A Visual Introduction to the Musical Structure of Plato s Symposium (For Reference Only, Not Publication)
|
|
- Neil McDaniel
- 5 years ago
- Views:
Transcription
1 A Visual Introduction to the Musical Structure of Plato s Symposium (For Reference Only, Not Publication) May 1, 008 Abstract The musical structure of Plato s Symposium is illustrated with a series of pictures, diagrams, and graphs. Various, easily measurable kinds of evidence for the existence of a musical scale embedded in the dialogue are presented visually, so that patterns that stretch over the course of the dialogue can be surveyed at a glance. Since a picture is worth a thousand words, the following series of pictures and diagrams illustrates the arguments of a companion essay, 1 and is an expanded version of some slides prepared for a talk on its central findings. The diagrams aim to convey the sometimes subtle evidence of the essay in a concise and readily accessible way. The essay laid out the textual and historical evidence for the surprising claim that Plato s dialogues were organised around a musical scale, and that certain symbols and keywords were introduced into his narratives to mark out the regular intervals of that scale. Plato s Symposium is particularly suitable for introducing and displaying these musical structures. The series of speeches, from Phaedrus to Alcibiades, breaks the text into discrete and objectively distinguished parts whose lengths reveal further evidence for the underlying musical scale. To say that Plato organised his dialogue around a twelve-part scale is, in the first place, to say no more than that he made a twelve-part outline of this text and allocated the same number of lines to each part. The essay reviewed evidence that the lines in classical texts were counted in ways perhaps similar to the way we count words or pages. As before, this essay concentrates on exhibiting the evidence and avoids references to later theories of allegory and literary symbolism. It is important to make a clean case for the existence of the musical organisation before entering into debates about its ideology. It is clear, however, that the notion of forms beneath appearances is a thoroughly Platonic idea, and that the notion of an imperceptible musical and mathematical structure comports well with the kind of Pythagoreanism on display in the Timaeus. Draft. Comments and criticism but not quotes are welcome. Prepared for blind review. I would like to thank... I would like to acknowledge the support of... This is an expanded version of illustrations prepared for a seminar at the University of... 1
2 Figure 1: Pythagoras s Slate in the Foreground of Raphael s School of Athens (left, detail) Bears a Diagram of the Pythagorean, Six-to-Twelve Musical Scale (right) 1 The Twelve-Note Scale The historical background of a scale with twelve, regularly spaced notes was surveyed in the companion essay. The diagram above illustrates the Pythagorean association between the principle notes in a musical scale and the integers up to twelve. This was known to the Renaissance through works like Ficino s translation of Theon s On the Mathematics Useful for Understanding Plato. [In this draft, some large gaps have been left at the bottom of pages.]
3 1 End of the dialogue. 11 Octave, a :1 or 1: ratio At the centre of the Symposium, the climax of Agathon s speech: lyrical praise of Eros, a procession, loud approval; Socrates begins to speak. 1 Beginning of the dialogue. Figure : The Symposium is Divided into Twelve Parts, Corresponding to a Twelve- Note Musical Scale As the above figure shows, the scale divides the text of the dialogues into twelve equal parts, with Note 1 near the beginning of the text. The centre of the Symposium is emphatically marked. In a dialogue devoted to love, the conclusion of Agathon s speech with its rousing rhetorical fireworks in praise of Eros flanks one side of the centre. Socrates, the philosophical hero of the dialogue, begins to speak at the centre.
4 Agathon s speech fills the fifth twelfth. Aristophanes speech fills the fourth twelfth. Eryximachus speech fills the third twelfth. Pausanias speech fills the second twelfth. Figure : Lengths of Speeches, Measured End to End The lengths of the speeches in the first half of the Symposium strikingly show how the underlying musical scale has been used to organise the dialogue. The figure shows simple and objective measurements of the interval from the end of one speech to the end of the following speech. The speeches are surrounded by comments, repartee, or short cross-examinations, and this figure treats all such banter as part of the following speech. A later section explores the fine structure of this banter, and shows that it too has lengths determined by the underlying musical scale. The location of each note is marked by a passage with certain key, symbolic terms (see below). A speech, therefore, tends to stop just before or just after a note, depending upon whether it contains the marking passage or not. The speeches after the centre of the dialogue have lengths longer than one-twelfth (see below). The lengths of speeches can be easily and objectively measured, and therefore are the focus here. A careful reading of the dialogues will show that many of their features, from narrative and argument to key symbols and definitions, have been organised around the musical scale. Harmonic and Disharmonic Notes Measurements of length provide some evidence that Plato was counting lines when composing his dialogues, but do not in themselves show that the twelve-part structure is a musical scale. Another form of evidence shows a consistent connection between the stichometric organisation and a musical scale.
5 Figure : Two Strings Struck to Test Harmony Some pairs of notes sound better together than other pairs. Two notes an octave apart, for example, harmonise with each other. The Pythagoreans noticed that pairs of notes which sound well together are produced by pairs of strings whose lengths stand in simple, whole-number ratios like one-to-two or three-to-four. A pair of notes an octave apart, for example, are produced by strings whose lengths have a one-to-two ratio. The Pythagoreans went further and found ways to rank notes according to whether they were more or less harmonious when paired with some fixed note. The series of notes on a twelve-note scale can all be separated into two classes as follows: Harmonious Notes:,,,, 8, 9 Disharmonious Notes: 1,, 7, 10, 11 Here, the twelfth note is used as a fixed standard of comparison, and each note is played together with this standard. The successive pairs 1 and 1, and 1, and so on are ranked according to whether they are more or less harmonious.
6 1 11 The top of Diotima s ladder at note: her vision of the Form of the One Diotima describes the Form of Beauty in itself at the note Agathon s peroration: praise of Eros, procession, loud approval, Socrates Aristophanes begins with praise of Eros: philanthropic, healing powers Pausanias s concluding praise of heavenly Eros: leads to virtue Pausanias: all gods must be praised, heavenly vs. common Eros Harmonic Notes Figure : Harmonious Passages at Harmonious Notes The twelve-note musical scale and the theory of relative harmony provide a key to the structure of Plato s dialogues. Plato s dialogues are full of value-judgements: philosophy is valued over other pursuits, the soul over the body, truth over falsity, dialectics over mere disputatiousness, and so on. As a general tendency, the locations of harmonious notes contain passages with positively valued concepts. This figure shows that important concepts or passages within the dialogue are carefully lodged at the locations of notes (at 1/1, /1, etc.), and that more harmonious concepts are located at more harmonious notes. The coloured bars show the locations of the harmonious notes: the longer the bar, the more harmonious the note. The top of Diotima s Ladder where the Form of the One is described is a philosophically key passage in the Symposium. It is located at a note: the harmonious ninth note. The harmonious notes are marked either by descriptions of the forms, perhaps the most highly valued concepts in Platonism, or by praise of the god of love.
7 Alcibiades shame and anguish after being rejected and dishonoured by Socrates Alcibiades calls Socrates an hubristees; compares him to an ugly, pipe-playing Satyr Diotima s elenchus of the young Socrates: Eros is not a god. Aristophanes asks not to be mocked: Socrates fear and aporia before speaking. 1 Hangovers from the previous night; Eryximachus condemns drunkenness. Disharmonic Notes Figure : Disharmonious Passages at Disharmonic Notes There is a dramatic contrast between the passages at the locations of the harmonic and disharmonic notes. Instead of the forms or praise of Eros, the disharmonic notes are marked by shame, insults, contradictions, mockery, and hangovers. As will be discussed below, the positive concepts at harmonic notes are part of passages in which language is used to promote social harmony: agreements, praise, etc. The negative concepts at disharmonic notes are, in contrast, associated with language which produces social disharmony. These instances of verbal or social harmony and disharmony mark the notes. 7
8 1 Alcibiades: rejected, war Alcibiades: Satyr, seduction Diotima: Ladder, Form of One Diotima: elenchus, myth of sex and seduction among gods 8 7 Diotima: Form of Beauty Socrates: the nature of eros Agathon s peroration Agathon: arty rhetoric Aristophanes: myth of true love Eryximachus: erotic harmony Puasanias: love and pederasty Phaedrus: myths, shame ethics 1 Disharmonic Intervals Harmonic Intervals Figure 7: Regions near Harmonic Notes have Positive Themes, and Regions near Disharmonic Notes have Negative Themes The over-arching structures of Plato s dialogues have been much debated. They sometimes seem meandering or disjointed. They do not follow common shapes like development, crisis, resolution, nor build slowly to a concluding climax. Remarkably, however, the sequence of topics in his dialogues does conform to this Pythagorean theory of relative harmony. Careful study of the dialogues shows that a region in the musical scale near a harmonic note is dominated by more positive concepts and, similarly, a region near a disharmonic note is more negative. More specifically, the region stretching from a little before a note in the scale almost to the next note generally shares the earlier note s degree of harmony. (For example, Socrates elenchus of Agathon occurs as the disharmonic, seventh note is approached.) This is strikingly illustrated by the Symposium. The speech of the notorious Alcibiades lies in the most disharmonic region of the dialogue. Similarly, Agathon s suspect speech, which Socrates criticised for lacking truth, lies in the next most disharmonic region. On the other hand, the philosophical peaks of Diotima s speech and the marvelous mirth of Aristophanes speech occupy harmonic regions. 8
9 1 Tartarus, River Styx Geography of the Underworld Forms, soul is immortal Disharmony, soul is not a harmony 8 7 Form of Beauty, hypotheses Socrates equanimity Vices, evil, doubt Proof of immortality, forms Recollection, forms Death as liberation, virtues Suicide, body 1 Disharmonic Intervals Harmonic Intervals Figure 8: In the Phaedo, Regions near Harmonic Notes have Positive Themes, and Regions near Disharmonic Notes have Negative Themes Study of the other dialogues confirms this correlation between positive or negative concepts and the series of regions between the notes. In the Phaedo, the regions after the eighth and ninth notes, as in the Symposium, describe the forms. On the other hand, the region around the last two disharmonic notes describes Hell and the filthy River Styx. The argument that the soul is not a harmony, which explicitly mentions disharmony, follows the disharmonic seventh note. Similarly, in the Symposium, Eryximachus discussion of erotic harmony followed a harmonic note. This pattern is remarkably consistent across the dialogues. Although there may be some uncertainty about the precise locations of the notes, studying the harmonic character of these longer passages in the regions between notes does not depend upon any precise measurement of locations within the text. 9
10 Rep. Symp. Parm. Figure 9: Passages Alluding to the Golden Mean One way of confirming the relevance of the Pythagorean theory of harmony is to show that other Pythagorean concepts appear in the Symposium. The Golden Mean, a mathematically significant number approximately equal to 0.18, has been a theme in later Pythagoreanism as well as among cranks and numerologists up to the present day. Several scholars have interpreted the Divided Line passage in the Republic as an allusion to the Golden Mean. Remarkably, this passages begins 1.7% of the way through that dialogue. Even more remarkably, the other dialogues also seem to allude to the Golden Mean at the same point. In the Symposium, Socrates asserts that neither the ignorant nor the wise are philosophers, since both are perhaps content with their condition. In contrast, he says at 1.% of the way through the text that the philosopher is at the mean or in the middle between ignorance and wisdom. This associates the notion of a philosophical or ethical mean with the mathematical notion of a mean, just as explicitly occurs in Aristotle. At the parallel location in the Parmenides, a passage echoes Euclid s geometric definition of the Golden Mean. This is quite strong evidence for the underlying musical scale. On the one hand, a number of scholars have argued for the possible or probable link between the Divided Line and the Golden Mean. It is surprising to find the passage in the Republic near 1.7%. On the other hand, the passages at similar locations in other dialogues consistently refer to mathematical or ethical means. 10
11 Figure 10: A Classical Symposium (from the Tomb of the Diver, Paestum, c. 70 B.C.E.) The Quarternote Structure This section introduces a further, musical concept and shows how it gives the speeches a more fine-grained structure. One theme in the debates over musical theory in Plato s time and long afterwards was the question of whether there were quarternotes or smaller intervals between the usual notes of a musical scale. The concept of a quarternote was discussed by Plato, Aristotle, Aristoxenus, and others, and was sometimes understood to be the smallest unit by which musical scales should be measured. The intervals between the twelve whole notes in the Symposium are further organised around a structure of quarternotes. That is, shifts between speakers, major turns in arguments, and central concepts are often lodged one, two, or three fourths of the way between the whole notes. The internal organisation of the speeches, both shorter and longer, in this dialogue reveals this further, fine-grained structure. 11
12 1q Note 9 q q 1q Note 8 q Socrates Speech, Length: q 1q Note Note 7 q q Agathon s Speech, Length: / q q 1q Note Banter, Length: 1/ 1q Note Banter, Length: 1/ Figure 11: Some Speeches Stop and Start at Quarter-Intervals This figure shows two sorts of simple evidence for the role of quarternotes. The lengths of Agathon s speech is a multiple of the quarter-interval, and the lengths of the banter before the two speeches extend through one-quarter interval. This suggests that the distance of one-quarter of the length between successive whole notes plays a role in the organisation of the Symposium. Moreover, these speeches as well as the banter and repartee before them stop and start at quarternotes. Thus both the lengths and the locations are evidence for the role of quarternotes. 1
13 Note 9 Republic q q 1q... the Pythagoreans... [measure] audible concords and sounds one against each other... [Others] talk of groups of quarter-tones... [each is] a note in between, giving the smallest possible interval, which ought to be taken as the unit of measurement. (Cornford s translation: 0d8 1a7) Note 8 Note Symposium q q 1q Aristophanes makes Zeus say: And if they still appear licentious and will not behave quietly, then I will cut them in two all over again [i.e., into quarters], so that they will go about hopping on one leg [instead of four]. (190d-) Note Figure 1: Passages Alluding to Quarters at the Locations of Quarternotes The figure above gives two examples of a kind of punning reference in Plato s dialogues to the musical structure. The Republic refers to quarternotes at the location of a quarternote on its embedded scale. The Symposium refers to cutting into quarters at the location a quarternote. This limited evidence cannot in itself be convincing, but such puns are common in the dialogues. For example, the dialogues sometimes refer to three near the third note, or four near the fourth note, and so on. The passages in the figure show at least that Plato discussed smaller intervals between the main notes in a musical scale and add another kind of evidence, however limited here, for the role of quarternotes. Their brevity makes puns hard to interpret in rigourous ways. The scholarship on 1
14 puns in classical or later literatures generally depends upon an argument from coherence. That is, by examining many examples and drawing on explicit discussions of punning, etymology, and allegory in related writings, secure interpretation of puns in individual cases can be reached. During the last generation, a substantial literature on puns in Homer, Aristophanes, Ovid, and Virgil has clarified the various motivations for punning in classical literature. Sedley, in particular has argued that Plato s Cratylus should be read as evidence for a serious interest on Plato s part in etymological puns. The following figure introduces yet another kind of evidence for quarternotes and requires some introduction. Plato uses a subtle scheme for marking the locations of musical notes at regular whole and quarter intervals in the Symposium. The theory of his marking scheme is given in the Symposium itself. Examining first the theory and then the passages marking the opening quarternotes in the dialogue will reveal much about Plato s symbolic techniques. The Symposium contains, in Eryximachus speech, an explicit theory of the nature of music (187a1 ff.). It involves two combinations of opposites: of fast and slow, and of high and low. We might call these tempo and pitch, but for Plato the first is rhythm and the second is harmony or consonance (symphōnia). Plato succinctly summarised this view of music in the Laws:... rhythm is the name for the order of the motion and harmony is the name for the order of the sound. (e8-a) An uptempo or fast rhythm, for example, is one in which the mixture of fast and slow is dominated by fast. Both rhythm and harmony are thus types of blending or agreement between opposites. Music establishes such agreements, according to Eryximachus, by implanting eros and homonoia, or love and like-mindedness. Eros is therefore a mediating force which reconciles disagreeing elements, and music is a science: the erotics of rhythm and harmony, or of motion and sound. This theory of music is the key to the symbolism that Plato uses to mark the notes in the Symposium. Careful examination shows that there is a definite similarity between passages lodged at the locations of the notes through the musical scale. The figure summarises the first four such passages in the dialogue, where the pattern is rather heavy-handedly established. 1
15 q Motion: Socrates starts again, arrives at Agathon s (17c). Wise/Unwise: Socrates wisdom requested by dramatist Agathon (c8). Invite/Agree/Harmony: Agathon asks, Socrates agrees to sit together (d). Motion Stops: Socrates sits, motion ceases again (d). q Motion: jokes about going to Agathon s, departure (17c7, d). Wise/Unwise: wise /phaulos, Socrates and Aristodemus (c7,d). Invite/Agree/Harmony: invitation, agree to attend the dinner (d). Motion Stops: Socrates stops on the road (d-). 1q Motion: walking along the road to the city (17b9). Wise/Unwise: philosophy vs. worldly pursuits (c- ff.). Invite/Agree/Harmony: agrees to recount the speeches (c). Motion Stops: interlocutor is really doing nothing (d1). 0 Motion: Apollodorus was going to the city (17a). Wise/Unwise: young philosopher, ignorant inquirer. (17c-, b8-c) Invite/Agree/Harmony: he is asked to stop and does (a). Motion Stops: Apollodorus stops (a). Figure 1: Similar Passages Mark the First Four Quarternotes: Each Contains the Elements of Music, Motion and Harmony These four passages share a consistent set of features. At each note, there are words indicating some sort of physical motion like walking. Each passage also concludes with the cessation of motion. Moreover, there is at each note some sort of agreement either assent to a request or acceptance of an invitation between a student of philosophy and someone else. Like a musician who rather emphatically begins with ONE, two, three, four, the Symposium marks the interval between its initial quarternotes with a rhythmically repeated pattern of passages. 7 In short, there is a kind of rhythm (motion) and a kind of harmony (agreement) at the location of each note. The concepts, or perhaps the forms, of music mark the locations of the notes. A Platonist might conclude that, since the forms are the reality beneath appearances, there is real music at each note. 1
16 Figure 1: A Tabulation of the Occurrence of Music-Related Words in the Republic, Showing the Second and Third Musical Notes and Intervening Quarternotes This figure shows the results a novel investigation which, once understood, provides powerful evidence for the existence of quarternote structure in the Republic. In that dialogue, the locations of the whole notes are marked by clusters of musical and music-related words (like lyre, chord, string, tone, harmony, noise, etc.). Careful study of the passages at the whole notes produced a list of these words. In an effort to show that these clusters occurred only at the locations of the whole notes, I proceeded mechanically through the entire dialogue recording and tabulating the locations of these key, musical terms on my list. This led to a table giving the number of occurrences of these words in each Stephanus page. I was surprised to see smaller clusters of the key terms at three regular intervals between each pair of successive whole notes. This was the first evidence for the existence of the quarternotes. This chart shows the structure between the second and third whole notes. There is a larger number of musical terms spread over a larger number of Stephanus pages at the whole notes, and smaller peaks at the quarternotes, but the histogram beautifully shows the quarternote structure. Tabulating the occurrences of a random list of words in the Republic would not have produced a regular structure. Thus my list of key terms and the graph reinforce each other, and constitute a strong, visual form of evidence for the presence of quarternotes. 1
17 Summary of the Evidence The preceding illustrations aimed to assemble a range of independent, yet mutually reinforcing lines of evidence for the musical scale in the Symposium. Simple evidence for the twelve-note scale: four speeches early in the Symposium are each about one-twelfth long these four speeches each begin and end near a whole note Socrates speech is three-twelfths of the entire text highlights of Diotima s speech, the form of Beauty and the form of the One, occur at successive notes, and thus are separated by one-twelfth the rhetorical climax of the Symposium is located at its centre Evidence from the Pythagorean theory of relative harmony: harmonious concepts are lodged at harmonious notes, e.g., the top of Diotima s ladder is reached at the ninth note disharmonious concepts are lodged at disharmonious notes, e.g., the River Styx at the eleventh note of the Phaedo regions after harmonious notes are filled by speeches about the forms or with praise of Eros regions after disharmonious notes are filled by speeches about shame, insults, or arty rhetoric a similar pattern of regions occurs in the Phaedo (and other dialogues), showing that this gives the general structure of Plato s dialogues the musical structure was tied to another Pythagorean concept, the Golden Mean Evidence for quarternotes between the twelve whole notes: the lengths of Agathon s speech and of some banter are multiples of the quarterinterval the speeches of Agathon and Socrates each begin at a quarternote an explicit discussion in the Republic of quarternotes is lodged at the location of a quarternote a reference to quartering at the location of a quarternote in the Symposium the four passages marking the Symposium s first four quarternotes are similar and contain references to motion and agreement, i.e., to the elements of music a tabulation of the music-related terms in the Republic clearly shows a regular series of peaks at the locations of whole and quarternotes. 17
18 Appendix: Locations of the Musical Notes As discussed in the companion essay, the measured locations of the musical notes on the Symposium s musical scale are surprisingly accurate, despite the changes the text may have undergone during its transmission. The Stephanus pages have significantly variable lengths but, in the Symposium and not generally in other dialogues, the interval between quarternotes is coincidentally about one Stephanus page. Note 0: 17a1, 1q: 17c, q: 17c, q: 17c, Note 1: 17c, 1q: 177c, q: 178d, q: 179d, Note : 180e, 1q: 18a, q: 18a7, q: 18b1, Note : 18b, 1q: 18c, q: 187c8, q: 188d1, Note : 189d, 1q: 190d, q: 191d7, q: 19e1, Note : 19d8, 1q: 19e, q: 19e8, q: 197a, Note : 198a8, 1q: 199b, q: 00b11, q: 01c, Note 7: 0c7, 1q: 0c7, q: 0d, q: 0d9, Note 8: 0e1, 1q: 07e, q: 09a, q: 10b1, Note 9: 11b, 1q: 1b8, q: 1c, q: 1c1, Note 10: 1c, 1q: 1c, q: 17c7, q: 18d1, Note 11: 19d, 1q: 0d, q: 1d8, q: e7, Note 1: d1 18
19 Notes 1. Plato s Forms, Pythagorean Mathematics, and Stichometry is under review.. The difference between a musical fifth and a third gave the basic interval of a tone (between note 8 and 9). A quarternote would be one-fourth of this distance. The concept and terminology for these smaller notes varied significantly during antiquity. See West, Barker, Huffman, etc.. This passage has been much debated. I have used Cornford s translation here. Adam s commentary discusses this passage.. See the companion essay for references.. This passage (187c-8) lies at the second quarternote after note.. Each of Plato s dialogues uses a different general scheme to mark its notes, but the scheme is usually explicitly (and obliquely) discussed in the dialogue. That is, each dialogue gives the theory needed for the interpretation of its symbolic scheme. 7. From the first whole note until the advent of Alcibiades, the musical notes are marked with various species of homologia but not with explicit motion (Alcibiades appropriately reintroduces motion and disturbance). The narrator, however, is walking to town while reciting the speeches. Thus, once the motion or tempo is established in the opening quarternotes, it perhaps recedes into the background. 19
Diotima s Speech as Apophasis
Diotima s Speech as Apophasis A Holistic Reading of the Symposium 2013-03-20 RELIGST 290 Lee, Tae Shin Among philosophical texts, Plato s dialogues present a challenge that is infrequent, if not rare:
More informationGORDON, J. (2012) PLATO S EROTIC WORLD: FROM COSMIC ORIGINS TO HUMAN DEATH. CAMBRIDGE, CAMBRIDGE UNIVERSITY PRESS.
desígnio 14 jan/jun 2015 GORDON, J. (2012) PLATO S EROTIC WORLD: FROM COSMIC ORIGINS TO HUMAN DEATH. CAMBRIDGE, CAMBRIDGE UNIVERSITY PRESS. Nicholas Riegel * RIEGEL, N. (2014). Resenha. GORDON, J. (2012)
More informationAN INTRODUCTION TO MUSIC THEORY Revision A. By Tom Irvine July 4, 2002
AN INTRODUCTION TO MUSIC THEORY Revision A By Tom Irvine Email: tomirvine@aol.com July 4, 2002 Historical Background Pythagoras of Samos was a Greek philosopher and mathematician, who lived from approximately
More informationMusical Acoustics Lecture 16 Interval, Scales, Tuning and Temperament - I
Musical Acoustics, C. Bertulani 1 Musical Acoustics Lecture 16 Interval, Scales, Tuning and Temperament - I Notes and Tones Musical instruments cover useful range of 27 to 4200 Hz. 2 Ear: pitch discrimination
More informationThe Collected Dialogues Plato
The Collected Dialogues Plato Thank you very much for downloading. Maybe you have knowledge that, people have look numerous times for their favorite readings like this, but end up in infectious downloads.
More informationIntroduction: overview of the erotic dialogues
Introduction: overview of the erotic dialogues 1.1 erôs and philosophia Of the three speeches in the first half of the Phaedrus, the first is delivered by Phaedrus, who attributes it to Lysias, while the
More informationVirtues o f Authenticity: Essays on Plato and Socrates Republic Symposium Republic Phaedrus Phaedrus), Theaetetus
ALEXANDER NEHAMAS, Virtues o f Authenticity: Essays on Plato and Socrates (Princeton: Princeton University Press, 1998); xxxvi plus 372; hardback: ISBN 0691 001774, $US 75.00/ 52.00; paper: ISBN 0691 001782,
More informationCourse Syllabus. Ancient Greek Philosophy (direct to Philosophy) (toll-free; ask for the UM-Flint Philosophy Department)
Note: This PDF syllabus is for informational purposes only. The final authority lies with the printed syllabus distributed in class, and any changes made thereto. This document was created on 8/26/2007
More informationRiccardo Chiaradonna, Gabriele Galluzzo (eds.), Universals in Ancient Philosophy, Edizioni della Normale, 2013, pp. 546, 29.75, ISBN
Riccardo Chiaradonna, Gabriele Galluzzo (eds.), Universals in Ancient Philosophy, Edizioni della Normale, 2013, pp. 546, 29.75, ISBN 9788876424847 Dmitry Biriukov, Università degli Studi di Padova In the
More informationForms and Causality in the Phaedo. Michael Wiitala
1 Forms and Causality in the Phaedo Michael Wiitala Abstract: In Socrates account of his second sailing in the Phaedo, he relates how his search for the causes (αἰτίαι) of why things come to be, pass away,
More informationOvercoming Attempts to Dichotomize the Republic
David Antonini Master s Student; Southern Illinois Carbondale December 26, 2011 Overcoming Attempts to Dichotomize the Republic Abstract: In this paper, I argue that attempts to dichotomize the Republic
More informationGuide to the Republic as it sets up Plato s discussion of education in the Allegory of the Cave.
Guide to the Republic as it sets up Plato s discussion of education in the Allegory of the Cave. The Republic is intended by Plato to answer two questions: (1) What IS justice? and (2) Is it better to
More informationPhilosophy of Art. Plato
Plato 1 Plato though some of the aesthetic issues touched on in Plato s dialogues were probably familiar topics of conversation among his contemporaries some of the aesthetic questions that Plato raised
More informationRepublic Of Plato By Out Of Print READ ONLINE
Republic Of Plato By Out Of Print READ ONLINE If looking for the ebook Republic Of Plato by Out Of Print in pdf format, then you have come on to loyal site. We presented the utter option of this book in
More informationLove and Beauty in Plato s philosophy
1 Love and Beauty in Plato s philosophy Mercedes López Mateo This project is about Love and Beauty in Symposium and Phaedrus, both are Plato s work. First of all, we make it with E.J. Ríos article who
More informationYear 13 COMPARATIVE ESSAY STUDY GUIDE Paper
Year 13 COMPARATIVE ESSAY STUDY GUIDE Paper 2 2015 Contents Themes 3 Style 9 Action 13 Character 16 Setting 21 Comparative Essay Questions 29 Performance Criteria 30 Revision Guide 34 Oxford Revision Guide
More informationCalifornia Content Standards that can be enhanced with storytelling Kindergarten Grade One Grade Two Grade Three Grade Four
California Content Standards that can be enhanced with storytelling George Pilling, Supervisor of Library Media Services, Visalia Unified School District Kindergarten 2.2 Use pictures and context to make
More informationIn order to enrich our experience of great works of philosophy and literature we will include, whenever feasible, speakers, films and music.
West Los Angeles College Philosophy 12 History of Greek Philosophy Fall 2015 Instructor Rick Mayock, Professor of Philosophy Required Texts There is no single text book for this class. All of the readings,
More informationLanguage Arts Literary Terms
Language Arts Literary Terms Shires Memorize each set of 10 literary terms from the Literary Terms Handbook, at the back of the Green Freshman Language Arts textbook. We will have a literary terms test
More information7AAN2026 Greek Philosophy I: Plato Syllabus Academic year 2015/16
School of Arts & Humanities Department of Philosophy 7AAN2026 Greek Philosophy I: Plato Syllabus Academic year 2015/16 Basic information Credits: 20 Module Tutor: Dr Tamsin de Waal Office: Rm 702 Consultation
More informationweb address: address: Description
History of Philosophy: Ancient PHILOSOPHY 157 Fall 2010 Center Hall 222: MWF 12-12:50 pm Monte Ransome Johnson Associate Professor monte@ucsd.edu SSH 7058: MW 2-3 pm web address: http://groups.google.com/group/2010-ucsd-phil-157
More information2014A Cappella Harmonv Academv Handout #2 Page 1. Sweet Adelines International Balance & Blend Joan Boutilier
2014A Cappella Harmonv Academv Page 1 The Role of Balance within the Judging Categories Music: Part balance to enable delivery of complete, clear, balanced chords Balance in tempo choice and variation
More informationAspects of Western Philosophy Dr. Sreekumar Nellickappilly Department of Humanities and Social Sciences Indian Institute of Technology, Madras
Aspects of Western Philosophy Dr. Sreekumar Nellickappilly Department of Humanities and Social Sciences Indian Institute of Technology, Madras Module 03 Lecture 03 Plato s Idealism: Theory of Ideas This
More informationFIFTH GRADE. This year our composition focus is on the development of a story.
Table of Contents Table of Contents... 1 Introduction.. 2 First Grade... 4 Second Grade. 8 Third Grade. 14 Fourth Grade... 21 Fifth Grade... 30 Sixth Grade. 36 Seventh Grade 45 Eighth Grade... 52 Ninth
More informationPHIL 212: ANCIENT PHILOSOPHY MWF: 3 3:50 pm 114 Randell Hall
PHIL 212: ANCIENT PHILOSOPHY MWF: 3 3:50 pm 114 Randell Hall Dr. Amy S. Bush Office: 0032 MacAlister Hall (basemen t of MacAlister, in the writing center, Office D) e-mail: asb48@drexel.edu Mailbox: 5057
More informationPOLSC201 Unit 1 (Subunit 1.1.3) Quiz Plato s The Republic
POLSC201 Unit 1 (Subunit 1.1.3) Quiz Plato s The Republic Summary Plato s greatest and most enduring work was his lengthy dialogue, The Republic. This dialogue has often been regarded as Plato s blueprint
More informationThe Pythagorean Scale and Just Intonation
The Pythagorean Scale and Just Intonation Gareth E. Roberts Department of Mathematics and Computer Science College of the Holy Cross Worcester, MA Topics in Mathematics: Math and Music MATH 110 Spring
More informationO ne of the most influential aspects of
Platonic Love Elisa Cuttjohn, SRC O ne of the most influential aspects of Neoplatonism on Western culture was Marsilio Ficino s doctrine of Platonic love. 1 Richard Hooker, Ph.D. writes, While Renaissance
More informationPHIL 260. ANCIENT GREEK PHILOSOPHY. Fall 2017 Tuesday & Thursday: (Oddfellows 106)
1 PHIL 260. ANCIENT GREEK PHILOSOPHY Fall 2017 Tuesday & Thursday: 9.30 10.45 (Oddfellows 106) Instructor: Dr. Steven Farrelly-Jackson Office: Oddfellows 115 Office hours: Mon & Wed: 12.15 1.30; Tues:
More informationModule # 4 Musical analysis and contemporary music Designer : Anthony Girard
Module # 4 Musical analysis and contemporary music Designer : Anthony Girard 1. Learning Unit 3: Expanded tonality - Added notes, unresolved appoggiaturas 1.1. Generalities 1.1.1. Expanded tonality The
More informationThe Mathematics of Music and the Statistical Implications of Exposure to Music on High. Achieving Teens. Kelsey Mongeau
The Mathematics of Music 1 The Mathematics of Music and the Statistical Implications of Exposure to Music on High Achieving Teens Kelsey Mongeau Practical Applications of Advanced Mathematics Amy Goodrum
More informationPlato s dialogue the Symposium takes
Stance Volume 2 April 2009 A Doctor and a Scholar: Rethinking the Philosophic Significance of Eryximachus in the Symposium ABSTRACT: Too often critics ignore the philosophic significance of Eryximachus,
More informationLESSON 1 PITCH NOTATION AND INTERVALS
FUNDAMENTALS I 1 Fundamentals I UNIT-I LESSON 1 PITCH NOTATION AND INTERVALS Sounds that we perceive as being musical have four basic elements; pitch, loudness, timbre, and duration. Pitch is the relative
More informationIntroductory Dialogue (172a 178a)
CHAPTER 1 Introductory Dialogue (172a 178a) Functions of Narrative Frames in Platonic Dialogues Most of Plato s dialogues are written in direct discourse like dramatic poetry. But some of Plato s dialogues
More informationPlato's Symposium By Albert A. Anderson, Plato
Plato's Symposium By Albert A. Anderson, Plato 53 quotes from The Symposium: According to Greek mythology, humans were originally created with four arms, four legs and a head with two faces. Fearing For
More informationAP MUSIC THEORY 2006 SCORING GUIDELINES. Question 7
2006 SCORING GUIDELINES Question 7 SCORING: 9 points I. Basic Procedure for Scoring Each Phrase A. Conceal the Roman numerals, and judge the bass line to be good, fair, or poor against the given melody.
More informationSpeaking in Minor and Major Keys
Chapter 5 Speaking in Minor and Major Keys 5.1. Introduction 28 The prosodic phenomena discussed in the foregoing chapters were all instances of linguistic prosody. Prosody, however, also involves extra-linguistic
More informationPHILOSOPHY PLATO ( BC) VVR CHAPTER: 1 PLATO ( BC) PHILOSOPHY by Dr. Ambuj Srivastava / (1)
PHILOSOPHY by Dr. Ambuj Srivastava / (1) CHAPTER: 1 PLATO (428-347BC) PHILOSOPHY The Western philosophy begins with Greek period, which supposed to be from 600 B.C. 400 A.D. This period also can be classified
More informationSecond Grade Music Curriculum
Second Grade Music Curriculum 2 nd Grade Music Overview Course Description In second grade, musical skills continue to spiral from previous years with the addition of more difficult and elaboration. This
More information2014 Music Style and Composition GA 3: Aural and written examination
2014 Music Style and Composition GA 3: Aural and written examination GENERAL COMMENTS The 2014 Music Style and Composition examination consisted of two sections, worth a total of 100 marks. Both sections
More informationHST 725 Music Perception & Cognition Assignment #1 =================================================================
HST.725 Music Perception and Cognition, Spring 2009 Harvard-MIT Division of Health Sciences and Technology Course Director: Dr. Peter Cariani HST 725 Music Perception & Cognition Assignment #1 =================================================================
More informationQuantitative Emotion in the Avett Brother s I and Love and You. has been around since the prehistoric eras of our world. Since its creation, it has
Quantitative Emotion in the Avett Brother s I and Love and You Music is one of the most fundamental forms of entertainment. It is an art form that has been around since the prehistoric eras of our world.
More informationMusic Curriculum Kindergarten
Music Curriculum Kindergarten Wisconsin Model Standards for Music A: Singing Echo short melodic patterns appropriate to grade level Sing kindergarten repertoire with appropriate posture and breathing Maintain
More informationCurriculum Map: Academic English 10 Meadville Area Senior High School
Curriculum Map: Academic English 10 Meadville Area Senior High School Course Description: This year long course is specifically designed for the student who plans to pursue a four year college education.
More informationChapter 2 TEST The Rise of Greece
Chapter 2 TEST The Rise of Greece I. Multiple Choice (1 point each) 1. What Greek epic poem recounts the story of Achilles and the Trojan War? a) The Odyssey b) The Iliad c) The Aeneid d) The Epic of Gilgamesh
More informationThe Structure of Plato's Dialogues and Greek Music Theory: A Response to J. B. Kennedy
The Structure of Plato's Dialogues and Greek Music Theory: A Response to J. B. Kennedy The Harvard community has made this article openly available. Please share how this access benefits you. Your story
More informationPlato s work in the philosophy of mathematics contains a variety of influential claims and arguments.
Philosophy 405: Knowledge, Truth and Mathematics Spring 2014 Hamilton College Russell Marcus Class #3 - Plato s Platonism Sample Introductory Material from Marcus and McEvoy, An Historical Introduction
More informationCurriculum Map: Comprehensive I English Cochranton Junior-Senior High School English
Curriculum Map: Comprehensive I English Cochranton Junior-Senior High School English Course Description: This course is the first of a series of courses designed for students who are not planning a four-year
More informationLecture 5: Tuning Systems
Lecture 5: Tuning Systems In Lecture 3, we learned about perfect intervals like the octave (frequency times 2), perfect fifth (times 3/2), perfect fourth (times 4/3) and perfect third (times 4/5). When
More informationPage 5 Lesson Plan Exercises Score Pages 64 74
Page 5 Lesson Plan Exercises 20 24 Score Pages 64 74 Goal Students will progress in developing comprehensive musicianship through a standards-based curriculum, including singing, performing, reading and
More informationMusic, nature and structural form
Music, nature and structural form P. S. Bulson Lymington, Hampshire, UK Abstract The simple harmonic relationships of western music are known to have links with classical architecture, and much has been
More informationCollege and Career Readiness Anchor Standards K-12 Montana Common Core Reading Standards (CCRA.R)
College and Career Readiness Anchor Standards K-12 Montana Common Core Reading Standards (CCRA.R) The K 12 standards on the following pages define what students should understand and be able to do by the
More informationTHE GOLDEN AGE POETRY
THE GOLDEN AGE 5th and 4th Century Greek Culture POETRY Epic poetry, e.g. Homer, Hesiod (Very) long narratives Mythological, heroic or supernatural themes More objective Lyric poetry, e.g. Pindar and Sappho
More informationPRESCOTT UNIFIED SCHOOL DISTRICT District Instructional Guide January 2016
Grade Level: 9 12 Subject: Jazz Ensemble Time: School Year as listed Core Text: Time Unit/Topic Standards Assessments 1st Quarter Arrange a melody Creating #2A Select and develop arrangements, sections,
More informationTheory and Sightreading for Singers LEVEL 2. The EM Music Voice Method Series. Written by. Elizabeth Irene Hames and Michelle Anne Blumsack
Theory and Sightreading for Singers LEVEL 2 The EM Music Voice Method Series Written by Elizabeth Irene Hames and Michelle Anne Blumsack Distributed by: EM Music Publishing 2920 Yoakum St. Fort Worth,
More informationGeneral Music. The following General Music performance objectives are integrated throughout the entire course: MUSIC SKILLS
The following General Music performance objectives are integrated throughout the entire course: MUSIC SKILLS Strand 1: Create Concept 1: Singing, alone and with others, music from various genres and diverse
More informationScholarly Paper Publication
In the Name of Allah, the Compassionate, the Merciful Scholarly Paper Publication Seyyed Mohammad Hasheminejad, Acoustics Research Lab Mechanical Engineering Department, Iran University of Science & Technology
More informationSeventeenth-Century Opera Style Sheet. Prepared by Lucas Harris, February 2007 for La Calisto production at Ohio State University
Know the text Seventeenth-Century Opera Style Sheet Prepared by Lucas Harris, February 2007 for La Calisto production at Ohio State University Everyone in the cast & band ought to take the time to read
More informationChapter Two: Long-Term Memory for Timbre
25 Chapter Two: Long-Term Memory for Timbre Task In a test of long-term memory, listeners are asked to label timbres and indicate whether or not each timbre was heard in a previous phase of the experiment
More informationGyorgi Ligeti. Chamber Concerto, Movement III (1970) Glen Halls All Rights Reserved
Gyorgi Ligeti. Chamber Concerto, Movement III (1970) Glen Halls All Rights Reserved Ligeti once said, " In working out a notational compositional structure the decisive factor is the extent to which it
More informationThe Parmenides. chapter 1
chapter 1 The Parmenides The dialogue Parmenides has some claim to be the most problematic item in the Platonic corpus. We have from the beginning a radical change in dramatic framework and in the portrayal
More informationSchool District of Springfield Township
School District of Springfield Township Springfield Township High School Course Overview Course Name: English 12 Academic Course Description English 12 (Academic) helps students synthesize communication
More informationLigeti. Continuum for Harpsichord (1968) F.P. Sharma and Glen Halls All Rights Reserved
Ligeti. Continuum for Harpsichord (1968) F.P. Sharma and Glen Halls All Rights Reserved Continuum is one of the most balanced and self contained works in the twentieth century repertory. All of the parameters
More informationDabney Townsend. Hume s Aesthetic Theory: Taste and Sentiment Timothy M. Costelloe Hume Studies Volume XXVIII, Number 1 (April, 2002)
Dabney Townsend. Hume s Aesthetic Theory: Taste and Sentiment Timothy M. Costelloe Hume Studies Volume XXVIII, Number 1 (April, 2002) 168-172. Your use of the HUME STUDIES archive indicates your acceptance
More informationPlato: Bringing Justice to Light. Plato BCE Republic, ca BCE
Plato: Bringing Justice to Light Plato 429-347 BCE Republic, ca 370-60 BCE First impressions And self-promoting megalomaniac? What sort of text is this? it s not a novel (though it has characters and
More informationCurriculum Map: Accelerated English 9 Meadville Area Senior High School English Department
Curriculum Map: Accelerated English 9 Meadville Area Senior High School English Department Course Description: The course is designed for the student who plans to pursue a college education. The student
More informationWarm-Up Question: How did geography affect the development of ancient Greece?
Essential Question: What were the important contributions of Hellenistic Greece? Warm-Up Question: How did geography affect the development of ancient Greece? Greek Achievements The ancient Greeks made
More informationENGL S092 Improving Writing Skills ENGL S110 Introduction to College Writing ENGL S111 Methods of Written Communication
ENGL S092 Improving Writing Skills 1. Identify elements of sentence and paragraph construction and compose effective sentences and paragraphs. 2. Compose coherent and well-organized essays. 3. Present
More informationAugmentation Matrix: A Music System Derived from the Proportions of the Harmonic Series
-1- Augmentation Matrix: A Music System Derived from the Proportions of the Harmonic Series JERICA OBLAK, Ph. D. Composer/Music Theorist 1382 1 st Ave. New York, NY 10021 USA Abstract: - The proportional
More informationCritical Thinking 4.2 First steps in analysis Overcoming the natural attitude Acknowledging the limitations of perception
4.2.1. Overcoming the natural attitude The term natural attitude was used by the philosopher Alfred Schütz to describe the practical, common-sense approach that we all adopt in our daily lives. We assume
More informationAPPENDIX A: ERRATA TO SCORES OF THE PLAYER PIANO STUDIES
APPENDIX A: ERRATA TO SCORES OF THE PLAYER PIANO STUDIES Conlon Nancarrow s hand-written scores, while generally quite precise, contain numerous errors. Most commonly these are errors of omission (e.g.,
More informationSOCRATES AND ARISTOPHANES BY LEO STRAUSS
SOCRATES AND ARISTOPHANES BY LEO STRAUSS DOWNLOAD EBOOK : SOCRATES AND ARISTOPHANES BY LEO STRAUSS PDF Click link bellow and free register to download ebook: SOCRATES AND ARISTOPHANES BY LEO STRAUSS DOWNLOAD
More informationIllinois Standards Alignment Grades Three through Eleven
Illinois Standards Alignment Grades Three through Eleven Trademark of Renaissance Learning, Inc., and its subsidiaries, registered, common law, or pending registration in the United States and other countries.
More informationCambridge University Press Plato s Erotic World: From Cosmic Origins to Human Death Jill Gordon Excerpt More information
Introduction Most people, if they know anything about Socrates, know about his claims to ignorance. The claims to ignorance are widely understood to capture something of the essence of Socrates, as well
More informationPractical Intuition and Rhetorical Example. Paul Schollmeier
Practical Intuition and Rhetorical Example Paul Schollmeier I Let us assume with the classical philosophers that we have a faculty of theoretical intuition, through which we intuit theoretical principles,
More informationLanguage & Literature Comparative Commentary
Language & Literature Comparative Commentary What are you supposed to demonstrate? In asking you to write a comparative commentary, the examiners are seeing how well you can: o o READ different kinds of
More informationIntroduction and Overview
1 Introduction and Overview Invention has always been central to rhetorical theory and practice. As Richard Young and Alton Becker put it in Toward a Modern Theory of Rhetoric, The strength and worth of
More informationEighth Grade Music Curriculum Guide Iredell-Statesville Schools
Eighth Grade Music 2014-2015 Curriculum Guide Iredell-Statesville Schools Table of Contents Purpose and Use of Document...3 College and Career Readiness Anchor Standards for Reading...4 College and Career
More information3b- Practical acoustics for woodwinds: sound research and pitch measurements
FoMRHI Comm. 2041 Jan Bouterse Making woodwind instruments 3b- Practical acoustics for woodwinds: sound research and pitch measurements Pure tones, fundamentals, overtones and harmonics A so-called pure
More informationChapter Five: The Elements of Music
Chapter Five: The Elements of Music What Students Should Know and Be Able to Do in the Arts Education Reform, Standards, and the Arts Summary Statement to the National Standards - http://www.menc.org/publication/books/summary.html
More informationCorrelated to: Massachusetts English Language Arts Curriculum Framework with May 2004 Supplement (Grades 5-8)
General STANDARD 1: Discussion* Students will use agreed-upon rules for informal and formal discussions in small and large groups. Grades 7 8 1.4 : Know and apply rules for formal discussions (classroom,
More informationWitnesses and the Watch Tower after thirty-five years of lost dreams Lost Edinburgh: Edinburgh's Lost Architectural Heritage Lost: Lost and Found Pet
Paradise Lost PDF This is the second edition of the "Norton Critical Edition" of Milton's "Paradise Lost". It represents an extensive revision of the first edition. The text of the poem remains that of
More informationBPS Interim Assessments SY Grade 2 ELA
BPS Interim SY 17-18 BPS Interim SY 17-18 Grade 2 ELA Machine-scored items will include selected response, multiple select, technology-enhanced items (TEI) and evidence-based selected response (EBSR).
More informationCSC475 Music Information Retrieval
CSC475 Music Information Retrieval Symbolic Music Representations George Tzanetakis University of Victoria 2014 G. Tzanetakis 1 / 30 Table of Contents I 1 Western Common Music Notation 2 Digital Formats
More informationPLANE TESSELATION WITH MUSICAL-SCALE TILES AND BIDIMENSIONAL AUTOMATIC COMPOSITION
PLANE TESSELATION WITH MUSICAL-SCALE TILES AND BIDIMENSIONAL AUTOMATIC COMPOSITION ABSTRACT We present a method for arranging the notes of certain musical scales (pentatonic, heptatonic, Blues Minor and
More informationSpringBoard Academic Vocabulary for Grades 10-11
CCSS.ELA-LITERACY.CCRA.L.6 Acquire and use accurately a range of general academic and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career
More informationGrade Six. MyMusicTheory.com. Composition Complete Course, Exercises & Answers PREVIEW. (ABRSM Syllabus) BY VICTORIA WILLIAMS BA MUSIC
MyMusicTheory.com Grade Six Composition Complete Course, Exercises & Answers PREVIEW (ABRSM Syllabus) BY VICTORIA WILLIAMS BA MUSIC www.mymusictheory.com Published: 8th March 2015 1 This is a preview document
More informationImplementation of a Ten-Tone Equal Temperament System
Proceedings of the National Conference On Undergraduate Research (NCUR) 2014 University of Kentucky, Lexington, KY April 3-5, 2014 Implementation of a Ten-Tone Equal Temperament System Andrew Gula Music
More informationIntroduction to Instrumental and Vocal Music
Introduction to Instrumental and Vocal Music Music is one of humanity's deepest rivers of continuity. It connects each new generation to those who have gone before. Students need music to make these connections
More informationJefferson School District Literature Standards Kindergarten
Kindergarten LI.01 Listen, make connections, and respond to stories based on well-known characters, themes, plots, and settings. LI.02 Name some book titles and authors. LI.03 Demonstrate listening comprehension
More informationDAT335 Music Perception and Cognition Cogswell Polytechnical College Spring Week 6 Class Notes
DAT335 Music Perception and Cognition Cogswell Polytechnical College Spring 2009 Week 6 Class Notes Pitch Perception Introduction Pitch may be described as that attribute of auditory sensation in terms
More informationConsonance perception of complex-tone dyads and chords
Downloaded from orbit.dtu.dk on: Nov 24, 28 Consonance perception of complex-tone dyads and chords Rasmussen, Marc; Santurette, Sébastien; MacDonald, Ewen Published in: Proceedings of Forum Acusticum Publication
More informationStudy Guide. Solutions to Selected Exercises. Foundations of Music and Musicianship with CD-ROM. 2nd Edition. David Damschroder
Study Guide Solutions to Selected Exercises Foundations of Music and Musicianship with CD-ROM 2nd Edition by David Damschroder Solutions to Selected Exercises 1 CHAPTER 1 P1-4 Do exercises a-c. Remember
More informationCare of the self: An Interview with Alexander Nehamas
Care of the self: An Interview with Alexander Nehamas Vladislav Suvák 1. May I say in a simplified way that your academic career has developed from analytical interpretations of Plato s metaphysics to
More informationDivisions on a Ground
Divisions on a Ground Introductory Exercises in Improvisation for Two Players John Mortensen, DMA Based on The Division Viol by Christopher Simpson (1664) Introduction. The division viol was a peculiar
More informationInternational Journal of Advancements in Research & Technology, Volume 4, Issue 11, November ISSN
International Journal of Advancements in Research & Technology, Volume 4, Issue 11, November -2015 58 ETHICS FROM ARISTOTLE & PLATO & DEWEY PERSPECTIVE Mohmmad Allazzam International Journal of Advancements
More informationPlato s. Analogy of the Divided Line. From the Republic Book 6
Plato s Analogy of the Divided Line From the Republic Book 6 1 Socrates: And we say that the many beautiful things in nature and all the rest are visible but not intelligible, while the forms are intelligible
More informationVerity Harte Plato on Parts and Wholes Clarendon Press, Oxford 2002
Commentary Verity Harte Plato on Parts and Wholes Clarendon Press, Oxford 2002 Laura M. Castelli laura.castelli@exeter.ox.ac.uk Verity Harte s book 1 proposes a reading of a series of interesting passages
More informationLesson 9: Scales. 1. How will reading and notating music aid in the learning of a piece? 2. Why is it important to learn how to read music?
Plans for Terrance Green for the week of 8/23/2010 (Page 1) 3: Melody Standard M8GM.3, M8GM.4, M8GM.5, M8GM.6 a. Apply standard notation symbols for pitch, rhythm, dynamics, tempo, articulation, and expression.
More informationBach-Prop: Modeling Bach s Harmonization Style with a Back- Propagation Network
Indiana Undergraduate Journal of Cognitive Science 1 (2006) 3-14 Copyright 2006 IUJCS. All rights reserved Bach-Prop: Modeling Bach s Harmonization Style with a Back- Propagation Network Rob Meyerson Cognitive
More information