Music and the Making of Modern Science
32 Chapter 2 contemporary Phillipe de Vitry.^21 A renowned scholar and friend of Petrarch, de Vitry had written his Ars nova not ...
The Dream of Oresme 33 confirmed the superiority of the ars nova notation over its older rival. Thus, musical ques- tions had le ...
34 Chapter 2 blocks her advocacy of the alternative possibility “ that the celestial velocities are propor- tioned by numbers. ” ...
In the century after Oresme ’ s imaginary debate between Arithmetic and Geometry, their sisters Music and Astronomy returned to ...
36 Chapter 3 AB mode, and assigned it the middle position in their diagrams. Though practical music was still notated according ...
A B Figure 3.2 (a) Glarean ’ s diagram comparing the two received orderings of the celestial spheres, from Dodecachordon (1547); ...
38 Chapter 3 Figure 3.3 Gregorian chant In exitu Israel in tonus peregrinus , the “ wandering tone, ” so named because it “ wand ...
Moving the Immovable 39 without offending the ears. ” What traditional practice and proverbial wisdom would not allow, a contemp ...
40 Chapter 3 important structural pitches within the mode. But in De profundis , Josquin organized his intermediate cadences so ...
Moving the Immovable 41 Box 3.1 How Josquin transforms modes: Part one of De profundis. Josquin begins with a Dorian cadence abo ...
42 Chapter 3 Box 3.1 (continued) He then cadences on the Aeolian A, a fifth above Dorian D, though he only includes its fundamen ...
Moving the Immovable 43 Box 3.1 (continued) This leads to a subsequent cadence on G, the Ionian dominant (that is, the fifth abo ...
44 Chapter 3 Box 3.2 Arriving at the Phrygian: Part two of Josquin ’ s De profundis. Josquin begins the second part of this mote ...
Moving the Immovable 45 Box 3.2 (continued) Josquin ’ s final Phrygian cadence recapitulates the extraordinary arc of the whole ...
46 Chapter 3 therefore capable of changing its outward form, so that base metals might receive the tincture of gold.^12 Even whe ...
Moving the Immovable 47 Presenting his own cosmological assumptions at the beginning of his Almagest , Ptolemy made no such refe ...
48 Chapter 3 of simmetria. Ironically, Praetorius later turned against heliocentrism, though he had initially been captivated by ...
Moving the Immovable 49 akin to the rhetorical and grammatical arts of the trivium than to the mathematical arts of the quadrivi ...
50 Chapter 3 Figure 3.5 Zarlino ’ s diagram from his Istitutioni harmoniche showing the orderings of the celestial spheres and t ...
Moving the Immovable 51 Figure 3.6 Zarlino ’ s diagram of musical intervals, compared to the relations between the four elements ...
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