دانلود کتاب The Power and Value of Music: Its Effect and Ethos in Classical Authors and Contemporary Music Theory (Medieval Interventions)

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Cover\nTable of Contents\nFigures\nTables\nPreface\nAbbreviations\nChapter One: Introduction\n Good and Bad Music—An Old and New Debate\n Challenges to Explain the Power of Music\n Terminological Clarifications About the Value of Music\n Music\n Purpose and Function\n The Value of Music\n “Good” and “Bad”\n Musical Ethos\n Summary\n Reasons for Studying Greek and Roman Sources\n Recent Interest and Progress in Understanding the Power of Music\n The Prospective of the Present Work\nChapter Two: The Effect of Music in Greek and Latin Literature\n What Music Does—Phenomenological Survey\n The Place of Music in Greek and Roman Culture\n When, How, and to What Effect Music Is Used\n The Iliad and the Odyssey\n The Iliad\n The Odyssey\n Antiquity in General\n Festivities\n Death and Drama\n Social Settings\n Work and War\n Music for Change\n Aesthetics?\n Summary\n Characterizing Music\n Parameters for the Term Survey\n Characteristics of Positive or Neutral Value\n Good and Beautiful\n Graceful and Lovely\n Pleasant and Sweet\n Soft, Fine, Delicate\n Learned and Skilfull\n Orderly, Harmonious, Noble\n Divine and Devout\n Splendid, Marvelous, and New\n Clear, Shrill, Resounding, and Loud\n Happy and Joyful\n Rousing and Wild\n Varia\n Music Images\n Conclusion\n Characteristics of Negative Value\n Bad, Immoral, and Immoderate\n Sad, Mournful, and Miserable\n Destructive and Terrible\n Piercing, Harsh, and Shrill\n Loud\n Ignorant and Discordant\n Dangerous\n Conclusion\nChapter Three: The Impact and Value of Music According to Ancient Theorists\n Introduction\n Prefatory Remarks\n Preliminary Survey of Authors and Currents\n The Debate About Musical Decadence\n The Emergence of “New Music”\n Aristophanes\n Hellenism\n Pseudo-Plutarch\n Athenaeus\n Development in Roman Times\n Conclusion\n Music and Cosmos—Musical Ethos in Education and Therapy\n The Pythagoreans\n Damon\n Plato\n The “Ethical Triangle” in Plato’s Educational System\n The Proper Measure\n Conservatism to Foster Order in Soul and State\n Good Music and How to Achieve It; Bad Music\n Mimēsis\n Music, Cosmos, and the Soul\n Conclusions and Questions\n Plutarch\n Music Excesses at Symposia\n The Spartan Tradition\n Moderation and Mimēsis\n Strabo\n Nicomachus\n Ptolemy\n Plotinus\n Empirical Approach to Musical Ethos\n Aristotle\n Functions and Ethos of Music\n Good and Bad Music\n Pitch and Timbre Evaluated\n Summary\n The Pseudo-Aristotelian Problemata\n Ethos in Movement\n Why Music Is Enjoyable: Order, Balance, Appropriateness\n Theophrastus\n Aristoxenus\n Polybius\n Dio Chrysostom\n Cleonides\n Dionysius of Halicarnassus\n Hippocrates\n Philostratus\n Musical Ethos Questioned\n The Hibeh Papyrus\n Philodemus\n Diogenes of Babylon About the Usefulness of Music, as Presented by Philodemus\n Philodemus About the Uselessness of Music, Except for Pleasure\n The Question Whether Music Has Value\n Sextus Empiricus\n Conclusion\n Musical Effect and Ethos in the Latin Tradition\n Cicero\n Seneca\n Quintilian\n Censorinus\n Aphthonius\n Calcidius\n Favonius\n Macrobius\n Ethos and Cosmos Revisited\n Aristides Quintilianus\n Importance and Usefulness of Music—General Considerations\n Music, Ethos, and Pathos—Education and Therapy\n Musical Ethos—Its Inner Workings\n Cosmic Order Through Music\n Evaluation\n Metaphysics of Ethos\n Male-Female\n Conclusion\n Martianus Capella\n Boethius\n Early Christian Contributions on Musical Ethos\n Clement of Alexandria\n The New Song\n Musical Ethos in Christian Education\n Basil of Caesarea\n John Chrysostom\n Augustine\n Aequalitas—Music as a Path to God\n Dangers and Benefits From Musical Delights\n Cassiodorus\n A Compendium of Musical Lore\n The Blessings of Music\n Isidore\n Christian Music Practice and Criticism\n Conclusion\nChapter Four: The Value of Music in Systematic Analysis\n Philosophical and Psychological Considerations\n Basic Questions\n Music\n Ethos\n Human and Non-Human Ethos\n Ethos Formation\n Ethos and Ethics\n Musical Ethos\n Collective Ethos\n Factors Modifying the Impact of Music\n Musical Event\n Recipient\n Environment\n The Impact of Music on the Human Person\n Music and the Body\n Music and Intellect\n Music and Emotions\n Emotions\n Musically Induced Emotions\n Mechanisms to Induce Emotion.\n Conditions for Creating Musical Ethos\n Creating Musical Ethos\n Musical Emotions\n Musical and Ordinary Emotions.\n Emotional Contagion or Attraction\n Aesthetic Experience as a Musical Emotion Beyond Ethos\n The Whole of Emotion in Music\n Human Ethos Through Musical Emotion\n Summary\n Music and Pleasure\n Value Judgments on Musical Ethos\n Good and Bad Emotions\n Judging Musical Ethos\n Intrinsically Good or Bad Music?\n Conditions for Intrinsic Value\n Consonance vs. Dissonance.\n The Central Place of Harmony\n The Harmonic Triangle\n The Prominence of Music Through Harmony\n Contributions From Music Therapy\n Origins\n Music Therapy and the Question of Good and Bad Music\nChapter Five: Conclusion\nAppendix: Synoptic Tables of References\n Good Effects in Music (English)\n Good Effects in Music (Original Language)\n Bad Effects in Music (English)\n Bad Effects in Music (Original Language)\nBibliography\n General Works of Reference\n Primary Texts of Classical Authors\n Secondary Texts on Antiquity\n Contemporary Publications\nIndex of Names\nIndex of Subjects