DOCSLIB.ORG

Dialogo Della Musica Antica Et Della Moderna of Vincenzo Galilei

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dialogo Della Musica Antica Et Della Moderna of Vincenzo Galilei no. 730o V, 1 DIALOGO DELLA MUSICA ANTICA ET DELLA MODERNA OF VINCENZO GALILEI: TRANSLATION AND COMMENTARY DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Robert H. Herman, M. M. Denton, Texas August, 1973 Herman, Robert H., Dialog dell musica antics et della modern of Vincenso Galilei: Translation and on- mmeentaryDoctor of Philosophy (Music Theory), August, 1973, 929 pp., 43 tables, bibliography, 165 titles, index. The purpose of this study is to provide a practical English translation of Vincenzo Galilei's significant treatise on ancient and modern music (1581). In spite of the important place this work holds in the history of music, it has never before been made available in its entirety in any language other than the original Italian. The Dialogo della music a antics et della modern was, in effect, an expression of monodic tendencies in Italian music of the sixteenth century. While the prevailing vocal compositional style was contrapuntal, Galilei advocated the development of homophonic pieces, which could produce in their hearers whatever affections or emotions the composer desired to convey. The emphasis was on simplicity of melody, with only a few chords for accompaniment. This style, with its sparseness of means, was influenced by the music of the ancient Greeks, whose philosophies and art forms were in credit at the time, having been revived by such Renaissance humanists as Lorenzo di Medici, Marsilio Ficino, and Angelo Poliziano. Galilei, influenced by the erudite Girolamo Mei, who was 2 a classical philologist, drew away from his former mentor, Gioseffo Zarlino, a firm believer in traditional counter- point. He included in his Dialogo many attacks upon Zarlino's teachings, engendering a long and bitter contro- versy which extended until Galilei's death in 1591. The ideas promulgated by Galilei became the subjects of discussion by members of the Florentine Camerata of Count Giovanni Bardi. Experiments revealed the dramatic led to possibilities of the new monodies, which in turn the establishment of a new art form, the opera. Besides the 1581 edition, the Dialogo has been reproduced in two twentieth century facsimile editions (Rome, Reale accademia d'Italia, 1934, and New York, Broude Bros., 1967). These versions, along with a number of microfilm copies, were used in preparing this disser- tation. All appeared to be from the same impression. The original Dialogo is not divided into chapters. Division headings have been supplied in the translation according to the logical separation of Galilei's material. The first section of the translation concerns itself with acoustical speculations, while the second section is a critical discussion of ancient and modern musical art. The third section is a critical discussion of polyphony and the fourth section is a history of musical instruments 3 and notation. The fifth and final section concerns itself with a critical discussion of the instrumental music of Galilei's time. These five headings were considered by Galilei to be the ones most pertinent to a modern treatise on music. In the present translation every effort has been made to provide a lucid rendition of Galilei's work. The long, tedious sentences which appear in the original version have been divided, thus removing the same obstacle to English readers as would be presented to modern Italian readers of the 1581 edition. It has also been necessary, on occasion, to alter the grammatical structure of particularly idiomatic passages as well as to remove a number of confusing particles and conjunctions. In no instance, however, has the original meaning been distorted. Because of increased demands upon the time of musical scholars, there is an even greater case for translated versions of significant treatises. It would, moreover, permit the free flow of important musical ideas, unhampered by the barrier of a foreign language, thus helping to preserve for an increasing number of readers the extensive heritage of our musical past. 1973 ROBERT HENRY HERMAN ALL RIGHTS RESERVED PREFACE In the course of the ages, many works on music have appeared, some of which have flourished briefly before passing into obscurity. Others, possessing more enduring qualities, have been granted a more permanent place in the panorama of history. There are very few treatises, standing at the foundation of an era, which form the cultural concepts that cleave to the core of musical society. Vincenzo Galilei's Dalogo della musica antica et moderna was such a work, for at its inception it fomented a fierce controversy between the proponents of ancient and modern music. Before the strife faded, its tremors were felt in many lands by academicians of diverse disciplines. The Dialogo is significant for several reasons. It is, initially, a valuable study, both of the Renaissance concept of ancient Greek music and the music of the Renaissance. Galilei's work is rich in source materials, for he cites nearly all of the ancient authorities on music, including many incidental references to that sub- ject in the classical authors. The Dialogo also contains iv a wealth of information on many facets of musical art including tuning theories, comparisons of Greek music with that of Galilei's time, sixteenth-century polyphony, the history of musical instruments and notation, and Renaissance instrumental music. There are, in addition, authentic examples of ancient Greek music, the Hymns to the Muse, to the Sun, and to Nemesis, which appear in print in the Dialogo for the first time, as well as portions of the tables of Alypius, which contain the early Greek notation symbols. Despite the importance of this treatise, no full English translation of it has been made until now. There are excerpts in collections by Oliver Strunk1 and Bruno Nettl,2 but neither of these is sufficient to realize the entire potential of the Dialoo as a valuable reference work. The purpose of this disser- tation, therefore, has been to translate the Dialogo into English, transcribe its musical examples into modern notation, and provide a commentary upon its salient features. 1Oliver Strunk, Source Readings in Music History (New York, 1950), pp.3227 2 Bruno Nettl, The Book of Musical Documents (New York, 1948), pp. 36~7;~T4-47. V The Dialogo takes the form of a long rambling dis- course, 149 pages in all. It is equipped with marginal glosses known as "postilli" which are set off from the main body of the text. Their function is to pinpoint the location of a name or subject in the text, to clar- ify or amplify a statement, or to serve as a repository for bibliographical information. Since there are no chapter headings or divisions in the Dialogo, the "postilli" more or less act in their place. To elim- inate this inconvenience, chapter divisions and head- ings have been supplied in the English translation. Numbers and captions have also been added by the trans- lator to all musical examples and diagrams to facilitate reference to them. In order to expedite comparisons with the 1581 edition of the Dialogo, the original page numbers are given in brackets in the margin of the translation. The traditional catchword, like the musi- cal "custos", stands guard at the foot of each column except where the text artistically dwindles down to a point, heralding the approach of a large illustration on the succeeding page. Except for the use of indirect discourse, occa- sional archaic or interchangeable spellings ("i" for "y", "h" either retained or dropped, and so forth), and a few obsolete verb forms, the Italian of the vi Dialogo is essentially the same as that of today, and, as such, poses no monumental problems to the translator. Galilei generally manages to say what must be said, but his style is rather verbose, full of redundancies and tautologies. Only occasionally does it border upon the elegant, being more often commonplace and sometimes decidedly awkward. He has a pronounced tendency for complexity of sentence structure and almost a penchant for parenthetical expressions. Sir John Hawkins de- scribes his writing as "clear and nervous but negligent," adding that "nice judges say that it is in some instances ungrammatical." 3 In order to provide a more lucid English translation, many of the lengthy sentences have been divided into shorter ones, and many of the unwieldy particles and conjunctions have been eliminated. The references to "questa" and "quella" (this and that) and "cosa" (thing), proper enough in Italian, but vague and confusing in English, have been replaced, where unclear, by the words they originally modified. While it has been necessary to deviate in some instances from the formal grammatical structure of the Dialogo, in no case have Galilei's statements been materially altered. 3Sir John Hawkins, A General History of the Science and Practice of usic, 2vols., facsimile c.mewYork, 175)I 44. vii There are, in addition, frequent technical errors or inconsistencies. The marginal glosses were partic- ularly prone to printing problems. In several instances, one digit of a page or chapter number is missing. Simi- larly, it is not always clear who is referred to by the citation in a marginal gloss due to the omission of his name. If there are several successive glosses, it is also difficult to determine the object of each one. There is an instance (Dialogo, p. 124) in which the final letters of several lines were cut off in printing. The same error was apparent in comparing the 1934 and 1966 facsimile editions. A number of Galilei's musical examples came without sharps and, in one case, even with- out notes (Dialogo, pp. 37-38). Galilei's recalcitrant Venetian printers are prob- ably to blame for some of the errors in the Dialogo.
Load more

Recommended publications
  • The Olynthiacs and the Phillippics of Demosthenes
    The Olynthiacs and the Phillippics of Demosthenes Charles Rann Kennedy The Olynthiacs and the Phillippics of Demosthenes Table of Contents The Olynthiacs and the Phillippics of Demosthenes..............................................................................................1 Charles Rann Kennedy...................................................................................................................................1 THE FIRST OLYNTHIAC............................................................................................................................1 THE SECOND OLYNTHIAC.......................................................................................................................6 THE THIRD OLYNTHIAC........................................................................................................................10 THE FIRST PHILIPPIC..............................................................................................................................14 THE SECOND PHILIPPIC.........................................................................................................................21 THE THIRD PHILIPPIC.............................................................................................................................25 THE FOURTH PHILIPPIC.........................................................................................................................34 i The Olynthiacs and the Phillippics of Demosthenes Charles Rann Kennedy This page copyright © 2002 Blackmask Online.
    [Show full text]
  • 2-Minute Stories Galileo's World
    OU Libraries National Weather Center Tower of Pisa light sculpture (Engineering) Galileo and Experiment 2-minute stories • Bringing worlds together: How does the story of • How did new instruments extend sensory from Galileo exhibit the story of OU? perception, facilitate new experiments, and Galileo and Universities (Great Reading Room) promote quantitative methods? • How do universities foster communities of Galileo and Kepler Galileo’s World: learning, preserve knowledge, and fuel • Who was Kepler, and why was a telescope Bringing Worlds Together innovation? named after him? Galileo in Popular Culture (Main floor) Copernicus and Meteorology Galileo’s World, an “Exhibition without Walls” at • What does Galileo mean today? • How has meteorology facilitated discovery in the University of Oklahoma in 2015-2017, will History of Science Collections other disciplines? bring worlds together. Galileo’s World will launch Music of the Spheres Galileo and Space Science in 21 galleries at 7 locations across OU’s three • What was it like to be a mathematician in an era • What was it like, following Kepler and Galileo, to campuses. The 2-minute stories contained in this when music and astronomy were sister explore the heavens? brochure are among the hundreds that will be sciences? Oklahomans and Aerospace explored in Galileo’s World, disclosing Galileo’s Compass • How has the science of Galileo shaped the story connections between Galileo’s world and the • What was it like to be an engineer in an era of of Oklahoma? world of OU during OU’s 125th anniversary.
    [Show full text]
  • Investigations Into the Zarlino-Galilei Dispute
    WHERE NATURE AND ART ADJOIN: INVESTIGATIONS INTO THE ZARLINO- GALILEI DISPUTE, INCLUDING AN ANNOTATED TRANSLATION OF VINCENZO GALILEI’S DISCORSO INTORNO ALL’OPERE DI MESSER GIOSEFFO ZARLINO Randall E. Goldberg Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Jacobs School of Music Indiana University February 2011 UMI Number: 3449553 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3449553 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee ____________________________ Thomas J. Mathiesen ____________________________ Massimo Ossi ____________________________ Ayana Smith ____________________________ Domenico Bertoloni Meli February 8, 2011 ii Copyright © 2011 Randall E. Goldberg iii Dedication For encouraging me to follow my dreams and helping me “be the ball,” this dissertation is dedicated with love to my parents Barry and Sherry Goldberg iv Acknowledgments There are many people and institutions that aided me in the completion of this project. First of all, I would like thank the Jacobs School of Music at Indiana University.
    [Show full text]
  • 3. Monody and Opera
    Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced
    [Show full text]
  • On the Isochronism of Galilei's Horologium
    IFToMM Workshop on History of MMS – Palermo 2013 On the isochronism of Galilei's horologium Francesco Sorge, Marco Cammalleri, Giuseppe Genchi DICGIM, Università di Palermo, [email protected], [email protected], [email protected] Abstract − Measuring the passage of time has always fascinated the humankind throughout the centuries. It is amazing how the general architecture of clocks has remained almost unchanged in practice to date from the Middle Ages. However, the foremost mechanical developments in clock-making date from the seventeenth century, when the discovery of the isochronism laws of pendular motion by Galilei and Huygens permitted a higher degree of accuracy in the time measure. Keywords: Time Measure, Pendulum, Isochronism Brief Survey on the Art of Clock-Making The first elements of temporal and spatial cognition among the primitive societies were associated with the course of natural events. In practice, the starry heaven played the role of the first huge clock of mankind. According to the philosopher Macrobius (4 th century), even the Latin term hora derives, through the Greek word ‘ώρα , from an Egyptian hieroglyph to be pronounced Heru or Horu , which was Latinized into Horus and was the name of the Egyptian deity of the sun and the sky, who was the son of Osiris and was often represented as a hawk, prince of the sky. Later on, the measure of time began to assume a rudimentary technical connotation and to benefit from the use of more or less ingenious devices. Various kinds of clocks developed to relatively high levels of accuracy through the Egyptian, Assyrian, Greek and Roman civilizations.
    [Show full text]
  • The Motif of Love in Euripides' Works Helen and Medea
    THE MOTIF OF LOVE IN THE HELEN AND THE ALCESTIS OF EURIPIDES by Eleftheria N. Athanasopoulou DOCTORAL DISSERTATION submitted in fulfilment of the requirements for the degree DOCTOR LITTERARUM ET PHILOSOPHIAE in GREEK in the FACULTY OF HUMANITIES at the UNIVERSITY OF JOHANNESBURG SUPERVISOR: PROFESSOR J. L. P. WOLMARANS JANUARY 2008 For my family, and especially for my children… «Αν κάποιος προηγείται απλώς του καιρού του, κάποια μέρα ο καιρός θα τον προλάβει». (Wittgenstein, L. 1986). «Η θάλασσα που μας πίκρανε είναι βαθιά κι ανεξερεύνητη και ξεδιπλώνει μιαν απέραντη γαλήνη». (Seferis, G. 1967). ACKNOWLEDGMENTS Grateful acknowledgment is hereby made to Prof. J. L. P. Wolmarans for his advice, patience and assistance. This work would not have been completed without his encouragement. Indeed, his criticism was beneficial to the development of my ideas. It is of special significance to acknowledge the support given to me by some friends. I am particularly indebted to them for various favours. I also thank my husband for his advice, so that I could look afresh at a large number of questions. I wish to thank the anonymous reader for the improvements (s)he suggested. Johannesburg 2008 CONTENTS ACKNOWLEDGMENTS ABSTRACT xiii ΠΕΡΙΛΗΨΗ xi I. INTRODUCTION The Helen and the Alcestis 1 Rationale 3 Problem Statement 5 Methodology 6 Layout and Structure 8 Overview of Literature 12 Note to the Reader 14 II. THE PHILOSOPHY OF EURIPIDES AND WITTGENSTEIN Euripides’ Profile: Life and Works 15 Wittgenstein’s Profile: Life and Works 23 Euripides and Wittgenstein: Parallel Patterns of Thought 33 The Motif of Love, Language and Gloss analysis 37 III.
    [Show full text]
  • Music and Science from Leonardo to Galileo International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca
    MUSIC AND SCIENCE FROM LEONARDO TO GALILEO International Conference 13-15 November 2020 Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) The present conference has been made possibile with the friendly support of the CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org INTERNATIONAL CONFERENCE MUSIC AND SCIENCE FROM LEONARDO TO GALILEO Organized by Centro Studi Opera Omnia Luigi Boccherini, Lucca Virtual conference 13-15 November 2020 Programme Committee: VICTOR COELHO (Boston University) ROBERTO ILLIANO (Centro Studi Opera Omnia Luigi Boccherini) FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) RUDOLF RASCH (Utrecht University) MASSIMILIANO SALA (Centro Studi Opera Omnia Luigi Boccherini) ef Keynote Speakers: VICTOR COELHO (Boston University) RUDOLF RASCH (Utrecht University) FRIDAY 13 NOVEMBER 14.45-15.00 Opening • FULVIA MORABITO (Centro Studi Opera Omnia Luigi Boccherini) 15.00-16.00 Keynote Speaker 1: • VICTOR COELHO (Boston University), In the Name of the Father: Vincenzo Galilei as Historian and Critic ef 16.15-18.15 The Galileo Family (Chair: Victor Coelho, Boston University) • ADAM FIX (University of Minnesota), «Esperienza», Teacher of All Things: Vincenzo Galilei’s Music as Artisanal Epistemology • ROBERTA VIDIC (Hochschule für Musik und Theater Hamburg), Galilei and the ‘Radicalization’ of the Italian and German Music Theory • DANIEL MARTÍN SÁEZ (Universidad Autónoma de Madrid), The Galileo Affair through
    [Show full text]
  • Public Finance and Democratic Ideology in Fourth-Century BC Athens by Christopher Scott Welser BA, Sw
    Dēmos and Dioikēsis: Public Finance and Democratic Ideology in Fourth-Century B.C. Athens By Christopher Scott Welser B.A., Swarthmore College, 1994 M.A., University of Maryland, 1999 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics at Brown University, Providence, Rhode Island. May, 2011 © Copyright 2011 by Christopher Scott Welser This dissertation by Christopher Scott Welser is accepted in its present form by the Department of Classics as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date________________ _______________________________________ Adele C. Scafuro, Advisor Recommended to the Graduate Council Date________________ _______________________________________ Alan L. Boegehold, Reader Date________________ _______________________________________ David Konstan, Reader Approved by the Graduate Council Date________________ _______________________________________ Peter M. Weber, Dean of the Graduate School iii CURRICULUM VITAE Christopher Scott Welser was born in Romeo, Michigan in 1971. He attended Roeper City and Country School in Bloomfield Hills, Michigan, and in 1994 he graduated from Swarthmore College, earning an Honors B.A. in Economics (his major) and Biology (his minor). After working for several years at public policy research firms in Pennsylvania and New Jersey, he decided to pursue the study of Classics, an interest of his since childhood. Upon earning an M.A. with Distinction in Latin and Greek from the University of Maryland at College Park in 1999, he enrolled in the Ph.D. program in Classics at Brown University. While working on his Ph.D., he spent two years as Seymour Fellow (2002-2003) and Capps Fellow (2004-2005) at the American School of Classical Studies at Athens and participated in the summer program of the American Academy in Rome (2000).
    [Show full text]
  • Galileo Galilei by Beatrix Mccrea Galileo Galilei Was an Italian Physicist, Engineer, and Astronomer Bestknown for Disc
    3/24/2019 Galileo Galilei - Google Docs Galileo Galilei By Beatrix McCrea Galileo Galilei was an Italian physicist, engineer, and astronomer best­known for discovering the four largest moons on Jupiter and his theory of gravity. His theory of gravity stated that if a bowling ball and a feather dropped at the same time in space they would land at the same time. He also invented the thermometer and an astronomical telescope. Galileo Galilei was born to Vincenzo Galilei and Giulia Ammanniti in Piza, Italy on February 15, 1564. He was the first of six children. There were two things that happened which led Galileo to find that he loved math and science. On The Famous People the text states “the first incident happened in 1581 when he first noticed that a chandelier despite swinging in small and large arcs took almost the same time to return to the first position.” The other incident was when he accidentally attended a geometry lecture. Both these incidents made Galileo find his love for science. Galileo discovered the four largest moons on Jupiter. On Biography.com it says Galileo Galilei was best known for discovering Jupiter and it’s four biggest moons. The names were Io, Europa, Ganymede, and Callisto. They were discovered by Galileo in January of 1610. Galileo used a better version of the telescope that made him made to see the four moons. Galileo Galilei had a very popular theory of gravity, that if there was no air resistance (like in space) you would drop a bowling ball and a feather and they would land at the exact same time.
    [Show full text]
  • Epigraphical Research and Historical Scholarship, 1530-1603
    Epigraphical Research and Historical Scholarship, 1530-1603 William Stenhouse University College London A thesis submitted in fulfilment of the requirements of the Ph.D degree, December 2001 ProQuest Number: 10014364 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10014364 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract This thesis explores the transmission of information about classical inscriptions and their use in historical scholarship between 1530 and 1603. It aims to demonstrate that antiquarians' approach to one form of material non-narrative evidence for the ancient world reveals a developed sense of history, and that this approach can be seen as part of a more general interest in expanding the subject matter of history and the range of sources with which it was examined. It examines the milieu of the men who studied inscriptions, arguing that the training and intellectual networks of these men, as well as the need to secure patronage and the constraints of printing, were determining factors in the scholarship they undertook. It then considers the first collections of inscriptions that aimed at a comprehensive survey, and the systems of classification within these collections, to show that these allowed scholars to produce lists and series of features in the ancient world; the conventions used to record inscriptions and what scholars meant by an accurate transcription; and how these conclusions can influence our attitude to men who reconstructed or forged classical material in this period.
    [Show full text]
  • Birth and Life of Scientific Collections in Florence
    BIRTH AND LIFE OF SCIENTIFIC COLLECTIONS IN FLORENCE Mara Miniati 1 RESUMO: em Florença. Este artigo descreve as trans- formações ocorridas entre os séculos 18 e O artigo centra-se na história das coleções 19 na vida cultural da capital da Toscana: as científicas em Florença. Na era dos Medici, artes e ciências foram promovidos, e os flo- Florença foi um importante centro de pes- rentinos cultivados estavam interessadas no quisa científica e de coleções. Este aspecto desenvolvimento recente da física, na Itália e da cultura florentina é geralmente menos no exterior. Nesse período, numerosas co- conhecido, mas a ciência e coleções científi- leções científicas privadas e públicas de Flo- cas foram uma parte consistente da história rença existentes, que eram menos famosas, da cidade. O recolhimento de instrumentos mas não menos importantes do que as co- científicos era um componente importante leções Médici e Lorena se destacaram. Final- das estratégias políticas dos grão-duques flo- mente, o artigo descreve como as coleções rentinos, convencidos de que o conhecimen- florentinas se desenvolveram. A fundação to científico e controle tecnológico sobre do Instituto e Museu de História da Ciência a natureza conferiria solidez e prestígio ao deu nova atenção aos instrumentos cientí- seu poder político. De Cosimo I a Cosimo ficos antigos. Sua intensa atividade de pes- III, os grão-duques Médici concederam o seu quisa teve um impacto sobre a organização patrocínio e comissões sobre gerações de do Museu. Novos estudos levaram a novas engenheiros e cientistas, formando uma co- atribuições aos instrumentos científicos, as leção de instrumentos matemáticos e astro- investigações de arquivamento contribuiram nômicos, os modelos científicos e produtos para um melhor conhecimento da coleção, naturais, exibidos ao lado das mais famosas e os contactos crescentes com instituições coleções de arte na Galleria Uffizi, no Pala- italianas e internacionais feitas do Museu zzo Pitti, e em torno da cidade de Florença tornaram-no cada vez mais ativo em uma e outros lugares da Toscana.
    [Show full text]
  • Preprint N°500
    2020 Preprint N°500 From Hesiod to Saussure, from Hippocrates to Jevons: An Introduction to the History of Scientific Thought between Iran and the Atlantic Jens Høyrup ROSKILDE UNIVERSITY MAX-PLANCK-INSTITUT FÜR Section for philosophy WISSENSCHAFTSGESCHICHTE and science studies Berlin FROM HESIOD TO SAUSSURE, FROM HIPPOCRATES TO JEVONS An introduction to the history of scientific thought between Iran and the Atlantic Jens Høyrup Preprint, April 2020 ©2020 Jens Høyrup In memory of Alex Novikoff whose Climbing Our Family Tree introduced me to scientific thinking at the age of six I promise nothing complete; because any human thing supposed to be complete, must for that reason infallibly be faulty Herman Melville, Moby Dick Jens Høyrup Section for Philosophy and Science Studies Roskilde University P.O. Box 260 DK-4000 Roskilde Denmark [email protected] http://ruc.dk/~jensh/ Greek alphabet V GREEK ALPHABET As a pretext for training the use of a dictionary of ancient Greek, the following pages contain a few words written in Greek letters. The four columns below show the corresponding alphabet – first the Greek minuscule, then the corresponding majuscule, then the name, and finally the approximate phonetic value (which does not always coincide with the phonetic value in modern Greek). αΑalpha a βΒBeta b γΓGamma g ( before γ, κ and χ; γγ thus as ng in English anger, γκ as nk in ink) δΔDelta d εΕEpsilon e (short) ζΖZeta z (i.e., voiced s) ηΗEta e¯ (long) θΘTheta þ (unvoiced th; originally t’) ιΙIota i (as i in English if or e in be, may thus be short or long) κΚKappa k λΛLambda l µΜMu m νΝNu n ξΞKsi ks οΟOmikron o (short) πΠPi p ρΡRho r (transcribed rh in initial posi- tion) σΣSigma s ςΣSigma s (used in final position) τΤTau t υΥYpsilon y (as German ü) φΦPhi f (originally p’) χΧKhi χ (as ch in German Ich; orig- inally k’) ψΨPsi ps ωΩOmega o¯ (long) The following double vowels may be taken note of: VI Greek alphabet αυ au ευ eu ου u (as English oo) Vowels in the initial position are marked by one of the two aspiration marks and .
    [Show full text]