The aim of this paper is to reveal the logic of arts of sound in Ancient Greece and the impact they might have had on philosophical discourse. The study of both myths referring to the Art of the Muses and Homeric poems suggest that the oral tradition, with musical practices, gave rise to a transcendental idea of the subject and an experience in noise ratio, which conditioned the appearance of the logos. The widespread use of writing provoked thereafter, a translation from the sonorous records of memory to the visible signs, making explicit representational vocation of Greek thought which, under the hierarchical domination of letters left in the shade reciprocity of duties between body movement, music and speech.The Treaties of Aristoxenus of Tarentum prove this reciprocity and show that the rhythmic experience –neglected by philosophy for the harmonic model, from the Pythagoreans to Plato– built a primitive abstraction model. The paper aims to establish an interpretation of Greek metrics based on rhythm, which could be the preliminary step in the development of a theory of sound form.
Aristoxenus of Tarentum, Greek Peripatetic Philosophy, Sound Arts in Ancient Greece, Aristotle, Plato