Music, The Birth of Tragedy, and Nietzche's ... - Nietzsche Circle

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P a g e | 8 Fig. 1A Jacques de Liège, Speculum Musicae, 1330. Fig. 1B. Jacques de Liège, Speculum Musicae, 1330. It is the spirit of this same ens numeratum, with all its complexities for the tradition of rhythmic notion, 37 that also inspires Nietzsche’s articulation of quantitative rhythm and more recently, if very distinctly otherwise engaged, Friedrich Kittler’s more Helmholtzian studies of music and mathematics. 38 Today’s media theorists in the efforts to get to a point they recognize — as Nietzsche would say: in their enthusiasm for what they “already” know — emphasize Kittler’s initial reference to McCluhan’s exultant advertisement of his own discovery (or rediscovery of media beyond Harold Innis, beyond Havelock’s rearticulation of the role of oral and text culture in the discoveries of Milman Parry and Albert Lord) and the more sophisticated among them turn to Sloterdijk and others to highlight the relevance Kittler’s closing reference to Turing’s legacy.
P a g e | 9 Figs. 2A and 2B. Kittler, Music and Mathematics, Hellas I: Aphrodite and 2: Eros This eagerness oversprings, as eagerness does, the heart of Kittler’s reference: “In the Ephesian Ionic, the dark syllables – short or long, high or low – merge into a harmony all on their own. Heraclitus spoke in hexameters: αφ ονια αφανης φανερης κρσσων. In the Greek alphabet our senses were present…” 39 Nietzsche’s literally phenomenological, which is in this context also to say hermeneutico-phenomenological investigations critically drive his explorations of the musical character of ancient Greek, 40 an exploration concerned with the relations between lyric poetry and ancient musical dance and musical tragic drama, but ultimately and above all, an exploration into the very literal music of the tragic poem itself, which precisely phenomenological hermeneutic depends upon Nietzsche’s discovery of the musical resonances of ancient Greek. 41 And it is important to note here that where Heidegger offers us a hermeneutic phenomenology, as already emphasized, Nietzsche likewise elaborates his own scientific field of classical philology precisely phenomenologically, an adumbration which perforce includes monumental (archaeological) and literary history, language use and style, and all the methodology that we regard today, after Dilthey and especially after Heidegger and Gadamer, as hermeneutics.
Page 1 and 2: P a g e | 1 On the Phenomenology of
Page 3 and 4: P a g e | 3 way of parsing Nietzsch
Page 5 and 6: P a g e | 5 then-contemporaries ‘
Page 7: P a g e | 7 F. Joseph Smith, who wa
Page 11 and 12: P a g e | 11 Nietzsche’s resoluti
Page 13 and 14: P a g e | 13 phenomenological refle
Page 15 and 16: P a g e | 15 Fig. 3. Ludwig van Bee
Page 17 and 18: P a g e | 17 Fig. 5. Ludwig van Bee
Page 19 and 20: P a g e | 19 Prior to and along wit
Page 21 and 22: P a g e | 21 Fig. 9. Nietzsche, Zur
Page 23 and 24: P a g e | 23 utterly offensive to o
Page 25 and 26: P a g e | 25 choral movement of the
Page 27 and 28: P a g e | 27 is reading words not m
Page 29 and 30: P a g e | 29 If we wish to understa
Page 31 and 32: P a g e | 31 Fig. 12. Poussin, Bacc
Page 33 and 34: P a g e | 33 Fig. 15. Dionysiac pro
Page 35 and 36: P a g e | 35 not the notes, as thes
Page 37 and 38: P a g e | 37 As Nietzsche goes on t
Page 39 and 40: P a g e | 39 writing “music about
Page 41 and 42: P a g e | 41 appears for Nietzsche
Page 43 and 44: P a g e | 43 formulation of “the
Page 45 and 46: P a g e | 45 result of this interpr
Page 47 and 48: P a g e | 47 It in this same musica
Page 49 and 50: P a g e | 49 those who bother to th
Page 51 and 52: P a g e | 51 I leave the last word
Page 53 and 54: P a g e | 53 17 Bremer’s book, Pl
Page 55 and 56: P a g e | 55 28 29 30 31 32 33 34 3
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P a g e | 59 65 66 67 68 69 70 71 7
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P a g e | 61 85 86 87 88 89 Ibid. I
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P a g e | 63 Published in 1896. The
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P a g e | 65 124 Nietzsche, KGW III
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P a g e | 67 von Geist, — Die Pri
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Music, The Birth of Tragedy, and Nietzche's ... - Nietzsche Circle

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