Ernest G. Mcclain the MYTH of INVARIANCE the Origin of the Gods, Mathematics and Music from the Ṛg Veda to Plato
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Burn Your Way to Success Studies in the Mesopotamian Ritual And
Burn your way to success Studies in the Mesopotamian Ritual and Incantation Series Šurpu by Francis James Michael Simons A thesis submitted to the University of Birmingham for the degree of Doctor of Philosophy Department of Classics, Ancient History and Archaeology School of History and Cultures College of Arts and Law University of Birmingham March 2017 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract The ritual and incantation series Šurpu ‘Burning’ is one of the most important sources for understanding religious and magical practice in the ancient Near East. The purpose of the ritual was to rid a sufferer of a divine curse which had been inflicted due to personal misconduct. The series is composed chiefly of the text of the incantations recited during the ceremony. These are supplemented by brief ritual instructions as well as a ritual tablet which details the ceremony in full. This thesis offers a comprehensive and radical reconstruction of the entire text, demonstrating the existence of a large, and previously unsuspected, lacuna in the published version. In addition, a single tablet, tablet IX, from the ten which comprise the series is fully edited, with partitur transliteration, eclectic and normalised text, translation, and a detailed line by line commentary. -
Miscellaneous Babylonian Inscriptions
MISCELLANEOUS BABYLONIAN INSCRIPTIONS BY GEORGE A. BARTON PROFESSOR IN BRYN MAWR COLLEGE ttCI.f~ -VIb NEW HAVEN YALE UNIVERSITY PRESS LONDON HUMPHREY MILFORD OXFORD UNIVERSITY PRESS MDCCCCXVIII COPYRIGHT 1918 BY YALE UNIVERSITY PRESS First published, August, 191 8. TO HAROLD PEIRCE GENEROUS AND EFFICIENT HELPER IN GOOD WORKS PART I SUMERIAN RELIGIOUS TEXTS INTRODUCTORY NOTE The texts in this volume have been copied from tablets in the University Museum, Philadelphia, and edited in moments snatched from many other exacting duties. They present considerable variety. No. i is an incantation copied from a foundation cylinder of the time of the dynasty of Agade. It is the oldest known religious text from Babylonia, and perhaps the oldest in the world. No. 8 contains a new account of the creation of man and the development of agriculture and city life. No. 9 is an oracle of Ishbiurra, founder of the dynasty of Nisin, and throws an interesting light upon his career. It need hardly be added that the first interpretation of any unilingual Sumerian text is necessarily, in the present state of our knowledge, largely tentative. Every one familiar with the language knows that every text presents many possi- bilities of translation and interpretation. The first interpreter cannot hope to have thought of all of these, or to have decided every delicate point in a way that will commend itself to all his colleagues. The writer is indebted to Professor Albert T. Clay, to Professor Morris Jastrow, Jr., and to Dr. Stephen Langdon for many helpful criticisms and suggestions. Their wide knowl- edge of the religious texts of Babylonia, generously placed at the writer's service, has been most helpful. -
An Introduction to Pythagorean Arithmetic
AN INTRODUCTION TO PYTHAGOREAN ARITHMETIC by JASON SCOTT NICHOLSON B.Sc. (Pure Mathematics), University of Calgary, 1993 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE in THE FACULTY OF GRADUATE STUDIES Department of Mathematics We accept this thesis as conforming tc^ the required standard THE UNIVERSITY OF BRITISH COLUMBIA March 1996 © Jason S. Nicholson, 1996 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my i department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver, Canada Dale //W 39, If96. DE-6 (2/88) Abstract This thesis provides a look at some aspects of Pythagorean Arithmetic. The topic is intro• duced by looking at the historical context in which the Pythagoreans nourished, that is at the arithmetic known to the ancient Egyptians and Babylonians. The view of mathematics that the Pythagoreans held is introduced via a look at the extraordinary life of Pythagoras and a description of the mystical mathematical doctrine that he taught. His disciples, the Pythagore• ans, and their school and history are briefly mentioned. Also, the lives and works of some of the authors of the main sources for Pythagorean arithmetic and thought, namely Euclid and the Neo-Pythagoreans Nicomachus of Gerasa, Theon of Smyrna, and Proclus of Lycia, are looked i at in more detail. -
Pietro Aaron on Musica Plana: a Translation and Commentary on Book I of the Libri Tres De Institutione Harmonica (1516)
Pietro Aaron on musica plana: A Translation and Commentary on Book I of the Libri tres de institutione harmonica (1516) Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Joseph Bester, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Graeme M. Boone, Advisor Charles Atkinson Burdette Green Copyright by Matthew Joseph Bester 2013 Abstract Historians of music theory long have recognized the importance of the sixteenth- century Florentine theorist Pietro Aaron for his influential vernacular treatises on practical matters concerning polyphony, most notably his Toscanello in musica (Venice, 1523) and his Trattato della natura et cognitione de tutti gli tuoni di canto figurato (Venice, 1525). Less often discussed is Aaron’s treatment of plainsong, the most complete statement of which occurs in the opening book of his first published treatise, the Libri tres de institutione harmonica (Bologna, 1516). The present dissertation aims to assess and contextualize Aaron’s perspective on the subject with a translation and commentary on the first book of the De institutione harmonica. The extensive commentary endeavors to situate Aaron’s treatment of plainsong more concretely within the history of music theory, with particular focus on some of the most prominent treatises that were circulating in the decades prior to the publication of the De institutione harmonica. This includes works by such well-known theorists as Marchetto da Padova, Johannes Tinctoris, and Franchinus Gaffurius, but equally significant are certain lesser-known practical works on the topic of plainsong from around the turn of the century, some of which are in the vernacular Italian, including Bonaventura da Brescia’s Breviloquium musicale (1497), the anonymous Compendium musices (1499), and the anonymous Quaestiones et solutiones (c.1500). -
Ancient Greek Music a New Technical History
ANCIENT GREEK MUSIC A NEW TECHNICAL HISTORY This book endeavours to pinpoint the relations between musical, and especially instrumen- tal, practice and the evolving conceptions of pitch systems. It traces the development of ancient melodic notation from reconstructed origins, through various adaptations necessi- tated 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 perspective on the harmonic relations underlying the extant melody fragments. Dr Hagel discusses the textual and pictorial evidence, introducing mathematical approaches wherever feasible, but also contrib- utes 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. STEFAN HAGEL holds a research post at the Commission for Ancient Literature of the Aus- trian Academy of Sciences. His interests focus on ancient Greek music and metre, including reconstruction of instruments and performance techniques. He also creates dedicated soft- ware for scholarly purposes and his Classical Text Editor received the European Academic Software Award. ANCIENT GREEK MUSIC A NEW TECHNICAL HISTORY STEFAN HAGEL Austrian Academy of Sciences CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Dubai, Tokyo Cambridge University Press The Edinburgh Building, Cambridge CB2 8RU, UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521517645 © Stefan Hagel 2009 This publication is in copyright. -
Asher-Greve / Westenholz Goddesses in Context ORBIS BIBLICUS ET ORIENTALIS
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2013 Goddesses in Context: On Divine Powers, Roles, Relationships and Gender in Mesopotamian Textual and Visual Sources Asher-Greve, Julia M ; Westenholz, Joan Goodnick Abstract: Goddesses in Context examines from different perspectives some of the most challenging themes in Mesopotamian religion such as gender switch of deities and changes of the status, roles and functions of goddesses. The authors incorporate recent scholarship from various disciplines into their analysis of textual and visual sources, representations in diverse media, theological strategies, typologies, and the place of image in religion and cult over a span of three millennia. Different types of syncretism (fusion, fission, mutation) resulted in transformation and homogenization of goddesses’ roles and functions. The processes of syncretism (a useful heuristic tool for studying the evolution of religions and the attendant political and social changes) and gender switch were facilitated by the fluidity of personality due to multiple or similar divine roles and functions. Few goddesses kept their identity throughout the millennia. Individuality is rare in the iconography of goddesses while visual emphasis is on repetition of generic divine figures (hieros typos) in order to retain recognizability of divinity, where femininity is of secondary significance. The book demonstrates that goddesses were never marginalized or extrinsic and thattheir continuous presence in texts, cult images, rituals, and worship throughout Mesopotamian history is testimony to their powerful numinous impact. This richly illustrated book is the first in-depth analysis of goddesses and the changes they underwent from the earliest visual and textual evidence around 3000 BCE to the end of ancient Mesopotamian civilization in the Seleucid period. -
Sumerian Liturgical Texts
UNIVERSITY OF PENNSYLVANIA THE UNIVERSITY MUSEUM PUBLICATIONS OF THE BABYLONIAN SECTION VOL. X No. 2 SUMERIAN LITURGICAL TEXTS BY g600@T STEPHEN LANGDON ,.!, ' PHILADELPHIA PUBLISHED BY THE UNIVERSITY MUSEUM 1917 DIVINITY LIBRARY gJ-37 . f's- ". /o, ,7'Y,.'j' CONTENTS INTRODUC1'ION ................................... SUMERIAN LITURGICAL TEXTS: EPICALPOEM ON THE ORIGINOF SLIMERIANCIVILI- ZATION ...................................... LAMENTATIONTO ARURU......................... PENITENTIALPSALM TO GOD AMURRU............. LAMENTATIONON THE INVASION BY GUTIUM....... LEGENDOF GILGAMISH........................... LITURGICALHYMN TO UR-ENGUR............. .. .. LITURGICALHYMN TO DUNGI...................... LITURGICALHYMN TO LIBIT-ISHTAR(?)OR ISHME- DAGAN(?)................................... LITURGICALHYMN TO ISHME-DAGAN............... LAMENTATIONON THE DESTRUCTIONOF UR ........ HYMNOF SAMSUILUNA........................... LITURGYTO ENLIL.babbar-ri babbar.ri.gim. INCLUD- ING A TRANSLATIONOF SBH 39 .............. FRAGMENTFROM THE TITULARLITANY OF A LITURGY LITURGICALHYMN TO ISHME.DAGAN............... LITURGYTO INNINI ............................... INTRODUCTION Under the title SUMERIANLITURGICAL TEXTS the author has collected the material of the Nippur collection which belonged to the various public song services of the Sumerian and Babylonian temples. In this category he has included the epical and theological poems called lag-sal. These long epical compositions are the work of a group of scholars at Nippur who ambitiously planned to write a series -
Boethius's Music
/ OTHER PUBLlSHED VOlUMES IN THE MUSIC THEORY nANSLATION SElUES: Fundamentals of Musiy The Praetieal Harm oni st at the Harpsiehord, 1708. by Francesco Gas parini, translated by Frank S, Stillings. edited by David L. Burrows. The An 01Couruerpoint, Pan Three of Le tstinaioni harmoniche, 1558, by AN ICIUS MANLIUS SEVERINUS BOETHIUS G ioseffo Zar lino, translated by Guy A , Marco and Claude V. Palisca . Hucbaìd, Guido, and Iohn 0 11 Music, Three Medieval ìreatises, translated by Warren Babb, edited with Introductions by Claude V. Patisca, The An 01 Stria Musical Composition, 1771-1 779, by Johann Philipp Kim berger, translated by David Beach and Jurgen Thym. Translaced, wùh Introduai on and Notes by lntroductory Essay on Composùion , 1782-1793 . by Heinrich Ch risto ph Koch , translated by Nancy Kovaleff Baker, Calvin M. Bower Aristides Qllintilianus 0 11 Music, in Three Books, translated with lnt ro duet ion , Commemery, and A nnotations, by Thomas J, Mathiesen . On ,!le Modes, Part Four of Le lstitutìoni harmoniche, 1558, by Gioseffo Edired by Za rlìno, translated by Vered Co hen, edited with an Introduction by Oaude V. Patisca. Claude V. Patisca The Fiorentine Camerata: Documentary Studies and Tm nsk uions by Claude V. Patisca. 1989 Yale University Press New Haven & London xii CONTENTS Ptolemy adap ts ratios te the dlvision of the enharmonic genus 182 23. Ptolemy's division of the soft chromatic genus 182 Preface by Series Editor 24. Ptole my's division of the sharp chromarìc genus 182 25. Disposition of Ptclemy's compaci gene ra with numbe rs and ratics 183 26. -
On the Bimodular Approximation and Equal Temperaments
On the Bimodular Approximation and Equal Temperaments Martin Gough DRAFT June 8 2014 Abstract The bimodular approximation, which has been known for over 300 years as an accurate means of computing the relative sizes of small (sub-semitone) musical intervals, is shown to provide a remarkably good approximation to the sizes of larger intervals, up to and beyond the size of the octave. If just intervals are approximated by their bimodular approximants (rational numbers defined as frequency difference divided by frequency sum) the ratios between those intervals are also rational, and under certain simply stated conditions can be shown to coincide with the integer ratios which equal temperament imposes on the same intervals. This observation provides a simple explanation for the observed accuracy of certain equal divisions of the octave including 12edo, as well as non-octave equal temperaments such as the fifth-based temperaments of Wendy Carlos. Graphical presentations of the theory provide further insights. The errors in the bimodular approximation can be expressed as bimodular commas, among which are many commas featuring in established temperament theory. Introduction Just musical intervals are characterised by small-integer ratios between frequencies. Equal temperaments, by contrast, are characterised by small-integer ratios between intervals. Since interval is the logarithm of frequency ratio, it follows that an equal temperament which accurately represents just intervals embodies a set of rational approximations to the logarithms (to some suitable base) of simple rational numbers. This paper explores the connection between these rational logarithmic approximations and those obtained from a long-established rational approximation to the logarithm function – the bimodular approximation. -
Behind the Mirror Revealing the Contexts of Jacobus's Speculum
Behind the Mirror Revealing the Contexts of Jacobus’s Speculum musicae by Karen Desmond A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music New York University May, 2009 ___________________________ Edward H. Roesner © Karen Desmond All Rights Reserved, 2009 DEDICATION For my family iv ACKNOWLEDGMENTS I would like to thank my advisor, Edward Roesner, for his unfaltering support throughout this process, for his thoughtful suggestions regarding lines of inquiry, and his encyclopedic knowledge of the field. I would like to thank Stanley Boorman and Gabriela Iltnichi for their friendship and expertise, and their critical eye in their careful reading of many drafts of my work. For their assistance during my research trip to Belgium, I must mention Monsieur Abbé Deblon and Christian Dury at the Archives de l’Evêché, Liège, Paul Bertrand at the Archives de l’Etat, Liège, Philippe Vendrix for his kind hospitality, and to Barbara Haggh-Huglo for her tips and advice in advance of my trip, and for also reading a final draft of this dissertation. I would also like to thank Margaret Bent and Ruth Steiner for help during the early stages of my doctoral research, and Suzanne Cusick for her reading of the final draft. Finally, heartfelt thanks are due to my husband, Insup; my two sons, Ethan and Owen; and my parents, John and Chris, who have been steadfast in their encouragement of this endeavor. v ABSTRACT This study addresses the general question of how medieval music theory participated in the discourse of the related disciplines of philosophy, natural science and theology. -
Mythsandlegends 11
하얀파도의 神話想像世界 11 - 메소포타미아 2010 신화ㆍ상상세계 사전 (神話ㆍ想像世界 辭典) 제11권 메소포타미아 일러두기 이 글을 제가 여기저기의 글을 편집해서 만든 신화ㆍ상상세계 사전의 열한 번째 부분이다. 티그리스와 유프라테스 강 사이에 있는 메소포타미아의 신화와 전설을 모 았다. 아직까지 Encyclopedia Mythica와 조철수의 『수메스 신화』에서 발췌한 내 용이 대부분이다. 하지만 조철수 교수는 세계에서 수메르어를 전공한 몇 안되는 분 중 한 분이기 때문에 앞으로 영어로 표기된 발음이 아니고 수메르어에 가까운 표기 로 수메르 신화를 접할 수 있을 것 같다. [ ] 안에 지역을 집어넣어 구별할 수 있도록 하였습니다. 책이름은 『 』에 넣 고, 잡지나 신문 등 기타는 「 」에 넣었다. (2008.8) 수메르 사람들은 기원전 4천경에 물건을 상징하는 물표를 만들어 그 표면에 물건 의 특색을 그려 넣어서 사용했다. 기원전 3300년경에 상형문자와 숫자를 쓰기 시작 했다. 그들은 중국 사람들처럼 많은 상형문자를 만들지 않았다. 기원전 2600년경에 는 사용하는 문자가 줄어들어 약 700개의 문자만 썼다. 수메르 사람들은 기존의 문 자를 조합해서 새로운 낱말로 만들어 썼다. 중국 사람들도 기존의 글자를 이용해서 새로운 뜻을 표현했지만, 그들은 새로운 글자를 만들어 냄으로써 글자 수가 기하급 수적으로 늘어나게 만들었다. 수메르 사람들은 “루(lu2, 사람)”와 “갈(gal, 큰)”을 합쳐서 갈루(GAL.LU2)로 표기 하고 루갈로 읽었다. 그 뜻은 “왕”이 되었다. 하지만 “큰 사람”을 말하는 경우에는 루-갈(lu2-gal)로 표기했다. 한편 한 문자를 여러 음으로 발음하고 그 뜻도 각기 다 른 경우가 있다. “입”은 카(ka)인데, “말하다”라는 뜻인 “둑(dug4)”으로 읽거나 “말 씀”이라는 뜻인 “이님(inim)”, “이빨”이라는 뜻인 “주(zu)”로 읽기도 했다. 수메르 사람들은 모든 단어를 표의문자로 만들지 않았다. “꿈”이라는 단어는 “마 무드(mamud)”라고 하는데, “꿈”이라는 표의문자를 만들지 않고 2개 음절로 “마-무 드(ma-mud)”로 표기했다. -
A Reader in Comparative Indo-European Religion
2018 A READER IN COMPARATIVE INDO-EUROPEAN RELIGION Ranko Matasović Zagreb 2018 © This publication is intended primarily for the use of students of the University of Zagreb. It should not be copied or otherwise reproduced without a permission from the author. TABLE OF CONTENTS Abbreviations........................................................................................................................ Foreword............................................................................................................................... PART 1: Elements of the Proto-Indo-European religion...................................................... 1. Reconstruction of PIE religious vocabulary and phraseology................................... 2. Basic Religious terminology of PIE.......................................................................... 3. Elements of PIE mythology....................................................................................... PART II: A selection of texts Hittite....................................................................................................................................... Vedic........................................................................................................................................ Iranian....................................................................................................................................... Greek.......................................................................................................................................