John Wallis Writings On Music
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| Author | : David Cram |
| Publisher | : Routledge |
| Total Pages | : 248 |
| Release | : 2017-07-05 |
| Genre | : Music |
| ISBN | : 1351561480 |
John Wallis (1616-1703), was one of the foremost British mathematicians of the seventeenth century, and is also remembered for his important writings on grammar and logic. An interest in music theory led him to produce translations into Latin of three ancient Greek texts - those of Ptolemy, Porphyry and Bryennius - and involved him in discussions with Henry Oldenburg, the Secretary of the Royal Society, Thomas Salmon and other individuals as his ideas developed. The texts presented in this volume cover the relationship of ancient and modern tuning theory, the building of organs, the phenomena of resonance, and other musical topics.
| Author | : David Cram |
| Publisher | : Routledge |
| Total Pages | : 254 |
| Release | : 2017-07-05 |
| Genre | : Music |
| ISBN | : 1351561499 |
John Wallis (1616-1703), was one of the foremost British mathematicians of the seventeenth century, and is also remembered for his important writings on grammar and logic. An interest in music theory led him to produce translations into Latin of three ancient Greek texts - those of Ptolemy, Porphyry and Bryennius - and involved him in discussions with Henry Oldenburg, the Secretary of the Royal Society, Thomas Salmon and other individuals as his ideas developed. The texts presented in this volume cover the relationship of ancient and modern tuning theory, the building of organs, the phenomena of resonance, and other musical topics.
| Author | : Benjamin Wardhaugh |
| Publisher | : Routledge |
| Total Pages | : 202 |
| Release | : 2017-07-05 |
| Genre | : Music |
| ISBN | : 1351539191 |
This is the second volume in a two-part set on the writings of Thomas Salmon. Salmon (1647-1706) is remembered today for the fury with which Matthew Locke greeted his first foray into musical writing, the Essay to the Advancement of Musick (1672), and the near-farcical level to which the subsequent pamphlet dispute quickly descended. Salmon proposed a radical reform of musical notation, involving a new set of clefs which he claimed, and Locke denied, would make learning and performing music much easier (these writings are the subject of Volume I). Later in his life Salmon devoted his attention to an exploration of the possible reform of musical pitch. He made or renewed contact with instrument-makers and performers in London, with the mathematician John Wallis, with Isaac Newton and with the Royal Society of London through its Secretary Hans Sloane. A series of manuscript treatises and a published Proposal to Perform Musick, in Perfect and Mathematical Proportions (1688) paved the way for an appearance by Salmon at the Royal Society in 1705, when he provided a demonstration performance by professional musicians using instruments specially modified to his designs. This created an explicit overlap between the spaces of musical performance and of experimental performance, as well as raising questions about the meaning and the source of musical knowledge similar to those raised in his work on notation. Benjamin Wardhaugh presents the first published scholarly edition of Salmon's writings on pitch, previously only available mostly in manuscript.
| Author | : Christopher D.S. Field |
| Publisher | : Routledge |
| Total Pages | : 342 |
| Release | : 2017-07-05 |
| Genre | : Music |
| ISBN | : 1351561588 |
John Birchensha (c.1605-?1681) is chiefly remembered for the impression that his theories about music made on the mathematicians, natural philosophers and virtuosi of the Royal Society in the 1660s and 1670s, and for inventing a system that he claimed would enable even those without practical experience of music to learn to compose in a short time by means of 'a few easy, certain, and perfect Rules'-his most famous composition pupil being Samuel Pepys in 1662. His great aim was to publish a treatise on music in its philosophical, mathematical and practical aspects (which would have included a definitive summary of his rules of composition), entitled Syntagma music Subscriptions for this book were invited in 1672-3, and it was due to be published by March 1675; but it never appeared, and no final manuscript of it survives. Consequently knowledge about his work has hitherto remained extremely sketchy. Recent research, however, has brought to light a number of manuscripts which allow us at last to form a more complete view of Birchensha's ideas. Almost none of this material has been previously published. The new items include an autograph treatise of c.1664 ('A Compendious Discourse of the Principles of the Practicall & Mathematicall Partes of Musick') which Birchensha presented to the natural philosopher Robert Boyle, and which covers concisely much of the ground that he intended to cover in Syntagma music a detailed synopsis for Syntagma music hich he prepared for a meeting of the Royal Society in February 1676; and an autograph notebook (now in Brussels) containing his six rules of composition with music examples, presumably written for a pupil. Bringing all this material together in a single volume will allow scholars to see how Birchensha's rules and theories developed over a period of fifteen years, and to gain at least a flavour of the lost Syntagma music
| Author | : Benjamin Wardhaugh |
| Publisher | : Ashgate Publishing, Ltd. |
| Total Pages | : 206 |
| Release | : 2013 |
| Genre | : Music |
| ISBN | : 9780754668459 |
This is the second volume in a two-part set on the writings of Thomas Salmon. Salmon (1647-1706) is remembered today for proposing a radical reform of musical notation (these writings are the subject of Volume I). Later in his life Salmon devoted his attention to an exploration of the possible reform of musical pitch and raised questions about the meaning and the source of musical knowledge similar to those he raised in his work on notation. Benjamin Wardhaugh presents the first published scholarly edition of Salmon's writings on pitch, previously only available mostly in manuscript.
| Author | : Joseph M. Ortiz |
| Publisher | : Routledge |
| Total Pages | : 302 |
| Release | : 2018-09-13 |
| Genre | : Music |
| ISBN | : 1351799002 |
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.
| Author | : Robin Wilson |
| Publisher | : Oxford University Press |
| Total Pages | : 256 |
| Release | : 2022-01-10 |
| Genre | : Mathematics |
| ISBN | : 0192639935 |
The Savilian Professorships in Geometry and Astronomy at Oxford University were founded in 1619 by Sir Henry Savile, distinguished scholar and Warden of Merton College. The Geometry chair, in particular, is the earliest University-based mathematics professorship in England, predating the first Cambridge equivalent by about sixty years. To celebrate the 400th anniversary of the founding of the geometry chair, a meeting was held at the Bodleian Library in Oxford, and the talks presented at this meeting have formed the basis for this fully edited and lavishly illustrated book, which outlines the first 400 years of Oxford's Savilian Professors of Geometry. Starting with Henry Briggs, the co-inventor of logarithms, this volume proceeds via such figures as John Wallis, a founder member of the Royal Society, and Edmond Halley, via the 19th-century figures of Stephen Rigaud, Baden Powell, Henry Smith, and James Joseph Sylvester, to the 20th century and the present day. Oxford's Savilian Professors of Geometry: The First 400 Years assumes no mathematical background, and should therefore appeal to the interested general reader with an interest in mathematics and the sciences. It should also be of interest to anyone interested in the history of mathematics or of the development of Oxford and its namesake university. To all of these audiences it offers portraits of mathematicians at work and an accessible exposition of historical mathematics in the context of its times.
| Author | : Hyun-Ah Kim |
| Publisher | : Routledge |
| Total Pages | : 219 |
| Release | : 2017-11-20 |
| Genre | : Music |
| ISBN | : 1317019393 |
This volume provides the first printed critical edition of The Praise of Musicke (1586), keeping the original text intact and accompanied by an analytical commentary. Against the Puritan attacks on liturgical music, The Praise of Musicke, the first apologetic treatise on music in English, epitomizes the Renaissance defence of music in civil and religious life. While existing studies of The Praise of Musicke are limited to the question of authorship, the present volume scrutinizes its musical discourse, which recapitulates major issues in the ancient philosophy and theology of music, considering the contemporary practice of sacred and secular music. Through an interdisciplinary analysis of The Praise of Musicke, combining historical musicology with philosophical theology, this study situates the treatise and its author within the wider historical, intellectual and religious context of musical polemics and apologetics of the English Reformation, thereby appraising its significance in the history of musical theory and literature. The book throws fresh light on this substantial but neglected treatise that presents, with critical insights, the most learned discussion of music from classical antiquity to the Renaissance and Reformation era. In doing so it offers a new interpretation of the treatise, which marks a milestone in the history of musical apologetics.
| Author | : Benjamin Wardhaugh |
| Publisher | : Routledge |
| Total Pages | : 222 |
| Release | : 2017-07-05 |
| Genre | : Music |
| ISBN | : 1351557084 |
How, in 1705, was Thomas Salmon, a parson from Bedfordshire, able to persuade the Royal Society that a musical performance could constitute a scientific experiment? Or that the judgement of a musical audience could provide evidence for a mathematically precise theory of musical tuning? This book presents answers to these questions. It constitutes a general history of quantitative music theory in the late seventeenth century as well as a detailed study of one part of that history: namely the applications of mathematical and mechanical methods of understanding to music that were produced in England between 1653 and 1705, beginning with the responses to Descartes's 1650 Compendium music and ending with the Philosophical Transactions' account of the appearance of Thomas Salmon at the Royal Society in 1705. The book is organized around four key questions. Do musical pitches form a small set or a continuous spectrum? Is there a single faculty of hearing which can account for musical sensation, or is more than one faculty at work? What is the role of harmony in the mechanical world, and where can its effects be found? And what is the relationship between musical theory and musical practice? These are questions which are raised and discussed in the sources themselves, and they have wide significance for early modern theories of knowledge and sensation more generally, as well as providing a fascinating side light onto the world of the scientific revolution.
| Author | : Jacomien Prins |
| Publisher | : Routledge |
| Total Pages | : 496 |
| Release | : 2017-09-05 |
| Genre | : Literary Criticism |
| ISBN | : 1351664182 |
This is the first volume to explore the reception of the Pythagorean doctrine of cosmic harmony within a variety of contexts, ranging chronologically from Plato to 18th-century England. This original collection of essays engages with contemporary debates concerning the relationship between music, philosophy, and science, and challenges the view that Renaissance discussions on cosmic harmony are either mere repetitions of ancient music theory or pre-figurations of the ‘Scientific Revolution’. Utilizing this interdisciplinary approach, Renaissance Conceptions of Cosmic Harmony offers a new perspective on the reception of an important classical theme in various cultural, sequential and geographical contexts, underlying the continuities and changes between Antiquity, the Middle Ages and the Renaissance. This project will be of particular interest within these emerging disciplines as they continue to explore the ideological significance of the various ways in which we appropriate the past.
