Porphyry's Commentary, the only surviving ancient commentary on a technical text, is not merely a study of Ptolemy's Harmonics. It includes virtually free-standing philosophical essays on epistemology, metaphysics, scientific methodology, aspects of the Aristotelian categories and the relations between Aristotle's views and Plato's, and a host of briefer comments on other matters of wide philosophical interest. For musicologists it is widely recognised as a treasury of quotations from earlier treatises, many of them otherwise unknown; but Porphyry's own reflections on musical concepts (for instance notes, intervals and their relation to ratios, quantitative and qualitative conceptions of pitch, the continuous and discontinuous forms of vocal movement, and so on) and his snapshots of contemporary music-making have been undeservedly neglected. This volume presents the first English translation and a revised Greek text of the Commentary, with an introduction and notes designed to assist readers in engaging with this important and intricate work.

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.

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.

The science called 'harmonics' was one of the major intellectual enterprises of Greek antiquity. Ptolemy's treatise seeks to invest it with new scientific rigour; its consistently sophisticated procedural self-awareness marks it as a key text in the history of science. This book is a sustained methodological exploration of Ptolemy's project. After an analysis of his explicit pronouncements on the science's aims and the methods appropriate to it, it examines Ptolemy's conduct of his investigation in detail, concluding that despite occasional uncertainties, the declared procedure is followed with remarkable fidelity. Ptolemy pursues tenaciously his novel objective of integrating closely the project's theoretical and empirical phases and shows astonishing mastery of the concept, the design and the conduct of controlled experimental tests. By opening up this neglected text to historians of science, the book aims to provide a point of departure for wider studies of Greek scientific method.

This second volume of Greek Musical Writings contains important texts on harmonic and acoustic theory, illustrating the progress of these sciences from their beginnings in the sixth century BC over the subsequent thousand years. Writers represented include Philolaus, Plato, Aristotle, Theophrastus, Aristoxenus, Ptolemy, Aristides, Archytas, and Quintilianus. All the Greek texts are newly translated by the editor. Some replace inadequate existing translations; other significant portions of the book include much that is essential for an understanding of medieval and Renaissance musicology. Dr Barker provides detailed and authoritative commentary and annotations to all the texts. Each section is prefaced by an introductory essay and some of the more complex issues are discussed further in appendices.

The science called 'harmonics' was one of the major intellectual enterprises of Greek antiquity. Ptolemy's treatise seeks to invest it with new scientific rigour; its consistently sophisticated procedural self-awareness marks it as a key text in the history of science. This book is a sustained methodological exploration of Ptolemy's project. After an analysis of his explicit pronouncements on the science's aims and the methods appropriate to it, it examines Ptolemy's conduct of his investigation in detail, concluding that despite occasional uncertainties, the declared procedure is followed with remarkable fidelity. Ptolemy pursues tenaciously his novel objective of integrating closely the project's theoretical and empirical phases and shows astonishing mastery of the concept, the design and the conduct of controlled experimental tests. By opening up this neglected text to historians of science, the book aims to provide a point of departure for wider studies of Greek scientific method.

This book is the first of two volumes offering a selection of Greek writings on music, newly translated into English and equipped with an extensive commentary. This volume contains passages from Greek poets, historians and essayists, evoking or describing aspects of the practical activities of musical performance and composition, together with excerpts from philosophers and social critics who comment on the moral, education and aesthetic dimensions of the art. Music was of fundamental importance in the culture of ancient Greece. Its nature and significance cannot now, perhaps, be fully recaptured, but we have a rich fund of information about the Greek experience of music, its forms, its meanings, its social roles, and the practical details of its composition and performance.

A varied, vivid view of the literary culture of the often-neglected interwar Austrian republic. The literary flair of fin-de-siecle Vienna lived on after 1918 in the First Austrian Republic even as writers grappled with the consequences of a lost war and the vanished Habsburg Empire. Reacting to historical and political issues often distinct from those in Weimar Germany, Austrian literary culture, though frequently associated with Jewish writers deeply attached to the concept of an independent Austria, reflected the republic's ever-deepening antisemitism and the growing clamor for political union with Germany. Spanning the two momentous decades between the fall of the empire in 1918 and the Nazi Anschluss in 1938, this book explores work by canonical writers suchas Schnitzler, Kraus, Roth, and Werfel and by now-forgotten figures such as the pacifist Andreas Latzko, the arch-Nazi Bruno Brehm, and the fervently Jewish Soma Morgenstern. Also taken into account are Ernst Weiss's "Hitler" novel Der Augenzeuge and 1930s works about First Republic Austria by the German Communist writers Anna Seghers and Friedrich Wolf. Andrew Barker's book paints a varied and vivid picture of one of the most challenging and underresearched periods in twentieth-century cultural history. Andrew Barker is Emeritus Professor of Austrian Studies at the University of Edinburgh, Scotland.

As immediately believable as they were cartoonish, as much an inner city cipher as a suburban boys gang, the foursome that made up the Pharcyde were the most relatable MCs to ever pass the mic. On their debut and magnum opus Bizarre Ride II the Pharcyde, they created a record almost overstuffed with possibility, the sound of four restless man-children fresh out of their teens, finding a perfect outlet in a form of music that was just as young and fertile. And like the product of any adolescent, Bizarre Ride wears its contrarianism and contradictions on its sleeve. It's a party album about shyness and unrequited love. A swirl of jubilant L.A. psychedelia recorded in the midst of the Rodney King trial. A blast of black consciousness that still makes room to poke fun at Public Enemy and reference the Pixies. A dense, sophisticated sonic stew punctuated by yo mama jokes and prank calls. While hip-hop was already calcifying its tropes of steely machismo and aspirational fantasy, Bizarre Ride was a pure distillation of the average hip-hop listener's actual lifestyle-the joys and sorrows of four guys who were young, broke, sexually frustrated, and way too clever for their own good. A touchstone for Kanye West, Drake, Lil B and a whole generation of off-center MCs, Bizarre Ride sketched out a whole strata of emotions that other rappers hadn't yet dared to tackle, and to a certain extent, still haven't.