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Aristoxenus Elements of rhythm
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Text
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Title
Aristoxenus Elements of rhythm
SubTitle
text, translation, and commentary with a translation and commentary on POxy 2687
Identifier
ETD_1572
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http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.000051376
Language
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eng
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theses
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Aristoxenus. Elements of rhythm--Criticism and interpretation
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Topic
Classics
Abstract
Aristoxenus of Tarentum makes productive use of Aristotelian concepts and methods in developing his theory of musical rhythm in his treatise Elements of Rhythm. He applies the Aristotelian distinction between form and material and the concept of hypothetical necessity to provide an explanation for why musical rhythm is manifested in the syllables of song, the notes of melody, and the steps of dance. He applies the method of formulating differentiae, as described in Aristotle's Parts of Animals, to codify the formal properties of rhythm.
Aristoxenus' description of the rhythmic foot presents several interpretive challenges. Our text is fragmentary, and we lack Aristoxenus' definitions of several key terms. This study seeks to establish the meanings of these terms on the basis of a close examination of the structure of Aristoxenus' argument. Parallel passages in Aristides Quintilianus' On Music are considered in detail for their consistency or lack thereof with Aristoxenian usage. Parallel passages in POxy 2687 are cited as illustrations for several rhythmic constructions and principles Aristoxenus mentions; because these involve original interpretations of some points in POxy 2687, they are supported by a thorough presentation of POxy 2687 in a separate chapter.
One central conclusion of this study is that Aristoxenus viewed rhythmic feet as musical functions, analogous to the theory of melodic functions he had presented in his Elements of Harmony. Only limited conclusions about the applicability of Aristoxenus' theory to the history of ancient Greek music can be justified. While some of the extant remains of Greek music are in accord with Aristoxenian theory, others contradict it. Much of ancient poetry is more rhythmically complex than what is presented in our text of E.R., but regular poetic forms such as the anapestic dimeter and the stately rhythms of religious hymns may have provided the original starting points for subsequent rhythmic developments Aristoxenus seeks to explain.
Aristoxenus' description of the rhythmic foot presents several interpretive challenges. Our text is fragmentary, and we lack Aristoxenus' definitions of several key terms. This study seeks to establish the meanings of these terms on the basis of a close examination of the structure of Aristoxenus' argument. Parallel passages in Aristides Quintilianus' On Music are considered in detail for their consistency or lack thereof with Aristoxenian usage. Parallel passages in POxy 2687 are cited as illustrations for several rhythmic constructions and principles Aristoxenus mentions; because these involve original interpretations of some points in POxy 2687, they are supported by a thorough presentation of POxy 2687 in a separate chapter.
One central conclusion of this study is that Aristoxenus viewed rhythmic feet as musical functions, analogous to the theory of melodic functions he had presented in his Elements of Harmony. Only limited conclusions about the applicability of Aristoxenus' theory to the history of ancient Greek music can be justified. While some of the extant remains of Greek music are in accord with Aristoxenian theory, others contradict it. Much of ancient poetry is more rhythmically complex than what is presented in our text of E.R., but regular poetic forms such as the anapestic dimeter and the stately rhythms of religious hymns may have provided the original starting points for subsequent rhythmic developments Aristoxenus seeks to explain.
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vi, 313 p. : ill.
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Ph.D.
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Includes bibliographical references (296-312)
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by Christopher C. Marchetti
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Marchetti
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Christopher C.
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Christopher C. Marchetti
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Figueira
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Thomas
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Thomas J. Figueira
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Fox
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Matthew
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Matthew W. Fox
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Power
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Timothy
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Timothy C. Power
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Booth
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Frederick
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Frederick J. Booth
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Rutgers University
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Graduate School - New Brunswick
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2009
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2009-05
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xx
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NjNbRU
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Rutgers University Electronic Theses and Dissertations
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Graduate School - New Brunswick Electronic Theses and Dissertations
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doi:10.7282/T3NC61DV
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ETD doctoral
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Non-exclusive ETD license
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I hereby grant to the Rutgers University Libraries and to my school the non-exclusive right to archive, reproduce and distribute my thesis or dissertation, in whole or in part, and/or my abstract, in whole or in part, in and from an electronic format, subject to the release date subsequently stipulated in this submittal form and approved by my school. I represent and stipulate that the thesis or dissertation and its abstract are my original work, that they do not infringe or violate any rights of others, and that I make these grants as the sole owner of the rights to my thesis or dissertation and its abstract. I represent that I have obtained written permissions, when necessary, from the owner(s) of each third party copyrighted matter to be included in my thesis or dissertation and will supply copies of such upon request by my school. I acknowledge that RU ETD and my school will not distribute my thesis or dissertation or its abstract if, in their reasonable judgment, they believe all such rights have not been secured. I acknowledge that I retain ownership rights to the copyright of my work. I also retain the right to use all or part of this thesis or dissertation in future works, such as articles or books.
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