Paul. "Non-Pythagorean proportions and the Diapasón in the design of iberian Harpsichord scales." Anuario Musical, no. 64 (December 30, 2009): 137. http://dx.doi.org/10.3989/anuariomusical.2009.64.41.

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Uno de los principios de la organología moderna es que las cuerdas de los instrumentos de teclado se han diseñado generalmente según la teoría que la longitud es inversamente proporcional al tono, dando por resultado una progresión de las longitudes de la secuencia conocidas como escala pitagórica. La investigación reciente ha comenzado a centrarse en los instrumentos ibéricos supervivientes, descuidados hasta ahora en gran parte. Mientras que pocos han sobrevivido, se ha constatado que un número signifi cativo de sus constructores tenía una tendencia a emplear escalas no-Pitagóricas. Un estud

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WATSON, SARAH BURGES. "ORPHEUS' EROTIC MYSTERIES: PLATO, PEDERASTY, AND THE ZAGREUS MYTH IN PHANOCLES F 1." Bulletin of the Institute of Classical Studies 57, no. 2 (2014): 47–71. http://dx.doi.org/10.1111/j.2041-5370.2014.00072.x.

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Abstract In his Ἔρωτɛς ἢ Kαλoί, Phanocles tells how Orpheus was decapitated by Thracian women because he ‘revealed’ homoerotic love and rejected women. Iconographic and literary evidence suggests that Orpheus is associated with homoeroticism and misogyny from the Classical period. Phanocles' poem also exploits Orpheus' ambivalent status: as founder of the Eleusinian mysteries, his authority was immense. But he was also seen as the guru of a countercultural fringe, who preached reincarnation and vegetarianism. The fact that Phanocles presents Orpheus' erotic predilections as mysteries points to

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SARGOLINI, FEDERICA. "LA CRITICA DI VINCENZO GALILEI AL MISTICISMO NUMERICO DI GIOSEFFO ZARLINO." Nuncius 15, no. 2 (2000): 519–50. http://dx.doi.org/10.1163/182539100x00038.

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Abstracttitle SUMMARY /title The long and bitter dispute between Gioseffo Zarlino, the foremost musical theorist of the sixteenth century, and Vincenzo Galilei, practical musician and Galileo's father, raises important issues as it concerns the methodological approach towards musical phenomena. In particular, the present work shows that the true overthrowing of Zarlino's a priori approach (besides the relationship between music and words and other aspects of content) can be found in a new conception of numbers, namely the passage from numerical and theoretical mysticism (dating back to the Pyt

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SIDIK@MAT SIDEK, ROZIAH, AZMUL FAHIMI KAMARUZAMAN, and MOHD JAILANI ABDULAH. "Epistemologi dan Falsafah berkaitan Terapi Muzik dari Perspektif Cendekiawan Muslim." International Journal of Islamic Thought 19, no. 1 (2021): 110–19. http://dx.doi.org/10.24035/ijit.19.2021.201.

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This article studies the comparative analysis of epistemology and philosophy of music in the Islamic civilization according to the viewpoints of medieval scholars in the Islamic civilization. The scholars selected are al-Kindi, Ikhwan al-Safa, al-Farabi and Ibn Sina. The basis of this research begins from the polemic among scholars concerning the legal status of using music, whether permissible or forbidden, due to the absence of authenticated textual proof (nas qat’i) from al-Quran and protracted debate over the authenticity of hadith on the prohibition of music. Behind the debate is that mus

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GOZZA, PAOLO. "LA MUSICA NELLA FILOSOFIA NATURALE DEL SEICENTO IN ITALIA." Nuncius 1, no. 2 (1986): 13–47. http://dx.doi.org/10.1163/182539186x00502.

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Abstract<title> SUMMARY </title>The leit-motiv of the present description of the relationship between music and natural philosophy in Italy in the seventeenth century is a recurrent theme: the mathematical or « Pythagorean » approach to music as opposed to the experimental or « Aristoxenian » approach. During the sixteenth and seventeenth centuries this opposition, rendered pertinent by the cultural transformations that accompanied the consolidation of modern science, gained in complexity and took on original forms and meanings. The present paper, in the first instance, outlines th

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Warburton, Edward C., and Gregory Laughlin. "A Performed Solution to the Pythagorean Problem: The Three Bodies Project." Leonardo 53, no. 2 (2020): 145–50. http://dx.doi.org/10.1162/leon_a_01615.

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The authors describe an art-science collaboration to devise and perform a qualitatively accurate interpretation of an elliptic-hyperbolic solution to the classical astronomical “problem of three bodies,” in which three point masses execute trajectories dictated by Newton's Law of Universal Gravitation.

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Llorens, Ana. "Understanding expressive intonation." Quodlibet. Revista de Especialización Musical, no. 76 (December 17, 2021): 159–203. http://dx.doi.org/10.37536/quodlibet.2021.76.1403.

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Research on intonation has mainly sought for classifying and/or expressive explanations for performers’ strategies. In the field of music psychology and music perception, such explanations have been explored in terms of interval direction, size, or type; in the field of performance analysis, to which this article belongs, investigation on intonation has been not only scarce but also limited to short excerpts. In this context, this article explores Pau Casals’ intonational practice specific to his recording of Bach’s E flat major prelude for solo cello. To do so, on the basis of exact empirical

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Muzzulini, Daniel. "Taming the Irrational Through Musical Diagrams – from Boethius to Oresme and Nemorarius." Diagrammatic Representation and Inference. Diagrams 2022 13462 (September 7, 2022): 114–21. https://doi.org/10.5281/zenodo.7298857.

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Boethius and his followers used diagrammatic methods to estimate musical intervals with epimoric ratios, they determined geometric number sequences with triangular tables, and they treated the converse problem of dividing musical intervals equally. The collection of mathematical manuscripts Codex Basel F II 33 (ca. 1360) contains treatises by Nicolaus Oresme, Jordanus Nemorarius and others. Images in Nemorarius' treatise combine number triangles into complex spider webs and they display recursive algorithms. Oresme diagrams make use of irrational ratios. These little known images and their

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