The discussions of conatus – force, tendency, effort, and striving – in early modern metaphysics have roots in Aristotle’s understanding of life as an internal experience of living force. This paper examines the ways that Spinoza’s conatus is consonant with Aristotle on effort. By tracking effort from his psychology and ethics to aesthetics, I show there is a conatus at the heart of the activity of the ψυχή that involves an intensification of power in a way which anticipates many of (...) the central insights of early modern and 20th century European philosophy. The first section outlines how Aristotle’s developmental conception of the soul as geometrically ordered lays the foundation for his understanding of effort. The developmental series of powers of the soul are analogous to the series of shapes in mathematics. The second section links the striving of the soul to the gradual acquisition of virtues as a directed activity unifying multiplicity. The third examines the paradigm of self-awareness that Aristotelian effort involves. In the final section I show how ancient Greek theories of music were founded on the experience of striving. The “nature” of music is defined by Aristoxenus, and Theophrastus, in relation to the passion and intentionality of the soul. The geometrical order, as a synthesis of elements in geometry, music, or ethics, is a generative process in which past elements are retained and reintegrated in later stages of development. It requires effort to think geometrically, and the progress of knowledge itself is an integral aspect of all effort. Effort is the lived and self-aware cause which, moving step by step in an orderly and deliberate way, grows and advances upon itself. For both Spinoza and Aristotle, effort is the immanent intelligence which accomplishes what is in the purview of its understanding. Thus, will, in this conception of effort, is not something we already possess innately, but emerges gradually by an effort aimed at improvement. (shrink)

In his treatise "Elementa harmonica," Aristoxenus of Tarentum formulated a distinctive philosophical framework within the realm of sound exploration, deviating from the harmonics theory advanced by the Pythagoreans. A pivotal disparity lies in the methodological approach to research. Aristoxenus posited meticulous observation of acoustic phenomena as the foundational step in all inquiries, constituting a fundamental criterion for truth. He asserted that perception alone could authenticate the fidelity of the observed state of affairs. Aristoxenus vehemently opposed the Pythagorean (...) disregard for auditory testimony, deeming it a notable methodological lapse. According to him, the harmonikos must serve as a vigilant observer of acoustic phenomena, equipped with a discerning and cultivated musical ear. (shrink)

Archytas of Tarentum, a contemporary and associate of Plato, was a famous Pythagorean, mathematician, and statesman of Tarentum. Although his works are lost and most of the fragments attributed to him were composed in later eras, they nevertheless contain valuable information about his thought. In particular, the fragments of On Law and Justice are likely based on a work by the early Peripatetic biographer Aristoxenus of Tarentum. The fragments touch on key themes of early Greek ethics, including: written and (...) unwritten laws; freedom and self-sufficiency; moderation of the emotions and cultivation of virtues; equality and the competence of the majority to participate in government; criticism of “rule by an individual”; a theory of the ideal “mixed constitution”; distributive and corrective justice and punishment, and of the rule of law. The fragments also contain one of the only positive accounts of democracy in ancient Greek philosophy. (shrink)

Aristoxenus's "Elements of Rhythm" stands as the earliest extant scientific treatise on rhythm, with only the second book enduring to our present day, albeit in an incomplete state. Demonstrating his allegiance to Aristotle, Aristoxenus employs Aristotelian concepts and investigative methods throughout his work. Notably, he introduces a conceptual division between the substance of rhythm (rhythmizomenon) and its rhythmic structure (rhythmos). Drawing parallels to Aristotle's temporal theory, Aristoxenus goes further by proposing a novel concept—the "protos chronos," denoting the (...) smallest unit of time. This nuanced exploration not only enriches our understanding of rhythm but also exemplifies Aristoxenus' adept application of Aristotelian principles in advancing the discourse on musical theory. (shrink)

The first work that René Descartes wrote was the Compendium Musicæ in 1618, this was his first experiment with the future cartesian method. As a work of youth, the author must have studied music in your education, mainly in the college of La Flèche. Conventionally, the work of Gioseffo Zarlino had been considered the main source, because was cited in the Compendium. Since the text starts with music´s definition and eight propositions, about which the rest of work was developed; check (...) the way that them appear in other treatises of the time could help to deduce the possible musical sources that the author used.This dissertation starts with a necessary reconstitution of philosophical and musical context of the epoch, followed by an analysis of jesuits conceptions of knowledge and music. In this way, it can be considered what motivated the author to write about music, as his the debates. In resemblance to his mature work, the text proposes a methodological turn that is only perceived with the context of the time in mind. After an interpretation of the definition of the music and the eight propositions, it could be possible compare with the others works form the epoch to verify his musical sources. With this process, it could evidence the influence of Aristotle, Aristoxenus, Jean de Murs, Pontus de Tyard, Gioseffo Zarlino and Francisco de Salinas. (shrink)