Free PDF Greek Musical Writings: Volume 2, Harmonic and Acoustic Theory (Cambridge Readings in the Literature of Music)From Brand: Cambridge Univ
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Book by
- Sales Rank: #898242 in Books
- Brand: Brand: Cambridge University Press
- Published on: 2004-12-16
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x 1.30" w x 5.98" l, 1.89 pounds
- Binding: Paperback
- 592 pages
- Used Book in Good Condition
Most helpful customer reviews
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Best single volume collection of Greek harmonic writings
By Jordan Bell
This is the best single volume of translations of Greek harmonic theory. It has passages from some works like the Aristotelian Problemata, Theon of Smyrna's Expositio, and Porphyry's Commentary on Ptolemy's Harmonics; Porphyry's Commentary is translated in full by Barker in Porphyry's Commentary on Ptolemy's Harmonics: A Greek Text and Annotated Translation. The collection also has complete translations of the Harmonics of Aristoxenus, the Euclidean Sectio canonis, Nicomachus's Enchiridion, Ptolemy's Harmonics, and the De Musica of Aristides Quintilianus; Ptolemy's Harmonics has also been translated with commentary by Jon Solomon.
In 1902, a translation of the Harmonics of Aristoxenus with commentary and the Greek text was made by Henry Stewart Macran. In 1950, Oliver Strunk translated a large collection of passages in "Source Readings in Music History". It has passages from works not translated here, like Cleonides and Gaudentius, and covers medieval music (and later), which Barker's collection does not.
I think Barker's collection would be improved by adding a glossary of Greek and English terms. There are various ways that intervals and ratios can be named: for example, the fifth is spoken of as the di' oxeian ("across the high strings", from mese to nete) and dia pente (through five).
I am coming to Greek music theory because of its intersection with Greek mathematics: notions of ratio and magnitude (the intervals) are developed in Greek music theory, and I fancy that incommensurability is more apparent in music theory than it is in geometry, namely with the semitone rather than the diagonal and side of a square or various lines in a pentagon.
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