Dialogue on Ancient and Modern MusicYale University Press, 01/01/2003 - 390 páginas Vincenzo Galilei, the father of the astronomer Galileo, was a guiding light of the Florentine Camerata. His Dialogue on Ancient and Modern Music, published in 1581 or 1582 and now translated into English for the first time, was among the most influential music treatises of his era. Galilei is best known for his rejection of modern polyphonic music in favor of Greek monophonic song. The treatise sheds new light on his importance, both as a musician who advocated a new philosophy of music history and theory based on an objective search for the truth, and as an experimental scientist who was one of the founders of modern acoustics. |
Índice
Foreword by Thomas J Mathiesen | xv |
Dialogue 6 | lxi |
THE TUNING QUESTION | 10 |
What Is a Limma | 23 |
How Many Commas Are Contained in a Major and Minor Tone and Major | 28 |
The Trihemitone | 36 |
The Tritone | 42 |
Current Names of Intervals | 48 |
Misunderstanding of Modern Contrapuntists | 185 |
Other Misunderstandings of the Moderns | 191 |
CRITIQUE OF COUNTERPOINT | 197 |
What Contrary Motion Is Good For | 203 |
What the Rules and Constraints of the Contrapuntists Are Good For | 212 |
That Part of Music Expected of Artifical Instruments Is Also Corrupted | 218 |
From Whom May Modern Practitioners Learn the Imitation of the Words | 224 |
Four Ancient Songs | 238 |
The Major Sixth | 55 |
The Major Seventh | 62 |
la sol re Is Higher by Hard b than by Soft b | 72 |
Species of Tuning Played by Stringed Instruments | 78 |
What Pythagoras Did and Did Not Appreciate | 84 |
From What the Following Imperfection Arises | 87 |
How They Sang in His Time | 93 |
Where Todays Method of Singing Originated | 99 |
Why Aristoxenus Divided the Diatessaron into Sixty Parts | 105 |
Reflections of the Author | 113 |
Method of Dividing the Ancient Enharmonic Monochord | 119 |
Reflection of the Author | 125 |
The Fifths and Fourths Are Altered in the Tunings of Aristoxenus | 131 |
THE ANCIENT AND MODERN TONAL SYSTEMS | 135 |
Tonoi According to Ptolemy | 141 |
By How Many Names Was the Greek Lyre Known | 147 |
Which Harmoniai the Chorus of the Tragedy Used | 153 |
How the Ditones and Semiditones Are Involved in the Tonoi | 160 |
Reflections of the Author Concerning Musical Intervals | 166 |
Harmonic and Arithmetic Division Has Nothing to Do with the Modern | 172 |
Why the Harmonic Division Pleases More than the Arithmetic | 178 |
How a Kitharode Was Different from a Kitharist | 244 |
How the Chorus Managed to Stay Together When Singing | 251 |
Whether Each Tonos Was Suited to Express Any Affection | 252 |
Whether a Genre Used Simply Can Have a Good Effect | 258 |
Ptolemy Refutes Many Praiseworthy Ancient Musicians | 265 |
Whether New Distributions Are Possible | 275 |
Toroebus of Lydia Adds a Fifth String to the Lyre | 281 |
Lycaon of Samos Added the Eighth String to the Lyre | 287 |
Histiaeus of Colophon Added the Tenth String to the Kithara and Timotheus | 290 |
ANCIENT AND Modern InstruMENTS | 305 |
Stringed Instruments of the Ancients Did Not Have Frets | 314 |
How Sound Is Made | 327 |
What Steps Are Meant by Hypate and Nete | 334 |
Opinion of Some Moderns Refuted by the Author | 340 |
Reflection by the Author | 346 |
Another Sort of Performer | 347 |
Why Cornetti and Trombones Were Introduced | 353 |
What the Term Organ Means | 361 |
Whence the Lute Came to Us | 367 |
The Vice of Ignorance | 371 |
Palavras e frases frequentes
according ancient musicians Aristotle Aristoxenus auloi aulos Bardi Boethius Boethius De institutione Bryennius called chromatic comma composed contained contrapuntists counterpoint diapente diatessaron diatonic diezeugmenon difference dissonant Dorian enharmonic example fifth Florentine Camerata fourth Fundamentals of Music G sol Gaffurio Galilei genre Giovanni Girolamo Mei Glarean Greek Musical Writings Guido of Arezzo harmonic Harmonica hearing hexachord hypate hypaton hyperbolaion Hypodorian Hypophrygian institutione musica instrument intervals Istitutioni keyboard kithara Latin lute Lydian lyre major semitone major tone Mei's melody mese meson minimal numbers minimal terms minor sixth minor third minor tone Mixolydian modern modes monochord Music Theory nature nete notes Palisca paramese Phrygian pitch play Plutarch Pseudo-Plutarch Pseudo-Plutarch De musica Ptolemy Ptolemy Harmonica reason semidiapente semiditone sing songs sound species of diapason steps Strozzi sung synemmenon syntonic Terpander tetrachord things Timotheus tone of disjunction tonic tonoi tonos trans translation trite tritone tuning voice Zarlino