377:
way of arriving at the knowledge of music;" and though, he wrote, "others affirm that it is by the study of instruments that we attain this knowledge;" this, he wrote, is talking wildly, "for just as it is not necessary for him who writes an Iambic to attend to the arithmetical proportions of the feet of which it is composed, so it is not necessary for him who writes a
Phrygian song to attend to the ratios of the sounds proper thereto." However, this should not be construed as meaning that he postulated a simplistic system of harmony resembling that of modern twelve tone theory, and especially not an equally tempered system. As he urges us to consider, "(a)fter all, with which of the people who argue about the shades of the
397:
simplified twelve tone theories. Aristoxenus himself held that "... two things must not be overlooked: First, that many people have mistakenly supposed us to be saying that a tone can be divided into three equal parts in a melody. They made this mistake because they did not realise that it is one thing to employ the third part of a tone, and another to divide a tone into three parts and sing all three. Secondly we accept that from a purely abstract point of view there is no least interval."
393:
precedent, as he himself does not make this claim. Indeed, the idea of unfixed pitch locations that cover certain ranges, the limits of which may be defined by fixed points, is a notion that was popular until the modern fixation upon fixed pitch systems, as is indicated by
Baroque theoretical systems of pitch and intonation. Another way of stating this, however perhaps less accurate, is that instead of using discrete ratios to place intervals, he used continuously variable quantities.
252:
Aristoxenus' interest in the society. Furthermore, his works on education show evidence of
Pythagorean influence, particularly in their tendency towards conservatism. Most importantly, speculation on the structure of music had its origin in a Pythagorean environment. Its focus was on the numerical relationship between notes and, at its furthest stretch, developed into a comparison between musical, mathematical and cosmological structures.
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1316:
27:
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In his second book he asserted that "by the hearing we judge of the magnitude of an interval, and by the understanding we consider its many powers." And further he wrote, "that the nature of melody is best discovered by the perception of sense, and is retained by memory; and that there is no other
392:
It is sometimes claimed that the nature of
Aristoxenus' scales and genera deviated sharply from his predecessors. That Aristoxenus used a model for creating scales based upon the notion of a topos, or range of pitch location, is fact, however there is no reason to believe that he alone set this
396:
The postulation that this resulted in the structuring of his tetrachords and the resulting scales having 'other' qualities of consonance is one that can only be accounted for by the recourse to often repeated inconsistencies amongst his interpreters and modern confirmation bias in favour of
251:
had lived, it can be seen that the extended period of time that
Aristoxenus spent in a Pythagorean environment made an indelible impact on the subject matter of his writings. Such titles as "Pythagorou bios", "Peri Pythaorou kai ton guorimon autou" and "Peri tou Pythagorikou biou" indicate
364:
that arithmetic rules were the ultimate judge of intervals and that in every system there must be found a mathematical coincidence before such a system can be said to be harmonic, Aristoxenus made extensive use of arithmetic terminology, notably to define varieties of
436:
261:, an incomplete musical treatise. Aristoxenus' theory had an empirical tendency; in music he held that the notes of the scale are to be judged, not as earlier Pythagoreans had believed, by mathematical ratio, but by the ear.
256:
However, Aristoxenus disagreed with earlier
Pythagorean musical theory in several respects, building on their work with ideas of his own. The only work of his that has come down to us is the three books of the
179:, who asserts that he only ever mentioned Aristotle with the greatest respect. Nothing is known of his life after the time of Aristotle's departure, apart from a comment in
603:
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1580:
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353:. In the second book Aristoxenus divides music into seven parts, which he takes to be: the genera, intervals, sounds, systems, tones or modes, mutations, and
1336:
1849:
1824:
175:, a position which Aristoxenus himself had coveted, having achieved great distinction as a pupil of Aristotle. This story is, however, contradicted by
138:, and was the son of a learned musician named Spintharus (otherwise Mnesias). He learned music from his father, and having then been instructed by
463:
The edition of Wehrli presents the surviving evidence for works with the following titles (not including several fragments of uncertain origin):
231:, and his father's (Pythagorean) musical background, which he inculcated into his son. Gibson tells us that, after the influence of his father:
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1874:
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357:. The remainder of the work is taken up with a discussion of the many parts of music according to the order which he had himself prescribed.
219:. Thus, as Gibson tells us: "the various philosophical influences" on Aristoxenus included growing up in the profoundly Pythagorean city of
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paraphrases the writings of
Aristoxenus on music. His ideas were responded to and developed by some later theorists such as
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275:, and his place in the methodological debate between rationalists and empiricists was commented upon by such writers as
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Aristoxenus: Elementa rhythmica. The fragment of Book II and the additional evidence for
Aristoxenean rhythmic theory
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389:, so why should the note a ditone from mesé be called lichanos rather than a small amount higher?"
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903:, 2nd. ed. (Basel/Stuttgart), Greek text (excluding the harmonic fragments, rhythmic fragments,
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His writings were said to have consisted of four hundred and fifty-three books, and dealt with
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While it is often held among modern scholars that
Aristoxenus rejected the opinion of the
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404:, which are of great interest to those concerned with classical Greek melodic structure.
207:, and he hoped to succeed Aristotle on his death, Aristoxenus was strongly influenced by
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1455:
Crocker, Richard (1966). "Aristoxenus and Greek
Mathematics". In LaRue, Jan (ed.).
164:
163:, he heaped insults on Aristotle after his death, because Aristotle had designated
926:
875:
1692:
1687:
1489:
1468:. The New Oxford History of Music. Vol. 1. London: Oxford University Press.
295:
211:, and was only a follower of Aristotle in so far as Aristotle was a follower of
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841:(Cambridge), pp. 119–89, English translation with introduction and notes,
341:; this is followed by some general definitions of terms, particularly those of
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composing the body, and therefore mortal ("nothing at all," in the words of
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919:
Aristoxenus von Tarent: Melik und Rhythmik des classischen Hellenenthums
381:
should one agree? Not everyone looks to the same division when tuning the
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1464:
Henderson, Isabel (1957). "Ancient Greek Music". In Wellesz, Egon (ed.).
570:
557:
366:
244:
224:
26:
1513:
1387:
Barker, Andrew (1978). "Music and Perception: A Study in Aristoxenus".
1340:. Vol. 2 (11th ed.). Cambridge University Press. p. 522.
885:(Oxford ), Greek texts with introduction, translation, and commentary,
607:
220:
127:
1553:
1408:
1494:
Transactions and Proceedings of the American Philological Association
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In book three Aristoxenus goes on to describe twenty eight laws of
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This article incorporates text from a publication now in the
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325:), Aristoxenus attempted a complete and systematic exposition of
154:, whom he appears to have rivaled in the variety of his studies.
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283:
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235:
The second important influence on Aristoxenos' development was
55:
870:(Berlin), Greek text with German translation and commentary (
102:), survives incomplete, as well as some fragments concerning
412:
Part of the second book of a work on rhythmics and metrics,
937:
Die Fragmente und die Lehrsätze der griechischen Rhythmiker
754:): fr. 117 Wehrli (according to whom this Telestes is the
1356:
Aristoxène de Tarente et Aristote: le Traité d'harmonique
964:, for Aristoxenus's report on Plato's Lecture on the Good
855:(Oxford), Greek text with English translation and notes (
294:), was ascribed to Aristoxenus (fr. 118–121 Wehrli) and
1569:. Vol. 1. London: Macmillan Publishers. p. .
1476:. New Brunswick: Transaction Publishers. (RUSCH XVII).
1436:. Vol. 1. London: Macmillan Publishers. p. .
1197:
A General History of the Science and Practice of Music
30:
A modern imagining of the appearance of Aristoxenus.
1751:
1650:
1561:Winnington-Ingram, R. P. (1980). "Aristoxenus". In
1117:
Aristoxenus of Tarentum and the Birth of Musicology
1299:. Cambridge New York: Cambridge University Press.
298:. This theory is comparable to the one offered by
1368:Proceedings of the Cambridge Philological Society
416:, is preserved in medieval manuscript tradition.
455:, vol. 1 (1898) and is probably by Aristoxenus.
329:. The first book contains an explanation of the
1567:The New Grove Dictionary of Music and Musicians
1532:Rowell, Lewis (1979). "Aristoxenus on Rhythm".
1434:The New Grove Dictionary of Music and Musicians
1100:No more of his life-history is known ... .
430:A five-column fragment of a treatise on meter (
233:
1482:Aristoxenus of Tarentum: Texts and Discussions
223:(Tarentum), home also of the two Pythagoreans
1625:
1110:
1108:
1082:. Cambridge, UK: Cambridge University Press.
8:
1190:
1188:
1186:
1184:
1182:
1180:
1079:The Science of Harmonics in Classical Greece
84:, have been lost, but one musical treatise,
16:4th century BC Greek Peripatetic philosopher
1484:. New Brunswick: Transactions Publications.
911:: see p. 28) with commentary in German
373:in his descriptions of the various genera.
1632:
1618:
1610:
1579:: CS1 maint: location missing publisher (
1492:(1972). "Synesis in Aristoxenian Theory".
1446:: CS1 maint: location missing publisher (
868:Die harmonischen Fragmente des Aristoxenus
613:, p. 78 Düring (not edited by Wehrli)
419:Aristoxenus was also the author of a work
1457:Aspects of Medieval and Renaissance Music
1249:, Chapter 3, pp. 17–22. Frog Peak Music.
939:(Leipzig), pp. 26–41, Greek text of
203:. Although his final years were in the
72:. Most of his writings, which dealt with
1139:
114:is the chief source of our knowledge of
25:
19:For other people named Aristoxenus, see
1424:Bélis, Annie (2001). "Aristoxenus". In
974:
1890:Metic philosophers in Classical Athens
1572:
1527:. New York: Columbia University Press.
1439:
1278:
1266:
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1209:
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1001:
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482:Περὶ Πυθαγόρου καὶ τῶν γνωρίμων αὐτοῦ
7:
1474:Aristoxenus of Tarentum. Discussion
1366:The Predecessors of Aristoxenus".
14:
1850:Ancient Greek philosophers of art
1825:4th-century BC Greek philosophers
1524:Musical Thought in Ancient Greece
1594:
1459:. New York: W. W. Norton and Co.
1314:
552:): fr. 45, I, lines 10–12 Wehrli
282:The Pythagorean theory that the
1472:Huffman, Carl A. (ed.) (2011).
150:, he finally became a pupil of
1199:. Vol. 1. pp. 66–67.
851:Macran, Henry Stewart (1902).
542:): fr. 45, I, lines 1–9 Wehrli
1:
1885:Pythagoreans of Magna Graecia
1875:Philosophers of Magna Graecia
1840:Ancient Greek music theorists
51:
853:The Harmonics of Aristoxenus
839:Harmonic and Acoustic Theory
478:On Pythagoras and his pupils
21:Aristoxenus (disambiguation)
1845:Ancient Greek musicologists
1389:Journal of Hellenic Studies
1247:Divisions of the Tetrachord
1119:. New York, NY: Routledge.
988:. Vol. 1. London, UK:
982:"Aristoxenus of Tarentum".
962:Plato's unwritten doctrines
1908:
1466:Ancient and Oriental Music
1364:Hoi Kaloumenoi harmonikoi:
897:Die Schule des Aristoteles
820:): fr. 128–132, 139 Wehrli
492:Περὶ τοῦ Πυθαγορικοῦ βίου
18:
1830:Ancient Greek biographers
1380:10.1017/s0068673500003990
1059:Aristocles ap. Eusebius.
825:Editions and translations
243:, the city in which both
42:
1870:Peripatetic philosophers
1789:Alexander of Aphrodisias
1521:Lippman, Edward (1964).
1362:Barker, Andrew (1978). "
1170:Tusculanae Disputationes
1045:Tusculanae Disputationes
881:Pearson, Lionel (1990).
866:Marquard, Paul (1868).
671:): fr. 94–95, 102 Wehrli
655:On music in lyric poetry
623:): fr. 80, 82, 89 Wehrli
598:): a brief quotation in
408:On rhythmics and metrics
126:Aristoxenus was born at
1835:Ancient Greek ethicists
1534:Journal of Music Theory
1337:Encyclopædia Britannica
1295:Barker, Andrew (1989).
1173:. 1.22.51, cf. 1.11.24.
1115:Gibson, Sophie (2005).
985:Chambers's Encyclopædia
945:On the Primary Duration
905:On the Primary Duration
796:(Ἱστορικὰ ὑπομνήματα),
722:Περὶ τραγικῆς ὀρχήσεως
631:Lecture course on music
488:On the Pythagorean life
421:On the Primary Duration
35:Aristoxenus of Tarentum
1820:4th-century BC writers
1799:Olympiodorus the Elder
1480:Huffman, Carl (2012).
1297:Greek Musical Writings
1245:John Chalmers, (1993)
1195:Hawkins, John (1868).
1062:Praeparatio Evangelica
895:Wehrli, Fritz (1967).
835:Greek Musical Writings
802:Κατὰ βραχὺ ὑπομνήματα
698:On the boring of aulos
665:On musical instruments
651:On melodic composition
506:Πυθαγορικαὶ ἀποφάσεις
286:is a 'harmony' of the
254:
183:concerning his works.
31:
1880:Philosophers of music
1855:Ancient Greek writers
1774:Aristocles of Messene
1703:Demetrius of Phalerum
1358:. Paris, Klincksieck.
1165:Marcus Tullius Cicero
1040:Marcus Tullius Cicero
921:, 2 vols. (Leipzig) (
728:Comparisons of dances
724:): fr. 104–106 Wehrli
627:On listening to music
502:Pythagorean negations
187:Overview of his works
134:, southern Italy) in
29:
1865:Natural philosophers
1764:Andronicus of Rhodes
1718:Hieronymus of Rhodes
992:. 1961. p. 593.
810:Σύμμικτα ὑπομνήματα
546:Praise of Mantineans
337:, and also of their
1708:Strato of Lampsacus
1281:, pp. 170–183.
1212:, pp. 142–144.
1076:Barker, A. (2007).
1014:(Aelian ed.).
806:Miscellaneous notes
776:Σύμμικτα συμποτικά
702:Περὶ αὐλῶν τρήσεως
565:): fr. 47–50 Wehrli
550:Μαντινέων ἐγκώμιον
536:Mantinean character
532:): fr. 44–45 Wehrli
522:): fr. 42–43 Wehrli
512:Educational customs
441:) was published in
318:Elements of Harmony
300:Simmias in Plato's
277:Ptolemais of Cyrene
259:Elements of Harmony
140:Lamprus of Erythrae
116:ancient Greek music
86:Elements of Harmony
1860:Ancient Tarantines
1599:Works by or about
941:Elementa rhythmica
742:Περὶ τραγῳδοποιῶν
520:Παιδευτικοὶ νόμοι
516:Rules of education
498:Pythagorean maxims
468:Life of Pythagoras
452:Oxyrhynchus Papyri
414:Elementa rhythmica
402:melodic succession
310:Elementa harmonica
205:Peripatetic school
181:Elementa Harmonica
173:Peripatetic school
99:Elementa harmonica
32:
1807:
1806:
1575:cite encyclopedia
1540:(Spring): 63–79.
1442:cite encyclopedia
1306:978-0-521-30220-3
1153:Book V Chapter IV
990:George Newnes Ltd
778:): fr. 124 Wehrli
744:): fr. 113 Wehrli
734:): fr. 109 Wehrli
718:On tragic dancing
714:): fr. 103 Wehrli
704:): fr. 101 Wehrli
694:): fr. 100 Wehrli
635:Μουσικὴ ἀκρόασις
157:According to the
90:Ἁρμονικὰ στοιχεῖα
68:, and a pupil of
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1769:Boethus of Sidon
1743:Diodorus of Tyre
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915:Westphal, Rudolf
861:Internet Archive
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748:Life of Telestes
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738:On tragic poets
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586:Πλάτωνος βίος
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540:Μαντινέων ἔθη
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167:as the next
165:Theophrastus
158:
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111:
97:
85:
47:ὁ Ταραντῖνος
34:
33:
1693:Dicaearchus
1688:Praxiphanes
1673:Aristoxenus
1641:Peripatetic
1601:Aristoxenus
1500:: 211–234.
1332:Aristoxenus
1279:Barker 1989
1267:Barker 1989
1234:Barker 1989
1222:Barker 1989
1210:Barker 1989
1151:Vitruvius,
901:Aristoxenos
872:archive.org
857:archive.org
798:Brief notes
790:Ὑπομνήματα
786:Memorabilia
756:dithyrambic
732:Συγκρίσεις
712:Περὶ χορῶν
708:On choruses
682:Περὶ αὐλῶν
596:Περὶ τόνων
459:Other works
335:Greek music
296:Dicaearchus
148:Pythagorean
66:philosopher
63:Peripatetic
44:Ἀριστόξενος
1814:Categories
1794:Themistius
1698:Nicomachus
1678:Chamaeleon
1605:Wikisource
1289:References
1126:041597061X
1095:2015-05-03
899:, vol. 2:
837:, vol. 2:
772:miscellany
764:table talk
688:On auletes
608:Ptolemy's
604:commentary
387:enharmonic
239:: Born in
217:Pythagoras
193:philosophy
177:Aristocles
144:Xenophilus
74:philosophy
1759:Cratippus
1752:Roman era
1738:Critolaus
1713:Clearchus
1658:Aristotle
1651:Greek era
1417:161552153
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935:(1861).
833:(1989).
610:Harmonics
432:P. Oxy. 9
383:chromatic
367:semitones
355:melopoeia
323:Harmonics
263:Vitruvius
249:Philolaos
229:Philolaus
152:Aristotle
70:Aristotle
1784:Adrastus
1779:Aspasius
1683:Phaenias
1432:(eds.).
1395:: 9–16.
1374:: 1–21.
1354:(1986).
1065:. xv. 2.
1048:. i. 18.
956:See also
909:On tonoi
770:Sympotic
617:On music
600:Porphyry
592:On tonoi
571:Socrates
569:Life of
558:Archytas
556:Life of
443:Grenfell
347:interval
245:Archytas
241:Tarentum
225:Archytas
128:Tarentum
112:Elements
88:(Greek:
1733:Satyrus
1663:Eudemus
1565:(ed.).
1514:2935976
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425:chronos
385:or the
339:species
315:In his
265:in his
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379:genera
371:dieses
351:system
349:, and
331:genera
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302:Phaedo
292:Cicero
197:ethics
132:Apulia
110:. The
104:rhythm
78:ethics
1550:JSTOR
1510:JSTOR
1413:S2CID
1405:JSTOR
1016:H. A.
969:Notes
782:Notes
758:poet)
677:aulos
343:sound
327:music
221:Taras
213:Plato
201:music
108:meter
94:Latin
82:music
60:Greek
54:375,
39:Greek
1581:link
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447:Hunt
445:and
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