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Aristoxenou Harmonika Stoicheia: The Harmonics of Aristoxenus

Macran, Henry Stewart; Aristoxenus

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ISBN 10: 1578984017 / ISBN 13: 9781578984015
Editorial: Martino Pub
Usado Condición: Very Good Hardcover
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1578984017 This copy was in the Martino publisher's fire and has a very slight smoky odor and a very faint soot stain to outer edge of pages. Otherwise fine. An attractive and usable copy. N° de ref. de la librería 11636

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Detalles bibliográficos

Título: Aristoxenou Harmonika Stoicheia: The ...

Editorial: Martino Pub

Encuadernación: Hardcover

Condición del libro:Very Good

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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1902 edition. Excerpt: the second place, they reverse the proper order in their fancy of representing a visible activity as the consummation of intellectual apprehension; for, as a fact, the ultimate factor in every visible activity is the intellectual process. For this latter is the presiding and determining principle; and as for the hands, voice, mouth, or breath--it is an error to suppose that they are very much more than inanimate instruments. And if this intellectual activity is something hidden deep down in the soul, and is not palpable or apparent to the ordinary man, as the operations of the hand and the like are apparent, we must not on that account alter our views. We shall be sure to miss the truth unless we place the supreme and ultimate, not in the thing determined, but in the activity that determines. No less preposterous is the above-mentioned theory concerning clarinets. Nay, rather there is no error so fatal and so preposterous as to base the natural laws of harmony on any instrument. The essence and order of harmony depend not upon any of the properties of instruments. It is not because the clarinet has finger-holes and 4a bores, and the like, nor is it because it submits to certain operations of the hands and of the other parts naturally adapted to raise and lower the pitch, that the Fourth, and the Fifth, and the Octave are concords, or that each of the other intervals possesses its proper magnitude. For even with all these conditions present, players on the clarinet fail for the most part to attain the exact order of melody; and whatever small success attends them is due to the employment of agencies external to the instrument, as in the well-known expedients of drawing the two clarinets apart, and bringing them alongside, and of raising and...


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