Aristoxenus made an enormous contribution to the development of music theory in antiquity. Despite his Pythagorean upbringing, he rejected Pythagorean methods of harmonics which focused on the mathematical significance of musical structures and instead applied a scientific methodology appropriated from Aristotle. This volume studies the theories of Aristoxenus.

The Pythagorean Precepts by Aristotle's pupil, Aristoxenus of Tarentum, present the principles of the Pythagorean way of life that Plato praised in the Republic. They are our best guide to what it meant to be a Pythagorean in the time of Plato and Aristotle. The Precepts have been neglected in modern scholarship and this is the first full edition and translation of and commentary on all the surviving fragments. The introduction provides an accessible overview of the ethical system of the Precepts and their place not only in the Pythagorean tradition but also in the history of Greek ethics as a whole. The Pythagoreans thought that human beings were by nature insolent and excessive and that they could only be saved from themselves if they followed a strictly structured way of life. The Precepts govern every aspect of life, such as procreation, abortion, child rearing, friendship, religion, desire and even diet.

In this book, Flora Levin explores how and why music was so important to the ancient Greeks. She examines the distinctions that they drew between the theory of music as an art ruled by number and the theory wherein number is held to be ruled by the art of music. These perspectives generated more expansive theories, particularly the idea that the cosmos is a mirror-image of music's structural elements and, conversely, that music by virtue of its cosmic elements - time, motion, and the continuum - is itself a mirror-image of the cosmos. These opposing perspectives gave rise to two opposing schools of thought, the Pythagorean and the Aristoxenian. Levin argues that the clash between these two schools could never be reconciled because the inherent conflict arises from two different worlds of mathematics. Her book shows how the Greeks' appreciation of the profundity of music's interconnections with philosophy, mathematics, and logic led to groundbreaking intellectual achievements that no civilization has ever matched.

Archytas of Tarentum is one of the three most important philosophers in the Pythagorean tradition, a prominent mathematician, who gave the first solution to the famous problem of doubling the cube, an important music theorist, and the leader of a powerful Greek city-state. He is famous for sending a trireme to rescue Plato from the clutches of the tyrant of Syracuse, Dionysius II, in 361 BC. This 2005 study was the first extensive enquiry into Archytas' work in any language. It contains original texts, English translations and a commentary for all the fragments of his writings and for all testimonia concerning his life and work. In addition there are introductory essays on Archytas' life and writings, his philosophy, and the question of authenticity. Carl A. Huffman presents an interpretation of Archytas' significance both for the Pythagorean tradition and also for fourth-century Greek thought, including the philosophies of Plato and Aristotle.

Aristoxenus of Tarentum was reported to have been bitterly disappointed when Theophrastus was chosen instead of him to succeed Aristotle as the head of the Peripatetic School. He had a truly phenomenal output of some 453 volumes, most of which survive only in fragments. He was the most famous music theorist in antiquity and came to be referred to simply as "the musician." In addition, he was a founder of Greek biography and wrote the life histories of Pythagoras, Archytas, Socrates, and Plato among others. This volume includes eleven selections, which are almost evenly divided between his work in music theory and biography. There is a chapter on his general biographical method as well as chapters on his specific treatments of the Pythagoreans, Socrates, and Plato. There are chapters evaluating the extent to which Aristoxenus was a historian of music, his account of music therapy, his views on musical "character," the use of instruments and empiricism in his harmonic theory, and his relation to the "Neoclassical" Greek composers of the fourth century. This volume includes: "Did Aristoxenus Write Musical History?, " Andrew Barker; "Instruments and Empiricism in Aristoxenus' Elementa harmonica," David Creese; "Aristoxenus and Musical Ethos," Eleonora Rocconi; "Aristoxenus and Music Therapy: Fr. 26 Wehrli Within the Tradition on Music and Catharsis," Antonella Provenza; "Aristoxenus and the "Neoclassicists," Timothy Power; "Apollonius on Theophrastus on Aristoxenus," William W. Fortenbaugh; "Aristoxenus' Biographical Method," Stefan Schorn; "Aristoxenus and the Pythagoreans," Leonid Zhmud; "Aristoxenus' Life of Socrates," Carl A. Huffman; "Aristoxenus' Life of Plato," John Dillon; and "Aristoxenus and the Early Academy," Andrew Barker. Spanning close to three full decades, Transaction's Rutgers University Studies in Classical Humanities Series continues to pioneer in the field of classical studies.

A COMPANION TO ANCIENT GREEK AND ROMAN MUSIC A comprehensive guide to music in Classical Antiquity and beyond Drawing on the latest research on the topic, A Companion to Ancient Greek and Roman Music provides a detailed overview of the most important issues raised by the study of ancient Greek and Roman music. An international panel of contributors, including leading experts as well as emerging voices in the field, examine the ancient 'Art of the Muses' from a wide range of methodological, theoretical, and practical perspectives. Written in an engaging and accessible style, this book explores the pervasive presence of the performing arts in ancient Greek and Roman culture—ranging from musical mythology to music theory and education, as well as archaeology and the practicalities of performances in private and public contexts. But this Companion also explores the broader roles played by music in the Graeco-Roman world, examining philosophical, psychological, medical and political uses of music in antiquity, and aspects of its cultural heritage in Mediaeval and Modern times. This book debunks common myths about Greek and Roman music, casting light on yet unanswered questions thanks to newly discovered evidence. Each chapter includes a discussion of the tools or methodologies that are most appropriate to address different topics, as well as detailed case studies illustrating their effectiveness. This book Offers new research insights that will contribute to the future developments of the field, outlining new interdisciplinary approaches to investigate the importance of performing arts in the ancient world and its reception in modern culture Traces the history and development of ancient Greek and Roman music, including their Near Eastern roots, following a thematic approach Showcases contributions from a wide range of disciplines and international scholarly traditions Examines the political, social and cultural implications of music in antiquity, including ethnicity, regional identity, gender and ideology Presents original diagrams and transcriptions of ancient scales, rhythms, and extant scores that facilitate access to these vital aspects of ancient music for scholars as well as practicing musicians Written for a broad range of readers including classicists, musicologists, art historians, and philosophers, A Companion to Ancient Greek and Roman Music provides a rich, informative and thought-provoking picture of ancient music in Classical Antiquity and beyond.

Seit der Renaissance bemüht sich die Altertumswissenschaft um die Wiedergewinnung der antiken Musik, die erst durch Papyrusfunde des 19. und 20. Jh.s wieder wirklich greifbar geworden ist. Der vorliegende Band mit ausgewählten Schriften von Egert Pöhlmann beleuchtet diverse Bereiche, die in diesen Prozess der Wiedergewinnung einfließen, darunter eine Abhandlung zur Oralen Tradition griechischer Musik bei Ps.Plutarch, Aufsätze zur Musik in den Werken des Aristophanes, eine Abhandlung zu den ambrosianischen Hymnen und dem Einfluss römischer Musik in der Spätantike sowie auch eine Schrift zur Tradition antiker griechischer Musik im Mittelalter und in der Renaissance. Somit bildet diese Sammlung einen wichtigen Beitrag zum Fortleben der antiken Musik und Literatur.