<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Carlé, Martin</style></author><author><style face="normal" font="default" size="100%">Georgaki, Anastasia</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">Re-configuring ancient greek music theory through technology: an adaptative electronic tuning system on a reconstructed ancient greek barbiton</style></title></titles><dates><year><style  face="normal" font="default" size="100%">2011</style></year></dates><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">Background in Ancient Greek Music Theory and Philosophy. The foundation of musicology as a&lt;br&gt;genuine discipline with a clear-cut subject matter and a well-defined terminology can be traced back&lt;br&gt;to the writings of Aristoxenus of Taras, a pupil of Aristotle. However, its epistemological roots in harmonics&lt;br&gt;and origin in Pythagorean philosophy reach back until the 6th century. Ad interim the development&lt;br&gt;of a melodic notation system acted as a crucial factor to grow musicology into a ̔science’ of&lt;br&gt;logical reasoning. Interestingly, and still without satisfactory explanation, notation as an adequate&lt;br&gt;medium of music was brusquely rejected by Aristoxenus.&lt;br&gt;Background in Music Technology and Signal Processing. Besides the thought-provoking fact that&lt;br&gt;signal processing as the foundation of modern music technology itself originates from the domain of&lt;br&gt;harmonic analysis and, similarly, became relevant to ̔musicology proper’ only by extension with a&lt;br&gt;discrete agency purely logic in nature—i.e. the computer—now, real-time pitch-tracking and&lt;br&gt;pitch-shifting can be used to augment ancient instruments electronically in order to pose archaeological&lt;br&gt;questions and challenge sedimented hermeneutical interpretations.&lt;br&gt;Aims. While re-enacting historical configurations, applied media theory provides an unconventional&lt;br&gt;framework to interlink both backgrounds anachronistically. In practice, the aim of the present interdisciplinary&lt;br&gt;approach is to take issue with common exegeses of the rise of ancient Greek music theory,&lt;br&gt;deliver testable hypotheses to corroborate a modified picture and finally to overcome the outdated&lt;br&gt;antithesis of Pythagorean vs. Aristoxenian views on music—i.e. numerology vs. phenomenology—&lt;br&gt;propounded since the Hellenistic Period and still prevalent today.&lt;br&gt;Main contribution. The historical background and epistemological circumstances that led to the&lt;br&gt;formation of musicology as a separate field of knowledge are reviewed. During the course of discussion&lt;br&gt;a &quot;pre-Aristoxenian codec of notation&quot; is uncovered and linked with scattered references to the&lt;br&gt;barbiton-lyre. The acoustical significance of its origin becomes ̔instrumental’ to augment a self-made&lt;br&gt;reconstruction of such an instrument electronically. Hereby a perceptual model of melody is&lt;br&gt;re-enacted that logically connects and unifies theoretical camps previously considered irreconcilable.&lt;br&gt;The technology and methodology necessary to achieve this is described.&lt;br&gt;Implications. Towards the end of the 5th century, many sources ascribe a revolutionary ̔new music’&lt;br&gt;to the advent of frequent modulations and different ̔styles’ of playing techniques. Taking this revolution&lt;br&gt;seriously, the present paper constructs a history of hearing that proposes a rupture in the ancient&lt;br&gt;Greek sonosphere. Accordingly, the changed strategy of listening is regarded the true cause of the&lt;br&gt;Aristoxenian separation of musicology. Today, the ̔kernel’ of this parting can be identified with the&lt;br&gt;more general domain of &quot;time-critical processes&quot; in computation and signal processing whose application&lt;br&gt;enables us to understand the subsequent reshaping of music theory and the radical remodelling&lt;br&gt;of its philosophical conception. By extension, this lesson in mousikḗ may make us rethink music as&lt;br&gt;still a vital epistemological field and may encourage us to form a new research domain possibly called&lt;br&gt;computational archaeomusicology.</style></abstract></record></records></xml>