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Author: Doni, Giovanni Battista - manuscripts of italian music theory ...

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in the second, and something <strong>of</strong> the Melopoeia in the third one (as this is not the place<br />

to talk about it fully). However, since it will be <strong>of</strong>ten necessary to mention the basic<br />

rules and foundations <strong>of</strong> the ancient theorists, namely, Pythagoras, Aristoxenus and<br />

Ptolemy, it will not be inappropriate to say something about their schools and<br />

opinions before we move on, ad then to carry on with the rest. Since the art and<br />

science <strong>of</strong> <strong>music</strong> had been dealt with by so many different minds and with great<br />

subtlety, it has happened in it what has happened in the other main pr<strong>of</strong>essions, such<br />

as Philosophy, Medicine, and (in Roman times) Law, namely, it has spawned many<br />

and very different schools, each one <strong>of</strong> which had many followers and produced<br />

various published works, which have been consumed and annihilated completed by<br />

time which devours everything, so that we have a record <strong>of</strong> them only in Porphyry's<br />

commentary on Ptolemy. [--] The most important and universally known <strong>of</strong><br />

these were two. One was the Pythagoreans' one, who were mainly philosophers and<br />

were very dedicated to the <strong>music</strong>al speculation, but hardly at all to the practice, and<br />

since they introduced and practised the Canon or Harmonic rule very <strong>of</strong>ten, exercising<br />

themselves all the time in the numbers and in their proportions, they were also called<br />

Canons. [It is also true that Ptolemais <strong>of</strong> Cyrene, as Porphyry states, who wrote an<br />

Introduction to Pythagorean <strong>music</strong>, wanted that they derived the name <strong>of</strong> Canons not<br />

from the Instrument called Canon, but from the straightness <strong>of</strong> the line which they<br />

considered in abstract in their <strong>music</strong>al speculation. in marg.] Their first Teacher was<br />

the famous Pythagoras, very esteemed and honoured by the ancients. The other<br />

School was the one <strong>of</strong> the followers <strong>of</strong> Aristoxenus, otherwise called Harmonics,<br />

because they based their speculation on the simple Harmony without any concern for<br />

the numbers. [They were also called simply Musicians, as Ptolemais herself says add.<br />

supra lin.] Their first founder was not Aristoxenus, since there were some before him<br />

who wrote about <strong>music</strong>, some <strong>of</strong> whom he mentions in his Harmonic Elements, but he<br />

was the most authoritative instead [so much so that Saint Jerome, naming many Greek<br />

authors who wrote lives <strong>of</strong> illustrious men, states that Aristoxenus was the most<br />

learned among them in marg.] and the most lauded writer as he wrote a large number<br />

<strong>of</strong> books on <strong>music</strong>, apart from other works that he wrote about philosophy and other<br />

subjects. Moreover, from what one gathers from the authors who came after him, he<br />

explained and ennobled all the parts <strong>of</strong> <strong>music</strong> with his writings. Aristoxenus was<br />

emulated and competed with Theophrastus, [and, just as he was add. supra lin.] he<br />

was a student and a pupil <strong>of</strong> Aristotle's. They lived both at the same time, which was<br />

during the century <strong>of</strong> Alexander the Great. The main difference that one notices<br />

between these two sects consists [--] in the judgment <strong>of</strong> the intervals and <strong>of</strong> the<br />

sounds, because the Pythagoreans, who in their practice took into account the sense <strong>of</strong><br />

hearing as they were completely intent on it judged that the numbers alone and their<br />

proportions provided the rule to the <strong>music</strong>al intervals and they did not admit any other<br />

consonances than those which are contained in the number six and which have a<br />

multiple or superparticular proportion, rejecting all the superpartient proportions and<br />

the Diapason Diatessaron. This opinion was then completely refuted by Ptolemy.<br />

Therefore, their authority was very important either because <strong>of</strong> the antiquity and<br />

reputation <strong>of</strong> Pythagoras, or because they were the first to speculate around <strong>music</strong>. As<br />

far as we know, their fundamental concepts have been universally embraced, such as<br />

the fact that they do not recognise any other consonances than the Diapason, the<br />

Diapente, the Diatessaron and their compound consonances. In fact, the fact<br />

Aristoxenus himself and his other followers, like Aristides, do not mention<br />

themselves any other consonances is derived more likely from what I have said,<br />

namely, that in many matters they followed the Pythagoras' doctrine and principles,

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