Wikipedia

Elementa harmonica

Elementa harmonica (Ἁρμονικὰ στοιχεῖα in Greek; Elements of Harmonics in English) is a treatise on the subject of musical scales by Aristoxenus, of which considerable amounts are extant.

Elements of Harmonics
AuthorAristoxenus
Original titleἉρμονικὰ στοιχεῖα
TranslatorHenry Stewart Macran
LanguageGreek
SubjectMusic theory
GenreTreatise
Published4th century BC
Published in English
1902

The work dates to the second half of the 4th century BC.[1] It is the oldest substantially surviving work written on the subject of music theory.[2]

Title

edit

The work is generally known as Aristoxenou Harmonika Stoicheia or Elements of Harmonics.[3][2][4]

It is also known by the shorter title The Elements, rendering Greek Στοιχεία.[5]

The Work

edit

Historical context

edit

Aristoxenus's work departs from prior studies in which music was studied only in relation to an understanding of the kosmos.[6] The study of music in the Pythagorean school c.500 had focused on the mathematical nature of harmonia.

Aristotle, whose Peripatetic school Aristoxenus belonged to, addressed the subject in his work On the Soul. Aristoxenus opposed the position of the Pythagoreans; he favoured an intellectual treatment of the subject in Aristotelian terms, i.e. by applying the exercise of inductive logic with attention to empirical evidence.[7][8][9][10][11][12][self-published source][13][14]

As such, the Elements is the first and earliest work on music in the classical Greek tradition. Musicology as a discipline comes into being with the systematic study undertaken in the work.

Description

edit

The work is a theoretical treatise concerned with harmony and harmonics, and thus pertains to a burgeoning theory of euphonics. The study of harmonics is especially concerned with treating melody in order to find its components (the Greek word for melody is μέλος).[5][12][15]

In the first sentence of the treatise Aristoxenus identifies Harmony as belonging under the general scope of the study of the science of Melody. Aristoxenus considers notes to fall along a continuum available to auditory perception. Aristoxenus identified the three tetrachords in the treatise as diatonic, the chromatic, and the enharmonic.[3][2][16]

Aristoxenus aims to attempt an empirical study based upon observation. As such, his writing contains criticisms of earlier approaches and attitudes, including those of the Pythagorean and harmonikoi, on the problems of sound perceptible as music.[17][18][19]

Synopsis

edit

The work comprises 3 books. Book II seems not to follow from Book I, and it is quite widely but not unanimously assumed that Book I is a separate work from Book II & III.[19]

The parts of harmonics:[12][19][20]

(1) The Genera - the ways in which the differences between these are determined

(2) Distantia (Intervals) - the distinction of how these are differentiated

(3) Notes - dynameis

(4) Systēmata - enumerating and distinguishing the types, and explaining how they are put together out of Notes and Intervals

(5) Tonoi (Modes) - including the relations between them

(6) Modulation

(7) Construction / Composition

Discussion

edit

The use of dynamis (pl. dynameis) as a musical term seems to have been originated by Aristoxenus. The term normally denotes power and potentiality. Sidoli contends in his review (cf. ref.) that the initial use of the concept by Aristoxenus was rather "elusive."[21][22][23][24]

Later Reception

edit

Vitruvius's concepts of architectural and machine design draw heavily on the Elements of Aristoxenus.[25]

The Elements was studied earnestly during the Renaissance by theoreticians and musicians.[17] Renaissance thinkers were faced with a choice between following Pythagoras or Aristoxenus.[26]

Editions and Translations

edit

Antonius Gogavinus[27] translated the book into Latin as Elementa Harmonica in 1564.[28]

Marcus Meibom included Aristoxenus' text in Antiquae musicae auctores septem (1652), his series of Latin translations of Greek music theory.

Paul Marquard translated it into German as Aristoxenou harmonikōn ta sōzomena: Die harmonischen fragmente des Aristoxenus (1868). Rudolf Westphal also created a German edition (Leipzig, 1883).

Henry Stewart Macran was the first to translate Elementa Harmonica into English (Oxford, 1902).[29]

An edition was published in Latin during 1954, and another in the same year in Italian, by Typis Publicae Officinae Polygraphicae.[19][30][31]

There is an English translation by Andrew Barker in his Greek Musical Writings (volume 1 published 1984, volume 2 1989).[32]

Modern Studies

edit
  • Bélis, Annie, Aristoxene de Tarante et Aristote: Le Traité d’harmonique, Études et commentaires 100 (Paris, 1986).
  • Cazden, Norman. "Pythagoras and Aristoxenos Reconciled", Journal of Music Theory 32. 1 (1958), 51–73.
  • Huffman, Carl A. Aristoxenus of Tarentum : Discussion. Transaction Publishers, 2012.
  • Laloy, Louis. Aristoxène de Tarent et la Musique de l'antiquité (Paris, 1904).
  • Landels, John G. Music in Ancient Greece and Rome (London and New York, 1999).
  • Litchfield, Malcolm. "Aristoxenus and Empiricism: A Reevaluation Based on His Theories". Journal of Music Theory, Vol. 32, No. 1. (Spring, 1988). Duke University Press: 51–73. doi:10.2307/843385. JSTOR 843385.
  • Winnington-Ingram, R.P. "Aristoxenus and the Intervals of Greek Music", Classical Quarterly 26 (1932), 195–208.

See also

edit

References

edit
  1. ↑ "What We Do". The Rotman Institute of Philosophy. Archived from the original on 21 April 2015. Retrieved 4 May 2015.
  2. 1 2 3 Aristoxenus (1902). Harmonika Stoicheia (The Harmonics of Aristoxenus). Translated by Henry Stewart Macran. Georg Olms Verlag. ISBN 978-3-487-40510-0. OCLC 123175755. Retrieved 4 May 2015. {{cite book}}: ISBN / Date incompatibility (help)
  3. 1 2 M.C. Howatson (22 August 2013). The Oxford Companion to Classical Literature (reprint). Oxford Paperback Reference. Oxford University Press. p. 73. ISBN 978-0199548552.
  4. ↑ "Elementa Harmonica". The Perseus Catalog. Retrieved 4 May 2015 – via Tufts University, University of Leipzig.
  5. 1 2 A.D. Barker (29 March 2012). The Oxford Classical Dictionary (edited by S Hornblower, A Spawforth, E Eidinow). Oxford University Press. pp. 163–164. ISBN 978-0199545568. Retrieved 8 May 2015.
  6. ↑ "Kosmos". Greek Mythology Notes.
  7. ↑ C.H. Kahn (1 January 2001). Pythagoras and the Pythagoreans: A Brief History. Hackett Publishing. p. 69. ISBN 978-0872205758. Retrieved 4 May 2015.
  8. ↑ Gibson, Sophie (8 April 2014). Aristoxenus of Tarentum and the Birth of Musicology. Studies in Classics. Routledge. p. 6. ISBN 978-1135877477. Retrieved 3 May 2015.
  9. ↑ C.A. Huffman (2012). Aristoxenus of Tarentum: Discussion. Transaction Publishers, 2012. ISBN 9781412843010. Retrieved 3 May 2015.(p. 254)
  10. ↑ Partch, H (5 August 2009). Genesis of a Music: An Account of a Creative Work, Its Roots, and Its Fulfillments. Da Capo Press. ISBN 978-0786751006. Retrieved 4 May 2015.
  11. ↑ Hawkins, J. (1858). General history of the science and practice of music. [With] vol. of portraits, Volume 1. J.Alfred Novello 1858. Retrieved 4 May 2015.
  12. 1 2 3 Dewhitt, Mitzi (7 September 2004). Aristoxenus's Ghost. Xlibris Corporation. ISBN 978-1465332059. Retrieved 3 May 2015.
  13. ↑ L.M. Zbikowski Associate Professor of Music University of Chicago (18 October 2002). Conceptualizing Music : Cognitive Structure, Theory, and Analysis: Cognitive Structure, Theory, and Analysis. AMS Studies in Music Series. Oxford University Press. ISBN 978-0198032175. Retrieved 3 May 2015.
  14. ↑ D.M. Randel (2003). The Harvard Dictionary of Music. Harvard University Press, Volume 16 of Harvard University Press reference library. p. 358. ISBN 978-0674011632. Retrieved 4 May 2015.
  15. ↑ Obbink, D (9 May 1995). Philodemus and Poetry : Poetic Theory and Practice in Lucretius, Philodemus and Horace. Oxford University Press. p. 140. ISBN 978-0195358544. Retrieved 4 May 2015.(additionally using American Heritage® Dictionary of the English Language, Fifth Edition at thefreedictionary.com)
  16. ↑ Forster, Cristiano M.L. "CHAPTER 10: WESTERN TUNING THEORY AND PRACTICE". Musical Mathematics : on the art and science of acoustic instruments. Chrysalis Foundation. Retrieved 4 May 2015.
  17. 1 2 Katz, R; Dahlhaus, C (1987). Contemplating Music: Substance. ISBN 9780918728609. Retrieved 4 May 2015.(p. 273)
  18. ↑ Godwin, J (1 November 1992). The Harmony of the Spheres: The Pythagorean Tradition in Music. Inner Traditions / Bear & Co. ISBN 978-1620550960. Retrieved 4 May 2015.
  19. 1 2 3 4 Barker, A. (13 September 2007). The Science of Harmonics in Classical Greece. Cambridge University Press. p. 187 "Meibom, Westphal". ISBN 978-1139468626. Retrieved 3 May 2015.
  20. ↑ Briggman, A (12 January 2012). Irenaeus of Lyons and the Theology of the Holy Spirit. Oxford University Press, Oxford Early Christian Studies. ISBN 978-0199641536. Retrieved 4 May 2015.("Distantia & Landels")
  21. ↑ Ostenfeld, E. N. (2012). Forms, Matter and Mind: Three Strands in Plato's Metaphysics. Springer Science & Business Media. ISBN 978-94-009-7681-8.
  22. ↑ "Strong's Greek: 1411. δύναμις (dunamis) -- Power, strength, ability, might, miracle". biblehub.com. Retrieved 8 May 2015.
  23. ↑ "dynamis". Merriam-Webster.com Dictionary. Merriam-Webster. OCLC 1032680871.
  24. ↑ Sidoli, Nathan (October 2009). "Andrew Barker, The Science of Harmonics in Classical Greece reviewed by Nathan Sidoli, Waseda University". Bryn Mawr Classical Review. Bryn Mawr Classical Review 2009.10.38. Retrieved 8 May 2015.
  25. ↑ Walden, Daniel K.S. (28 January 2014). "Frozen Music: Music and Architecture in Vitruvius' De Architectura". Greek and Roman Musical Studies. 2 (1): 124–145. doi:10.1163/22129758-12341255. ISSN 2212-974X. Retrieved 4 May 2015.
  26. ↑ Prins, Jacomien (2014). Echoes of an Invisible World: Marsilio Ficino and Francesco Patrizi on Cosmic Order and Music Theory. Brill's Studies in Intellectual History. BRILL. ISBN 978-90-04-28176-9. Retrieved 16 December 2015.
  27. ↑ "Gogava, Antonius Hermannus". Grove Music Online (8th ed.). Oxford University Press. 2001. doi:10.1093/gmo/9781561592630.article.11364. ISBN 978-1-56159-263-0. (subscription, Wikilibrary access, or UK public library membership required)
  28. ↑ S.J. Livesey (John of Reading) (1989). Theology and Science in the Fourteenth Century: Three Questions on the Unity and Subalternation of the Sciences from John of Reading's Commentary on the Sentences. BRILL. p. 25. ISBN 978-9004090231. Retrieved 4 May 2015.
  29. ↑ Macran, H.S. The harmonics of Aristonexus. The Boston Library Consortium - Northeastern University Libraries. Retrieved 4 May 2015.
  30. ↑ Aristoxenus (1868). Aristoxenou harmonikōn ta sōzomena: Die harmonischen fragmente des Aristoxenus (in German). Translated by P Marquard. Weidmann. Retrieved 4 May 2015.
  31. ↑ Aristoxenus (1954). Elementa harmonica (in Italian). Translated by Rosetta da Rios. Romae: Typis Publicae Officinae Polygraphicae. OCLC 6658025. OL 14785002M.
  32. ↑ T.J. Mathiesen (1999). Apollo's Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages. University of Nebraska Press, ACLS Humanities E-Book Volume 2 of Center for the History of Music Theory and Literature Bloomington, Ind: Publications of the Center for the History of Music Theory and Literature. ISBN 978-0803230798. Retrieved 4 May 2015.
edit

Manuscripts

Retrieved from "https://en.wikipedia.org/w/index.php?title=Elementa_harmonica&oldid=1353843140"