Music and Science in the Age of Galileo. Edited by Victor Coelho. The University of Western Ontario Series in Philosophy of Science; Vol. 51.

Gutes Exemplar; Einband etwas berieben. - Englisch. - INHALT : Preface ------ PART I Historical, Contemporary, and Celestial Models for the Musical and Scientific Revolution in the Age of Galileo ------ Music and Philosophy in Early Modern Science Stillman Drake ------ Beats and the Origins of Early Modern Science H. Floris Cohen ------ Music and the Crisis of Seventeenth-Century Europe Alexander Silbiger ------ Kepler, Galilei, and the Harmony of the World Owen Gingerich ------ PART II Symbolical and Philosophical Perspectives on Galileo and Music ------ The Artistic Patronage of the Barbenni and the Galileo Affair Frederick Hammond ------ Musical Myth and Galilean Science in Giovanni Serodine's Allegoria delta scienza Victor Coelho ------ Tickles, Titillations, and the Wonderful Accidents of Sounds: Galileo and the Consonances Robert E. Butts ------ Galileo and the Demise of Pythagoreanism William Jordan ------ PART III The Musical Background of Seventeenth-Century Science: Theory, Practice, and Craftsmanship ------ Was Galileo's Father an Experimental Scientist? Claude V. Palisca ------ Vincenzo Galilei in Rome: His First Book of Lute Music (1563) and its Cultural Context Howard Mayer Brown ------ Six Seventeenth-Century Dutch Scientists and their Knowledge of Music Rudolf A. Rasch ------ In Tune with the Universe: The Physics and Metaphysics of Galileo's Lute Robert Lundberg ------ Contributors ------ Index. // . Although Kepler was indebted to music for his cosmological schemes, he was hardly less deeply influenced by philosophy, and particularly by the Platonism which conferred on mathematics the highest rank of all among the sciences. Galileo differed. That is hardly surprising when we recall that Galileo's contributions to astronomy were chiefly observational, whereas Kepler's were entirely theoretical. Observation does not require a philosophy, as theorizing does. Theoreticians classified music as one branch of mathematics, rooted in arithmetic. In classical Greek mathematics there exists an unbridgeable gulf between arithmetic, which involves only the discrete, and geometry, which involves also continuous magnitudes. Astronomy being the branch of pure mathematics that in classical times belonged with geometry, Kepler's linkage of it through music with arithmetic contradicted the ancient separation between that and geometry. Like musical practice, observational astronomy was hampered by an ancient tradition-that the heavens, being perfect, could have no motions that were not perfectly circular motions, and that celestial bodies must likewise be perfectly spherical in shape. In 1609 Kepler published his discovery that planetary orbits are elliptical, and the next year Galileo announced his new telescopic discoveries. Discovery of mountains and craters on the moon met with more open hostility from philosophers than even the finding of new planets, as Galileo called Jupiter's satellites. After the two-pronged attack of 1609-10 by Kepler and Galileo, the ancient worldview was doomed to collapse, though not without a struggle. While Galileo was completing his final book, a monumental treatise on music which incorporated critical discussions of the newly emerging physics was just being published at Paris-Marin Mersenne's Harmonie Universelle. � (Seite 6; Stillman Drake) ISBN 079232028X