Product Description

In Measure for Measure, Thomas Levenson offers a compelling account of how scientific thinking development from the day 2,500 years ago when Pythagoras discovered the musical scale to the present day. The story unfolds through the tales of instruments scientific and musical: the organ, the microscope, the still, the scales, Stradivari's miraculous violins and cellos, computers, and synthesizers. What emerges is a unique portrait of science itself as an instrument, our single most powerful way of understanding the world. Yet perhaps the most important invention of modern science has been the power to countenance its own limitations, to find the point beyond which science can explain no more, to rediscover that science, like music, is an art.

Product Details

• Amazon Sales Rank: #410871 in Books
• Published on: 1995-12-05
• Original language: English
• Binding: Paperback
• 352 pages

From Publishers Weekly
Levenson's gracefully written, curious, often profound inquiry into the links between science and music hinges on his view of instruments--musical or scientific--as machines that extend the realm of human perception, opening up new worlds. He charts the evolution of science from Pythagoras's arrangement of the planets on the scaffolding of his musical scale to Newton's alchemical experiments and Leeuwenhoek's invention of the microscope to computerized weather prediction and genetically engineered mice. A parallel story progresses from the invention of the organ in ancient Alexandria to Stradivari's design of the modern cello to the invention of the electronic synthesizer. Pondering Bach's fugues and Stravinsky's compositions, TV producer Levenson ( Ice Time ) delves into music's mathematical underpinnings and concludes that science is "a form of art" that strives to make sense of the human condition. Illustrated. Newbridge Astronomy Book Club, Newbridge Library of Science and Reader's Subscription alternates.
Copyright 1994 Reed Business Information, Inc.

From Library Journal
Associate producer for PBS's Nova series, Levenson (Ice Time, LJ 4/15/89) has written a probing account of the intertwining of science and music from ancient times to the present day. Levenson blames Bach for this book. After becoming intrigued by well tempering at the time of Bach's 300th birthday celebration, he delved into the subject and discovered a truth that every serious musician comes to recognize: the importance of mathematics to the basics of music. Levenson singles out special scientific and musical instruments and explores thoroughly how the two fields are related. At times he is too detailed, but this is a minor fault; Levenson is a gifted writer who has produced an engrossing work. Recommended for academic libraries and general collections where Jamie James's Music of the Spheres (LJ 4/1/93) or Goedel, Escher, Bach (LJ 10/1/79) circulate well. [Newbridge's Astronomy Book Club, Library of Science, and Reader's Subscription alternates.]-Kathleen Spark- man, Baylor Univ., Waco, Tex.
--Kathleen Spark- man, Baylor Univ., Waco, Tex.
Copyright 1994 Reed Business Information, Inc.

From Kirkus Reviews
A look at the history of ideas as a marriage of music and science. Levenson (Ice Time, not reviewed) chronicles the human quest for order in the world, from the idealism of Pythagoras to contemporary computer programs for musical composition and performance. Pythagoras is credited with the discovery of the harmonic series, the basis for the musical scale, which, writ large, suggested a music of the spheres--the eternal, unchanging perfection of the universe. And so for a millennium, during the Church's iron rule, the dominant music was Gregorian chant and ``science'' was considered ``revealed knowledge''--something more spiritual than material. But musical horizons were broadening; notation and polyphony and duration were invented, and instruments grew in sophistication. The measurement of time, the invention of clocks and other mechanical devices, laid the groundwork for the experimental science of the Renaissance. Levenson pairs developments in music and in musical instruments with the development of science and scientific instruments like the microscope and telescope. The music/science metaphor continues with parallel chapters of latter-day developments, concluding with such striking inventions as genetically engineered mice that, lacking their own immune systems, accept fetal human immune cells and are now used to study AIDS. He concludes with a history of synthesizers and computer-aided compositions such as those played by Yo Yo Ma on an electronic cello. Ultimately, his point is that art and science come together as acts of human creativity that satisfy aesthetic demands. In so doing, science strives for beauty while recognizing that its truth is ever evolving, substituting a truth for the truth. Levenson occasionally dwells too long on the details of instrument-making and could well have indicated other parallels to illustrate his theme--the history of painting and sculpture, for example. Still, his theme and variations are very well orchestrated and worth hearing. -- Copyright ©1994, Kirkus Associates, LP. All rights reserved.