Two dialogues offering insight into the Platonic doctrine explore the manifestations and psychology of love.

In their invocations of the Muses the early epic poets use indifferently verbs meaning ‘tell’, ‘speak of’ and the verb which we normally translate as ‘sing’ When they refer directly to their own performance they may use the non-committalμνήσομαι, or ἐρέω, ἐνισπεῖνbut more often it isάείδω, ἄρχομ ἀείδεινor something of the sort; and they will pray for goodἀοιδήor hope for reward from it. We cannot make a distinction between two styles of performance, one characterized asἀείδειν the other as ἐνέπεινthe Iliad (...) beginsμῆνιν ἄειδε θεάbut later hasἔσπετε νῦν μοι Μοῦσαι;Hesiod moves straight fromχαίρετε τέκνα Διός, δότε δ᾿ ἱμερόεσσαν ἀοιδήνtoεἴπατε δ᾿ ὡς... ταῦτά μοι ἔσπετε Μοῦσαι... καὶ εἴπατε; the author of the Hymn to Pan beginsἔννεπε Μοῦσαand endsἴλαμαι δέ σ᾿ ἀοιδῇ... καὶ σεῖο καὶ ἄλλης μνήσομ᾿ ἀοιδῆς. (shrink)

Fiction and truth : ancient stories about Pythagoras -- In search of the historical Pythagoras -- The Pythagorean secret society -- Thinkers influenced by Pythagoras and his pupils.

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

The ancient science of harmonics investigates the arrangements of pitched sounds which form the basis of musical melody, and the principles which govern them. It was the most important branch of Greek musical theory, studied by philosophers, mathematicians and astronomers as well as by musical specialists. This 2007 book examines its development during the period when its central ideas and rival schools of thought were established, laying the foundations for the speculations of later antiquity, the Middle Ages and the Renaissance. (...) It concentrates particularly on the theorists' methods and purposes and the controversies that their various approaches to the subject provoked. It also seeks to locate the discipline within the broader cultural environment of the period; and it investigates, sometimes with surprising results, the ways in which the theorists' work draws on and in some cases influences that of philosophers and other intellectuals. (shrink)

This book endeavours to pinpoint the relations between musical, and especially instrumental, practice and the evolving conceptions of pitch systems. It traces the development of ancient melodic notation from reconstructed origins, through various adaptations necessitated by changing musical styles and newly invented instruments, to its final canonical form. It thus emerges how closely ancient harmonic theory depended on the culturally dominant instruments, the lyre and the aulos. These threads are followed down to late antiquity, when details recorded by Ptolemy permit (...) an exceptionally clear view. Dr Hagel discusses the textual and pictorial evidence, introducing mathematical approaches wherever feasible, but also contributes to the interpretation of instruments in the archaeological record and occasionally is able to outline the general features of instruments not directly attested. The book will be indispensable to all those interested in Greek music, technology and performance culture and the general history of musicology. (shrink)

For the first English edition of his distinguished study, Weisheit und Wissenschaft: Studien zu Pythagoras, Philoloas und Platon, Mr. Burkert has extensively ...

This volume deals with the origin of the modern conception of the object as well as the subject of music - of musical sound as well as man as the recipient of music. This is what music offered to the Scientific Revolution of the 16th and 17th centuries. The story is developed in 12 essays written by influential musicologists and historians of science. Starting from the magic of numbers of Pythagorean and neo-Platonic doctrines, the essays lead the reader to `sound' (...) and `affections' in modern terms. The conceptual framework that grasps the intellectual shift from number to sound is new, it relates to the ontological change of the object of music to the psychological change of man as the subject (viz., the recipient and beneficiary) of music. (shrink)

An introduction to the geometry which, as modern science now confirms, underlies the structure of the universe. The thinkers of ancient Egypt, Greece and India recognized that numbers governed much of what they saw in their world and hence provided an approach to its divine creator. Robert Lawlor sets out the system that determines the dimension and the form of both man-made and natural structures, from Gothic cathedrals to flowers, from music to the human body. By also involving the reader (...) in practical experiments, he leads with ease from simple principles to a grasp of the logarithmic spiral, the Golden Proportion, the squaring of the circle and other ubiquitous ratios and proportions. Art and Imagination: These large-format, gloriously-illustrated paperbacks cover Eastern and Western religion and philosophy, including myth and magic, alchemy and astrology. The distinguished authors bring a wealth of knowledge, visionary thinking and accessible writing to each intriguing subject. 202 illustrations and diagrams, 56 in two colors. (shrink)

A.J. Racy, a scholar of ethnomusicology, provides an intimate portrayal of the Arab musical experience in this pioneering book. Racy focuses on tarab, a multifaceted concept that has no exact equivalent in English and refers to the indigenous music and the ecstasy associated with it. His book examines aspects of musical craft, including basic skills, musician's inspiration, love lyrics as tools of ecstasy, and the relationship between performers and listeners.

"This rich compendium on the lives and doctrines of philosophers ranges over three centuries, from Thales to Epicurus (to whom the whole tenth book is devoted); 45 important figures are portrayed. Diogenes Laertius carefully compiled his information from hundreds of sources and enriches his accounts with numerous quotations. Diogenes Laertius lived probably in the earlier half of the 3rd century CE, his ancestry and birthplace being unknown. His history, in ten books, is divided unscientifically into two 'Successions' or sections: 'Ionian' (...) from Anaximander to Theophrastus and Chrysippus, including the Socratic schools; 'Italian' from Pythagoras to Epicurus, including the Eleatics and sceptics. It is a very valuable collection of quotations and facts." -- Publisher description. (shrink)

The relationship between mental representation and consciousness is considered. What it means to 'represent', and several types of representation (e.g., analogue, digital, spatial, linguistic, mathematical), are described. Concepts relevant to mental representation in general (e.g., multiple levels of processing, structure/process differences, mapping) and in specific domains (e.g., mental imagery, linguistic/propositional theories, production systems, connectionism, dynamics) are discussed. Similarities (e.g., using distinctions between different forms of representation to predict different forms of consciousness, parallels between digital architectures of the brain and connectionist (...) models) and dissociations (e.g., insensitivity to gaps in subjective experience, explicit memory/implicit memory, automatic processing/controlled processing, blindsight, neglect, prediction/ explanation) of mental representation and consciousness are discussed. It is concluded that representational systems are separable from consciousness systems, and that mental representation appears necessary but not sufficient for consciousness. Considerations for future research on correspondences between representation and consciousness are suggested. (shrink)