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Despite her apparent adherence to Pythagoreanism, a school whose theorists (the canonici) put music on a rational and mathematical basis, there is no apparent hostility in her citations of the empiricist followers of Aristoxenus (the musici); perhaps the methodological division was not a stark absolute during her period or from her point of view.
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The young man’s name is Aristoxenus and he knows what he is doing.
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The Aristoxenus mentioned was a pupil of Aristotle, and a noted writer on harmonics.
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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 melopoeia.
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Aristoxenus, a fourth cent. peripatetic, studied under the Pythagoreans and Aristotle.
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I, pp. 97 ff.; but see also Aristoxenus’ evidence in op. cit., p. 101.)
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That would fit well with the account of Aristoxenus.
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"The passage runs: ""Aristoxenus, the musician, tells the following story about the Indians."
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Aristoxenus, a Greek peripatetic philosopher, and writer on music and rhythm, and a pupil of Aristotle, writes a treatise on music called the "Elements of Harmony".
En este caso, Bioscope revertirá plenamente al Estado, incluidos los fondos de comercio, al final de la concesión de # añosWikiMatrix WikiMatrix
Nomos Alpha (Greek: Νόμος α ́) is a piece for solo cello composed by Iannis Xenakis in 1965, commissioned by Radio Bremen for cellist Siegfried Palm, and dedicated to mathematicians Aristoxenus of Tarentum, Évariste Galois, and Felix Klein.
He visto todo el buen trabajo que ha hecho para la comunidadWikiMatrix WikiMatrix
The passage runs: “Aristoxenus, the musician, tells the following story about the Indians.
Es oportuno que, sin perjuicio de las medidas en vigor en la Comunidad relativas a los sistemas de doble control y de vigilancia comunitaria previa y a posteriori de los productos textiles, a su importación en la Comunidad, la información arancelaria vinculante expedida por las autoridades aduaneras de los Estados miembros en materia de clasificación de mercancías en la nomenclatura aduanera y que no sea conforme al derecho establecido por el presente Reglamento, puede seguir siendo invocada por su titular, conforme a las disposiciones del artículo #, apartado #, del Reglamento (CEE) no #/# del Consejo, de # de octubre de #, por el que se aprueba el código aduanero comunitario, durante un período de # díasLiterature Literature
‘Crocodiles,’ explained the interpreter, a Greek from Naucratis by the name of Aristoxenus.
MÉTODO COMUNITARIO PARA LA DETERMINACIÓN CUANTITATIVA DEL CONTENIDO DELiterature Literature
Ptolemais also makes reference to musicologists who gave equal importance to perception and reason, preferring to see Aristoxenus himself (as opposed to his followers) in this light, and even stressing the compatible role of perception in the Pythagorean theory: In this same passage, Ptolemais criticizes the extreme partisans of both schools, "the Pythagoreans who enjoyed disputing with the musici" for dismissing perception entirely (despite their contradictory "adoption of something perceivable in the beginning"), and "some of the musici who follow Aristoxenus" for adopting their master's "theory based upon thought" but proceeding "through expertise on musical instruments" and "regard perception as authoritative, and reason as accompanying it, and for necessity only."
No es chismerío, LucyWikiMatrix WikiMatrix
From the descriptions that have come down to us through the writings of those such as Plato, Aristoxenus and, later, Boethius, we can say with some caution that the ancient Greeks, at least before Plato, heard music that was primarily monophonic; that is, music built on single melodies based on a system of modes/scales, themselves built on the concept that notes should be placed between consonant intervals.
El SEPD se felicita de que la Propuesta busque la coherencia con otros instrumentos jurídicos que regulan el establecimiento o el uso de otros sistemas de TI de gran escalaWikiMatrix WikiMatrix
The passage runs: “Aristoxenus, the musician, tells the following story about the Indians.
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‘Herodotus writes that thirty thousand men took thirty years to build it,’ explained Aristoxenus.
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Eudemus of Rhodes also had some claims to this position, and Aristoxenus is said to have resented Aristotle's choice.
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It is my strong belief that the works by Pythagoras, Aristotle and Aristoxenus belong to that ancient School of knowledge Gurdjieff was referring to.
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While it is often held among modern scholars that Aristoxenus rejected the opinion of the Pythagoreans 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,[9] it must be noted that Aristoxenus made extensive use of arithmetic terminology, notably to define varieties of semitones, and dieses in his descriptions of the various genera.
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As clearly explained by Peter L.P. Simpson in his excellent review of the ancient Greek modes [3], the earliest written record on Greek music on which most scholars base their studies is known as the Harmonic Elements of Aristoxenus, a collection of books which survived largely intact.
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According to Aristoxenus, the way to understand music is to understand singing, and the way to understand singing is to start with the smallest consonant interval, namely the perfect fourth.
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All Aristoxenus’ scales, including his equivalents of the ancient modes -because he used the names of the modes for some of his scales- are constructed out of different kinds of tetrachords and their combinations (see Section 2).
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Aristoxenus rejected the opinion of the Pythagoreans 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.
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On the other hand, those two tuning methods coincide in the scale of Twelve Fifths (Figure 1b) because this scale contains the true intervals of the diatonic Aristoxenus Greek scale.
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Aristoxenus could, and did, appeal to the limits imposed by the capacity of the human voice, but there is no necessary reason to construct music, or its theorizing, according to those limits.
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