583:
27:
in Rome of the end of the 1st century BC or beginning of the 1st century AD, who combined elements of earlier theoretical approaches with an appreciation of the aspect of performance. Formerly assumed to be identical with the
705:
794:
51:(the musician), classical scholars now believe that this Didymus was a younger grammarian and musician working in Rome at the time of
848:
595:
843:
811:
762:
715:
133:
We know of his theory only indirectly from the works of
Porphyry and Ptolemy. There, one finds examples of his
776:
611:
605:
63:, his intention was to revive and produce contemporary performances of the music of Greek antiquity. The
60:
690:
29:
694:
44:
803:
621:
56:
36:
8:
676:
817:
807:
758:
721:
711:
680:
668:
660:
137:
as measured string lengths from which the following frequency ratios are calculated:
825:
799:
652:
170:
162:
154:
656:
551:
386:
64:
821:
725:
672:
837:
785:
750:
664:
87:
729:
789:
638:
398:
105:
33:
24:
382:
101:
697:. London, UK: Chappell & Co – via HathiTrust Digital Library.
394:
390:
146:
134:
746:
378:
643:
40:
710:. Vol. 10 (reprint ed.). New York, NY: Irving Squire.
755:
Contemplating Music: Source readings in the aesthetics of music
573:
571:
52:
798:. London, UK: Oxford University Press. pp. 462–463.
568:
385:, but appears to have been the first to use it in the
641:(1994). "Greek musicologists in the Roman Empire".
775:
835:
795:The New Grove Dictionary of Music and Musicians
707:The American History and Encyclopedia of Music
745:
55:. He was a predecessor of Ptolemy at the
695:"The History of Music (art and science)"
689:
601:
804:10.1093/gmo/9781561592630.article.07752
773:
703:
617:
577:
836:
637:
589:
13:
14:
860:
401:, as the proportions produced by
457:The ratio of these whole tones
100:On the Difference between the
1:
849:Ancient Greek music theorists
562:
657:10.1515/apeiron.1994.27.4.53
7:
704:Hubbard, W.L., ed. (1910).
308:
243:
178:
144:
47:referred to him as Didymus
10:
865:
630:
757:. Pendragon. p. 30.
128:
844:1st-century Greek people
774:Richter, Lukas (1995) .
91:is sometimes called the
555:, also referred to as
389:as the product of the
174: 3rd–4th
166: 2nd–3rd
158: 1st–2nd
30:Alexandrian grammarian
57:library of Alexandria
98:Among his works was
37:Didymus Chalcenterus
17:Didymus the Musician
779:Didymos ho mousikos
580:, pp. 462–463.
549:is the so-called
373:
372:
856:
829:
826:Internet Archive
783:
768:
740:
738:
737:
728:. Archived from
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581:
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548:
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93:comma of Didymus
90:
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81:
78:
75:
22:
864:
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814:
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633:
628:
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612:
602:Chappell (1874)
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149:
131:
122:
119:
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110:
79:
76:
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72:
70:
69:
68:
59:. According to
20:
12:
11:
5:
862:
852:
851:
846:
831:
830:
828:(archive.org).
812:
777:"Didymus [
770:
769:
763:
742:
741:
716:
700:
699:
686:
685:
634:
632:
629:
627:
626:
618:Hubbard (1910)
610:
594:
582:
578:Richter (1995)
566:
564:
561:
557:Didymos' comma
552:syntonic comma
375:
374:
371:
370:
350:
330:
310:
306:
305:
285:
265:
245:
241:
240:
220:
200:
180:
176:
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167:
159:
151:
130:
127:
86:≅ 21.506
74: 81
65:syntonic comma
25:music theorist
9:
6:
4:
3:
2:
861:
850:
847:
845:
842:
841:
839:
827:
823:
819:
815:
813:0-333-23111-2
809:
805:
801:
797:
796:
791:
787:
782:
780:
772:
771:
766:
764:9780918728609
760:
756:
752:
748:
744:
743:
732:on 2022-02-22
731:
727:
723:
719:
717:1-4179-0200-0
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658:
654:
650:
646:
645:
640:
636:
635:
623:
619:
614:
607:
603:
598:
591:
590:Barker (1994)
586:
579:
574:
572:
567:
560:
558:
554:
553:
480:
400:
396:
392:
388:
384:
380:
351:
331:
311:
307:
286:
266:
246:
242:
221:
201:
181:
177:
172:
168:
164:
160:
156:
152:
148:
143:
140:
139:
138:
136:
126:
117:Ἀριστοξενείων
108:
107:
103:
102:Aristoxenians
96:
94:
89:
66:
62:
61:Andrew Barker
58:
54:
50:
46:
42:
38:
35:
34:lexicographer
31:
26:
18:
824:– via
793:
778:
754:
751:Dahlhaus, C.
734:. Retrieved
730:the original
706:
691:Chappell, W.
651:(4): 53–74.
648:
642:
613:
597:
585:
556:
550:
478:
381:, he used a
376:
150: type
132:
114:διαφορᾶς τῶν
106:Pythagoreans
99:
97:
92:
53:Emperor Nero
48:
16:
15:
399:whole tones
383:major third
309:enharmonic
135:tetrachords
123:Πυθαγορείων
95:after him.
49:ho mousikos
838:Categories
822:1245646411
736:2022-09-30
726:1194188882
673:8306313368
639:Barker, A.
620:, p.
604:, p.
563:References
393:(9:8) and
244:chromatic
147:tetrachord
39:, because
790:Grove, G.
786:Sadie, S.
681:170415282
665:2156-7093
179:diatonic
792:(eds.).
753:(1987).
747:Katz, R.
693:(1874).
387:diatonic
379:Archytas
171:interval
163:interval
155:interval
111:Περὶ τῆς
104:and the
45:Porphyry
23:) was a
19:(Greek:
644:Apeiron
631:Sources
547: ;
543:
531:
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511:
499:
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397:(10:9)
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355:
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312:
302:
290:
287:
282:
270:
267:
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237:
225:
222:
217:
205:
202:
197:
185:
182:
169:
161:
153:
145:
83:
71:
41:Ptolemy
21:Δίδυμος
820:
810:
781:]"
761:
724:
714:
679:
671:
663:
129:Theory
120:τε καὶ
784:. In
677:S2CID
395:minor
391:major
377:Like
88:cents
818:OCLC
808:ISBN
759:ISBN
722:OCLC
712:ISBN
669:OCLC
661:ISSN
43:and
32:and
800:doi
653:doi
622:121
606:204
592:, .
540:80
534:81
529:=
524:10
486:10
410:10
344:30
338:31
324:31
318:32
279:24
273:25
259:15
253:16
208:10
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188:16
125:).
80:80
67:of
840::
816:.
806:.
788:;
749:;
720:.
675:.
667:.
659:.
649:27
647:.
570:^
559:.
518:9
513:×
508:8
502:9
497:=
492:9
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416:9
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358:5
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228:9
214:9
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767:.
739:.
683:.
655::
624:.
608:.
537:/
521:/
505:/
489:/
479:⧸
469:/
455:.
445:/
429:/
413:/
361:/
341:/
321:/
296:/
276:/
256:/
231:/
211:/
191:/
109:(
77:/
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