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.

Music is a metaphor that connects people to a profound sense of life. In this book, music intersects with wellness and aging as humans adapt to life changes, stay engaged, remain creative, and achieve self-actualization. Along with discussion of cutting-edge research, the book presents stories and interviews from everyday people as well as professional and non-professional musicians. It discusses individual and social wellness, age-related and pathological changes in health, music therapies, personal resilience and growth, interpersonal and community relationships, work and retirement, spirituality, and the psychology of aging. The case studies show how music, wellness, and aging connect to define, direct, and celebrate life, as these three concepts allow people to connect with others, break down barriers, and find common ground.

Spanning a millennium of musical history, this monumental volume brings together nearly forty leading authorities to survey the music of Western Europe in the Middle Ages. All of the major aspects of medieval music are considered, making use of the latest research and thinking to discuss everything from the earliest genres of chant, through the music of the liturgy, to the riches of the vernacular song of the trouvères and troubadours. Alongside this account of the core repertory of monophony, The Cambridge History of Medieval Music tells the story of the birth of polyphonic music, and studies the genres of organum, conductus, motet and polyphonic song. Key composers of the period are introduced, such as Leoninus, Perotinus, Adam de la Halle, Philippe de Vitry and Guillaume de Machaut, and other chapters examine topics ranging from musical theory and performance to institutions, culture and collections.

Cover -- Contents -- Acknowledgments -- Note on Abbreviations -- Chronology -- Introduction -- 1 Who Were the Pythagorean Women? -- 2 Wives, Mothers, Sisters, Daughters -- 3 Who Were the Neopythagorean Women Authors? -- 4 Introduction to the Prose Writings of Neopythagorean Women -- 5 The Letters and Treatises of Neopythagorean Women in the East -- 6 The Letters and Treatises of Neopythagorean Women in the West -- 7 The Neopythagorean Women as Philosophers -- Notes -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- V -- W -- X -- Z.

Music, by its indeterminate levels of meaning, poses a necessary challenge to a theology bound up in words. Its distinctive nature as temporal and embodied allows a unique point of access to theological understanding. Yet music does not exist in a cultural vacuum, conveying universal truths, but is a part of the complex nature of human lives. This understanding of music as theology stems from a conviction that music is a theological means of knowing: knowing something indeterminate, yet meaningful. This is an exploration of the means by which music might say something otherwise unsayable, and in doing so, allow for an encounter with the mystery of God.

As an invaluable resource for students and general audiences investigating Ancient Greek culture and history, this encyclopedia provides a thorough examination of the Mediterranean world and its influence on modern society. All Things Ancient Greece examines the history and cultural life of Ancient Greece until the death of Philip II of Macedon in 336 BCE. The encyclopedia shows how the various city-states developed from the Bronze Age to the end of the Classical Age, influencing the Greek world and beyond. The cultural achievements of the Greeks detailed in this two-volume set include literature, politics, medicine, religion, and the arts. This work has entries on the various city-states, regions, battles, culture, and ideas that helped shape the ancient Greek world and its societies. Each entry delves into detailed topics with suggested readings. Many entries include sidebars containing primary documents from ancient sources that explore ancillary ideas, biographies, and specific examples from literature and philosophy. Readers, both students of ancient history and a general audience, are encouraged to interact with the material either chronologically, thematically, or geographically.

Listening is a social process. Even apparently trivial acts of listening are expert performances of acquired cognitive and bodily habits. Contemporary scholars acknowledge this fact with the notion that there are “auditory cultures.” In the fourth century BCE, Greek philosophers recognized a similar phenomenon in music, which they treated as a privileged site for the cultural manufacture of sensory capabilities, and proof that in a traditional culture perception could be ordered, regular, and reliable. This approachable and elegantly written book tells the story of how music became a vital topic for understanding the senses and their role in the creation of knowledge. Focussing in particular on discussions of music and sensation in Plato and Aristoxenus, Sean Gurd explores a crucial early chapter in the history of hearing and gently raises critical questions about how aesthetic traditionalism and sensory certainty can be joined together in a mutually reinforcing symbiosis.

Though the ancient Greek philosophical concept of scholê is usually translated as 'leisure', there is a vast difference between the two. Leisure, derived from Latin licere, has its roots in Roman otium and connotes the uses of free time in ways permitted by the status quo. Scholê is the actualization of mind and one's humanity within a republic that devotes its culture to making such a choice possible. This volume traces the background in Greek culture and the writings of Plato of a daring proposal presented by Aristotle, that scholê is a principle for political organization. The concept of scholê by and large did not survive Aristotle. To sharpen our understanding of scholê the book goes on to identify the concepts of leisure which we have inherited from the intellectuals of the Hellenistic and Roman empires and the early Church Fathers. Scholê also had its contrary ascholia – busyness – which Plato described as a social and psychological pathology and his analysis suggests why, due to these ills, current visions of a leisure society are highly unlikely.

Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.

John Taverner’s lectures on music constitute the only extant version of a complete university course in music in early modern England. Originally composed in 1611 in both English and Latin, they were delivered at Gresham College in London between 1611 and 1638, and it is likely that Taverner intended at some point to publish the lectures in the form of a music treatise. The lectures, which Taverner collectively titled De Ortu et Progressu Artis Musicæ ("On the Origin and Progress of the Art of Music"), represent a clear attempt to ground musical education in humanist study, particularly in Latin and Greek philology. Taverner’s reliance on classical and humanist writers attests to the durability of music’s association with rhetoric and philology, an approach to music that is too often assigned to early Tudor England. Taverner is also a noteworthy player in the seventeenth-century Protestant debates over music, explicitly defending music against Reformist polemicists who see music as an overly sensuous activity. In this first published edition of Taverner’s musical writings, Joseph M. Ortiz comprehensively introduces, edits, and annotates the text of the lectures, and an appendix contains the existing Latin version of Taverner’s text. By shedding light on a neglected figure in English Renaissance music history, this edition is a significant contribution to the study of musical thought in Renaissance England, humanism, Protestant Reformism, and the history of education.