By H.F. Cohen
The soul rejoices in perceiving harmonious sound; whilst the sound isn't harmonious it's grieved. From those impacts of the soul are derived the identify of consonances for the harmonic proportions, and the identify of dissonances for the unharmonic proportions. whilst to this is often further the opposite harmonie percentage whieh includes the longer or shorter length of musical sound, then the soul stirs the physique to leaping dance, the tongue to encouraged speech, in response to a similar legislation. The artisans accommodate to those harmonies the blows in their hammers, the warriors their velocity. so long as the harmonies undergo, every thing is alive; every thing stiffens, after they are disturbed.! hence the German astronomer, Johannes Kepler, conjures up the ability of track. the place does this energy come from? What homes of tune let it to fan the flames of feelings which could move a ways past simply feeling commonly happy, and that may exhibit themselves, for example, in weeping; in giggling; in trembling over the total physique; in a marked acceleration of respiring and heartbeat; in partaking within the rhythm with the top, the palms, the hands, and the ft? From the start of musical concept the reply to this query has been sought in various instructions.
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Additional info for Quantifying Music: The Science of Music at the First Stage of Scientific Revolution 1580-1650 (The Western Ontario Series in Philosophy of Science)
As the historian of science Simon Schaffer has shown, they oscillate The Emergence of the New 41 between two poles. At one end, scientific activity is presented to the public in a way that suggests its direct connection to everyday experience and everyday understanding. Scientific activity then becomes a continuation of general thinking, and all people can understand it. The (even today still usually male) scientist acting in this image resembles a hobby tinkerer. He has craftsmanlike skills like those encountered in everyday life and is inventive and practical.
In the face of the new, the play of imagination can begin, but communicating the new is already difficult because the language for this is lacking and the images are deceptive. Different patterns of argumentation can promote or hinder the new. The language that the new is clothed in is either not yet available at all or not yet made for it. It triggers varying associations and holds much scope for interpretation. It easily falters where the point is to dampen the shock of the new, which nonetheless has to struggle on its The Emergence of the New 43 radical path to a changed way of viewing things.
Nature stands precisely not for immutability but for diversity and deviation from what has existed heretofore. If everything is constantly changing, then “natural” can be understood only as an appeal to the knowledge of the past. Then it is an expression of the attempt to ward off the future and to ensure that 48 Chapter 1 deviance is forgotten. , lasting and universal. , ideal and nostalgic. , as a matter of course and the norm. , as described by imperatives and ideals. ”22 Nature knows no future tense—and yet it constantly provides for the emergence of the new.
Quantifying Music: The Science of Music at the First Stage of Scientific Revolution 1580-1650 (The Western Ontario Series in Philosophy of Science) by H.F. Cohen