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years. Pythagoras regards relationships among musical tones as manifestations of abstract number, signifying a pervasive cosmic principle. Aristoxenos ascribes the ordering of musical tones to the judgment of the ear, contingent therefore on mundane musical practice and its history. Both viewpoints are partially supported by demonstrable facts, whence speculative dispute has engendered opposing metaphysical determinations of the nature of music, of man, and of the universe. But the relevant |
