Excerpt from The Song of Cosmology; Or the Voice of God in the Science of Nature: Completed by Eighty Thousand Years in Star-Dates of Human History Moses divides all time into six days or ages. These days are subdivided into epochs, called evening and morning. In these six days all the work of creation was finished, wherein rocks were formed, trees grew, and life was begotten; wherein sans give light, and planets revolve; and at the close "God rested from all his work which he had made." About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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Winner of the 2013 Reading Committee Accolade for a Specialist Publication in the Humanities presented by the International Convention of Asia Scholars In early China, conceptions of music became important culturally and politically. This fascinating book examines a wide range of texts and discourse on music during this period (ca. 500–100 BCE) in light of the rise of religious, protoscientific beliefs on the intrinsic harmony of the cosmos. By tracking how music began to take on cosmic and religious significance, Erica Fox Brindley shows how music was used as a tool for such enterprises as state unification and cultural imperialism. She also outlines how musical discourse accompanied the growth of an explicit psychology of the emotions, served as a fundamental medium for spiritual attunement with the cosmos, and was thought to have utility and potency in medicine. While discussions of music in state ritual or as an aesthetic and cultural practice abound, this book is unique in linking music to religious belief and demonstrating its convergences with key religious, political, and intellectual transformations in early China.

Ever since its infancy, humankind has been seeking answers to some very basic and profound questions. Did the Universe begin? If it did, how old is it, and where did it come from? What is its shape? What is it made of? Fascinating myths and brilliant in- itions attempting to solve such enigmas can be found all through the history of human thought. Every culture has its own legends, itsownworldcreationtales,itsphilosophicalspeculations,itsre- gious beliefs. Modern science, however, cannot content itself with fanciful explanations, no matter how suggestive they are. No- days, our theories about the Universe, built upon rational ded- tion, have to survive the hard test of experiment and observation. Cosmology, the science which studies the origin and evo- tion of the Universe, had to overcome enormous dif?culties before it could achieve the same level of dignity as other physical dis- plines. At ?rst, it had no serious physical model and mathematical tools that could be used to address the complexity of the problems it had to face. Then, it suffered from a chronic lack of experim- tal data, which made it almost impossible to test the theoretical speculations. Given this situation, answering rigorously the many questions on the nature of the Universe seemed nothing more than a delusion. Today, however, things have changed. We live in the golden age of cosmology: an exciting moment, when, for the ?rst time, we are able to scienti?cally understand our Universe.

Valued today for its development of the third law of planetary motion, Harmonice mundi (1619) was intended by Kepler to expand on ancient efforts to discern a Creator's plan for the planetary system--an arrangement thought to be based on harmonic relationships. Challenging critics who characterize Kepler's theories of harmonic astronomy as "mystical," Bruce Stephenson offers the first thorough technical analysis of the music the astronomer thought the heavens made, and the logic that led him to find musical patterns in his data. In so doing, Stephenson illuminates crucial aspects of Kepler's intellectual development, particularly his ways of classifying and drawing inferences. Beginning with a survey of similar theories associating music with the cyclic motions of planets, from Plato to Boethius, the author highlights Ptolemy's Harmonics, a source of inspiration for Kepler's later work. Turning to Kepler himself, Stephenson gives an account of his polyhedral theory, which explains the number and sizes of the planetary orbits in terms of the five regular poly-hedral. He then examines in detail an early theory that relates the planets' vel-ocities to a musical chord, and analyzes Kepler's unpublished commentary on Ptolemy's Harmonics. Devoting most of his attention to Book Five of Harmonice mundi, in which Kepler elaborated on the musical structure of the planetary system, Stephenson lays important groundwork for any further evaluation of Kepler's scientific thought. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.