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Volumn 18, Issue , 1999, Pages 47-74

The sources and significance of the Orpheus myth in Musica Enchiriadis and Regino of Prüm's Epistola de harmonica institutione

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EID: 62949118496     PISSN: 02611279     EISSN: 14740559     Source Type: Journal    
DOI: 10.1017/S0261127900001832     Document Type: Article
Times cited : (9)

References (194)
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    • As early as the fifth century BC there apparently existed two versions of the story: in one, Orpheus rescued Eurydice successfully; in the other, he failed. See
    • As early as the fifth century BC there apparently existed two versions of the story: in one, Orpheus rescued Eurydice successfully; in the other, he failed. See C. M. Bowra, ‘Orpheus and Eurydice’, Classical Quarterly, 11 (1952), pp. 113–126
    • (1952) Classical Quarterly , vol.11 , pp. 113-126
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    • D. Sansone, ‘Orpheus and Eurydice in the Fifth Century’, Classica et Mediaevalia, 36 (1985), pp. 53–64.
    • (1985) Classica et Mediaevalia , vol.36 , pp. 53-64
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  • 3
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    • For an overview of the Orpheus myth in texts before Virgil, see Albany, N.Y.
    • For an overview of the Orpheus myth in texts before Virgil, see M. O. Lee, Virgil as Orpheus: A Study of the Georgics (Albany, N.Y., 1996), pp. 1–11.
    • (1996) Virgil as Orpheus: A Study of the Georgics , pp. 1-11
    • Lee, M.O.1
  • 4
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    • Orphée et l'Orphisme à l'époque impériale: Témoignages et interprétations philosophiques, de Plutarque à Jamblique
    • General studies of the Orpheus myth include Berlin and New York
    • General studies of the Orpheus myth include L. Brisson, ‘Orphée et l'Orphisme à l'époque impériale: Témoignages et interprétations philosophiques, de Plutarque à Jamblique’, in Aufstieg und Niedergang der Römischen Welt, II/36.4 (Berlin and New York, 1990), pp. 2867–2931
    • (1990) in Aufstieg und Niedergang der Römischen Welt , vol.II/36.4 , pp. 2867-2931
    • Brisson, L.1
  • 10
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    • Oxford is particularly valuable for its synthesis of visual with textual evidence and its consideration of popular imagery of Orpheus
    • I. Jesnick, The Image of Orpheus in Roman Mosaic (Oxford, 1997), pp. 5–44, is particularly valuable for its synthesis of visual with textual evidence and its consideration of popular imagery of Orpheus.
    • (1997) The Image of Orpheus in Roman Mosaic , pp. 5-44
    • Jesnick, I.1
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  • 12
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    • ed. L. Radermacher Leipzig ‘ut idem musici et vates et sapientes iudicarentur, mittam alios, Orpheus et Linus’ 1.10.9
    • ‘ut idem musici et vates et sapientes iudicarentur, mittam alios, Orpheus et Linus’; M. Fabi Quintiliani Institutionis Oratoriae Libri XII, ed. L. Radermacher (Leipzig, 1971), I, p. 58 (1.10.9).
    • (1971) M. Fabi Quintiliani Institutionis Oratoriae Libri , vol.12 , Issue.1 , pp. 58
  • 13
    • 0004352707 scopus 로고    scopus 로고
    • ‘siluestres homines sacer interpretes deorum/caedibus et uictu foedo deterruit Orpheus / dictus ob hoc lenire tigris rabidosque leones’
    • ‘siluestres homines sacer interpretes deorum/caedibus et uictu foedo deterruit Orpheus / dictus ob hoc lenire tigris rabidosque leones’ (Ars poetica 391–3)
    • Ars poetica , pp. 391-393
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    • Aeneid VI.637–65
    • Aeneid , vol.6 , pp. 637-665
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    • The Orpheus of Virgil and Ovid: flebile nescio quid
    • see ed. J. Warden (Toronto
    • see W. S. Anderson, ‘The Orpheus of Virgil and Ovid: flebile nescio quid’, in Orpheus: The Metamorphoses of a Myth, ed. J. Warden (Toronto, 1982), pp. 25–50
    • (1982) in Orpheus: The Metamorphoses of a Myth , pp. 25-50
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    • La narrazione patetica di Virgilio: Orfeo nell'Ade
    • Rome-Perugia 1985–1991), ed. A. Masaracchia (Rome
    • A. Pennacini, ‘La narrazione patetica di Virgilio: Orfeo nell'Ade’, in Orfeo e I'Orfeismo: Atti del Seminario Nazionale (Rome-Perugia 1985–1991), ed. A. Masaracchia (Rome, 1993), pp. 211–218
    • (1993) in Orfeo e I'Orfeismo: Atti del Seminario Nazionale , pp. 211-218
    • Pennacini, A.1
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    • Segal, Orpheus, pp. 36–53.
    • Orpheus , pp. 36-53
    • Segal1
  • 20
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    • argues that Virgil's is the first extant written acccount of Orpheus' failure to bring Eurydice from Hades
    • Lee, Virgil as Orpheus, pp. 12–13, argues that Virgil's is the first extant written acccount of Orpheus' failure to bring Eurydice from Hades.
    • Virgil as Orpheus , pp. 12-13
    • Lee1
  • 21
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    • ‘hinc aestimo et Orphei vel Amphionis fabulam, quorum alter animalia ratione caren-tia, alter saxa quoque trahere cantibus ferebantur, sumpsisse principium, quia primi forte gentes vel sine rationis cultu barbaras, vel saxi instar nullo affectu molles, ad sen-sum voluptatis canendo traxerunt’ 8, ed.J. Willis (Leipzig
    • ‘hinc aestimo et Orphei vel Amphionis fabulam, quorum alter animalia ratione caren-tia, alter saxa quoque trahere cantibus ferebantur, sumpsisse principium, quia primi forte gentes vel sine rationis cultu barbaras, vel saxi instar nullo affectu molles, ad sen-sum voluptatis canendo traxerunt’; Macrobius, Commentarii in Somnium Scipionis II.iii.8, ed.J. Willis (Leipzig, 1963), p. 105.
    • (1963) Commentarii in Somnium Scipionis , vol.2 , Issue.3 , pp. 105
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    • Orfeo come personaggio delle Metamorfosi e la sua storia raccontata da Ovidio
    • C. Santini, ‘Orfeo come personaggio delle Metamorfosi e la sua storia raccontata da Ovidio’, in Orfeo e l'Orfeismo, pp. 219–233
    • in Orfeo e l'Orfeismo , pp. 219-233
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  • 23
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    • 81–94
    • Segal, Orpheus, pp. 54–72, 81–94.
    • Orpheus , pp. 54-72
    • Segal1
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    • King Alfred's Boethius and Its Latin Sources: A Reconsideration
    • This tradition in the interpretation of the myth will not be considered further here; on early-medieval Boethius commentaries and their influence, see
    • This tradition in the interpretation of the myth will not be considered further here; on early-medieval Boethius commentaries and their influence, see J. S. Wittig, ‘King Alfred's Boethius and Its Latin Sources: A Reconsideration’, Anglo-Saxon England, 11 (1983), pp. 157–198.
    • (1983) Anglo-Saxon England , vol.11 , pp. 157-198
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    • (I thank Joseph Wittig for giving me an offprint of this article.) On interpretations of Boethius' Orpheus metre in the later Middle Ages, see
    • (I thank Joseph Wittig for giving me an offprint of this article.) On interpretations of Boethius' Orpheus metre in the later Middle Ages, see Friedman, Orpheus, pp. 90–117
    • Orpheus , pp. 90-117
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    • On medieval interpretations of Orpheus in general, see Cambridge, Mass.
    • On medieval interpretations of Orpheus in general, see J. Friedman, Orpheus in the Middle Ages (Cambridge, Mass., 1970)
    • (1970) Orpheus in the Middle Ages
    • Friedman, J.1
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    • On Christian readings of the myth, see
    • On Christian readings of the myth, see Friedman, Orpheus, pp. 38–145
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    • See
    • See Friedman, Orpheus, pp. 117–136.
    • Orpheus , pp. 117-136
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    • A widely transmitted marginal gloss on Metamorphoses x.63, part of a commentary composed c. 1250 in central France, presents an allegory of the myth based on Boethius' moral interpretation; the Orpheus myth is edited by Toronto
    • A widely transmitted marginal gloss on Metamorphoses x.63, part of a commentary composed c. 1250 in central France, presents an allegory of the myth based on Boethius' moral interpretation; the Orpheus myth is edited by F. Coulson, The ‘Vulgate’ Commentary on Ovid's Metamorphoses; The Creation Myth and the Story of Orpheus (Toronto, 1991), p. 139.
    • (1991) The ‘Vulgate’ Commentary on Ovid's Metamorphoses; The Creation Myth and the Story of Orpheus , pp. 139
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    • For more bibliography on medieval commentaries on the Metamorphoses, see
    • For more bibliography on medieval commentaries on the Metamorphoses, see F. Coulson and U. Molyviati-Toptsis, ‘Vaticanus latinus 2877
    • ‘Vaticanus latinus , pp. 2877
    • Coulson, F.1    Molyviati-Toptsis, U.2
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    • A Hitherto Unedited Allegorization of Ovid's Metamorphoses’
    • A Hitherto Unedited Allegorization of Ovid's Metamorphoses’, Journal of Medieval Latin, 2 (1992), pp. 134–139.
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    • The Return of Eurydice
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    • (1962) Classica et Mediaevalia , vol.23 , pp. 198-215
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    • Orpheus in the Eleventh Century
    • S. Jaeger, ‘Orpheus in the Eleventh Century’, Mittellateinisches Jahrbuch, 27 (1992), pp. 141–168
    • (1992) Mittellateinisches Jahrbuch , vol.27 , pp. 141-168
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    • Philadelphia
    • idem. The Envy of Angels (Philadelphia, 1994), pp. 143–164.
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    • The Commentary on Martianus Capella's
    • ed. H.J. Westra (Toronto on De nuptiis v 124–34
    • The Commentary on Martianus Capella's De Nuptiis Philologiae et Mercurii Attributed to Bernardus Silvestris, ed. H.J. Westra (Toronto, 1986), p. 98 (on De nuptiis v.124–34).
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    • Integumentum vero est oratio sub fabuiosa narratione verum claudens intellectum, ut de Orpheo. Nam et ibi historia et hie fabula misterium habent occultum’ on De nuptiis 11.74–5). All translations are my own unless otherwise indicated
    • Integumentum vero est oratio sub fabuiosa narratione verum claudens intellectum, ut de Orpheo. Nam et ibi historia et hie fabula misterium habent occultum’; The Commentary, p. 45 (on De nuptiis 11.74–5). All translations are my own unless otherwise indicated.
    • The Commentary , pp. 45
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    • 3, ed. F. B. Ageno (Florence II
    • Dante, Convivio II.i.3, ed. F. B. Ageno (Florence, 1995), II, p. 65.
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    • On this passage, see also
    • On this passage, see also Medieval Literary Theory, p. 384.
    • Medieval Literary Theory , pp. 384
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    • Aquinas, commentary on Aristotle's De anima I.12.190, cited in Krefeld
    • Aquinas, commentary on Aristotle's De anima I.12.190, cited in A. Buck, Der Orpheus-Mythos in der italienischen Renaissance (Krefeld, 1961), pp. 11, 31 n. 27.
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    • On Renaissance interpretations of Orpheus, see
    • On Renaissance interpretations of Orpheus, see Buck, Der Orpheus-Mythos
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    • Buck1
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    • The Myth of Orpheus in Italian Renaissance Art, 1400–1600
    • G. Scavizzi, ‘The Myth of Orpheus in Italian Renaissance Art, 1400–1600’, in Orpheus: The Metamorphoses of a Myth, pp. 111–162.
    • in Orpheus: The Metamorphoses of a Myth , pp. 111-162
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    • Orpheus: Rhetoric and Music
    • See Durham, N.C., and London
    • See G. Mazzotta, ‘Orpheus: Rhetoric and Music’, in his The Worlds of Petrarch (Durham, N.C., and London, 1993), pp. 129–146.
    • (1993) in his The Worlds of Petrarch , pp. 129-146
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    • ‘Non referam tibi nunc que de hac re Marcus Cicero in libris Inventionum copiosus disputat - est enim locus ille notissimus - nee fabulam Orpheus vel Amphionis interseram quorum ille beluas immanes, hie arbores ac saxa cantu movisse et quocunque vellet duxisse perhibetur, nonnisi propter excellentem facundiam, qua fretus alter libiniosos ac truces brutorumque animantium moribus simillimos, alter agrestes et duros in saxi modum atque intractabiles animos, ad mansuetudinem et omnium rerum patientiam creditur animasse.’
    • Petrarch, Epistolae ad Familiares, I.ix.7: ‘Non referam tibi nunc que de hac re Marcus Cicero in libris Inventionum copiosus disputat - est enim locus ille notissimus - nee fabulam Orpheus vel Amphionis interseram quorum ille beluas immanes, hie arbores ac saxa cantu movisse et quocunque vellet duxisse perhibetur, nonnisi propter excellentem facundiam, qua fretus alter libiniosos ac truces brutorumque animantium moribus simillimos, alter agrestes et duros in saxi modum atque intractabiles animos, ad mansuetudinem et omnium rerum patientiam creditur animasse.’
    • Epistolae ad Familiares , vol.1 , Issue.9 , pp. 7
    • Petrarch1
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    • Fulgentius the Mythographer
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    • On Fulgentius, see most recently B. G. Hays, ‘Fulgentius the Mythographer’, Ph.D. diss. (Cornell University, 1996).
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    • Hays has shown (pp. 263–91) that Fulgentius the mythographer was not the same person as the Bishop of Ruspe, earlier discussed by P. Langlois, ‘Les oeuvres de Fulgence le mythographe et le problème des deux Fulgences’, Jahrbuch für Antike und Christentum, 1 (1964), pp. 94–105.
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    • Aurelian of Réôme mentions the myth in passing in Auretiani Reomensis Musica Disciplina
    • Stuttgart I.3–4, ed. L. Gushee but his use of it falls outside the scope of this study
    • Aurelian of Réôme mentions the myth in passing in Auretiani Reomensis Musica Disciplina, I.3–4, ed. L. Gushee, Corpus Scriptorum de Musica 21 (Stuttgart, 1975), p. 58, but his use of it falls outside the scope of this study.
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    • in Comuetudines Saeculi Oclavi et Noni
    • ‘ut scolastici, postquam psalmi, cantica et hymni memoriae commendata fuerint, regula, post regulae textum liber comitis, interim uero historiam diuinae auctoritatis et exposi-tores eius necnon et conlationes patrum et uitas eorum legendo magistris eorum audien-tibus percurrant. Postquam uero in istis probabiliter educati fuerint, ad artem litteraturae et spirituales se transferant flores’; ‘Actuum praeliminarium synodi primae aquisgranen-sis commentationes sive Statuta Murbacensia (816)’ ed. J. Semmler Siegburg
    • ‘ut scolastici, postquam psalmi, cantica et hymni memoriae commendata fuerint, regula, post regulae textum liber comitis, interim uero historiam diuinae auctoritatis et exposi-tores eius necnon et conlationes patrum et uitas eorum legendo magistris eorum audien-tibus percurrant. Postquam uero in istis probabiliter educati fuerint, ad artem litteraturae et spirituales se transferant flores’; ‘Actuum praeliminarium synodi primae aquisgranen-sis commentationes sive Statuta Murbacensia (816)’, in Comuetudines Saeculi Oclavi et Noni, ed. J. Semmler, Corpus consuetudinum monasticarum I (Siegburg, 1963), p. 442.
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    • The Aachen reform stipulated, with limited success, that only child oblates committed to becoming monks could study in monastic schools. See M. de Jong, ‘Carolingian Monasticism: The Power of Prayer’, in The New Cambridge Medieval History, II: c. 700-c. 900, ed. R. McKitterick (Cambridge, 1995), pp. 631–633.
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    • points out that ‘it would be misleading to compress the reality of Carolingian learning to the liberal arts programme’; most advanced monastic studies seem to have consisted primarily of grammar and included little of the other liberal arts
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    • Saint-Laurent on the date, see Hucbald of St Amand's Musica (885–900) and the Enchiriadis treatises are early attempts to reconcile musica and cantus. On the Enchiriadis treatises, see below. For the most recent edition and translation of Hucbald's text, see on Hucbald's reconciliation of ancient theory with practical music, see pp. 46–77
    • Hucbald of St Amand's Musica (885–900) and the Enchiriadis treatises are early attempts to reconcile musica and cantus. On the Enchiriadis treatises, see below. For the most recent edition and translation of Hucbald's text, see Y. Chartier, L'oeuvre musicale d'Hucbald de Saint-Amand: Les compositions el le Iraité de la musique (Saint-Laurent, 1995); on the date, see pp. 76–7; on Hucbald's reconciliation of ancient theory with practical music, see pp. 46–77.
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    • Questions of Genre in Medieval Treatises on Music
    • ed. W. Arlt, E. Lichtenhahn and H. Oesch Bern
    • L. Gushee, ‘Questions of Genre in Medieval Treatises on Music’, in Gattungen der Musik in Einzeldarstellungen: Gedenkschrijt Leo Schrade, ed. W. Arlt, E. Lichtenhahn and H. Oesch, I (Bern, 1975), p. 395.
    • (1975) in Gattungen der Musik in Einzeldarstellungen: Gedenkschrijt Leo Schrade , vol.1 , pp. 395
    • Gushee, L.1
  • 79
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    • Reception, Reaction, and Redaction: A Reflection on Carolingian and Post-Carolingian Musical Thought
    • Phoenix, Ariz., November Bower divides the influence of Boethius in the ninth century into three stages: reception (800–830), demonstrated by the early glosses on De institutione musica; reaction (830–60), evidenced by Aurelian's use of glosses on Boethius; and redaction (860–900), exemplified by the synthesis of musica and cantus in the Enchiriadis treatises
    • C. Bower, ‘Reception, Reaction, and Redaction: A Reflection on Carolingian and Post-Carolingian Musical Thought’, unpublished paper presented at the Annual Meeting of the American Musicological Society (Phoenix, Ariz., November 1997). Bower divides the influence of Boethius in the ninth century into three stages: reception (800–830), demonstrated by the early glosses on De institutione musica; reaction (830–60), evidenced by Aurelian's use of glosses on Boethius; and redaction (860–900), exemplified by the synthesis of musica and cantus in the Enchiriadis treatises.
    • (1997) unpublished paper presented at the Annual Meeting of the American Musicological Society
    • Bower, C.1
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    • Chicago and London See on the importance of studying the lives of musicians for understanding the transmission of medieval chant
    • See P. JefTery, Re-envisioning Past Musical Cultures (Chicago and London, 1992), pp. 59–62, on the importance of studying the lives of musicians for understanding the transmission of medieval chant.
    • (1992) Re-envisioning Past Musical Cultures , pp. 59-62
    • JefTery, P.1
  • 81
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    • Les coutumiers monastiques: Une nouvelle entreprise et un territoire nouveau
    • Customaries are prescriptive texts that supplement the Benedictine rule with detailed guidelines for the life of a monastic community. For an overview of the genre, see
    • Customaries are prescriptive texts that supplement the Benedictine rule with detailed guidelines for the life of a monastic community. For an overview of the genre, see L. Donnat, ‘Les coutumiers monastiques: Une nouvelle entreprise et un territoire nouveau’, Revue Mabillon, 64 (1992), pp. 5–21.
    • (1992) Revue Mabillon , vol.64 , pp. 5-21
    • Donnat, L.1
  • 82
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    • The Office of the Cantor in Early Western Monastic Rules and Customaries: A Preliminary Investigation
    • See
    • See M. Fassler, ‘The Office of the Cantor in Early Western Monastic Rules and Customaries: A Preliminary Investigation’, Early Music History, 5 (1985), pp. 29–51
    • (1985) Early Music History , vol.5 , pp. 29-51
    • Fassler, M.1
  • 83
    • 60949803412 scopus 로고    scopus 로고
    • The Liturgical Role of Children in Monastic Customaries from the Central Middle Ages
    • S. Boynton, ‘The Liturgical Role of Children in Monastic Customaries from the Central Middle Ages’, Studia Liturgica, 28 (1998), pp. 194–209.
    • (1998) Studia Liturgica , vol.28 , pp. 194-209
    • Boynton, S.1
  • 85
    • 85022669094 scopus 로고
    • ‘Haec igitur fabula artis est musicac designatio. Orpheus dicitur oreafone, id est optima uox, Euridice uero profunda diiudicatio. In omnibus igitur artibus sunt primae artes, sunt secundae; ut in puerilibus litteris prima abecetaria, secunda nota, in grammaticis prima lectio, secunda articulatio … in musicis prima musica, secunda apotelesmatice’ (htvtdihtvMitologiae), ed. R. Helm, rev. J. Préaux (Stuttgart
    • ‘Haec igitur fabula artis est musicac designatio. Orpheus dicitur oreafone, id est optima uox, Euridice uero profunda diiudicatio. In omnibus igitur artibus sunt primae artes, sunt secundae; ut in puerilibus litteris prima abecetaria, secunda nota, in grammaticis prima lectio, secunda articulatio … in musicis prima musica, secunda apotelesmatice’; Fabii Planciadis Fulgentii V.C. Opera III.10 (htvtdihtvMitologiae), ed. R. Helm, rev. J. Préaux (Stuttgart, 1970), pp. 77–79.
    • (1970) Fabii Planciadis Fulgentii V.C. Opera , vol.3 , Issue.10 , pp. 77-79
  • 87
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    • ‘Aput astrologos aliut est astrorum ac siderum cursus elTectusque cognoscere, aliut sig-nificata traducere’
    • ‘Aput astrologos aliut est astrorum ac siderum cursus elTectusque cognoscere, aliut sig-nificata traducere’; Mitologiae, p. 78.
    • Mitologiae , pp. 78
  • 88
    • 85022731917 scopus 로고    scopus 로고
    • ‘in musicis uero aliud est armonia ptongorum, sistematum et diastematum, aliud effectus tonorum uirtusque uerborum; uocis ergo pulchritudo delectans interna artis secreta uirtutem etiam misticam uerborum attingit’
    • ‘in musicis uero aliud est armonia ptongorum, sistematum et diastematum, aliud effectus tonorum uirtusque uerborum; uocis ergo pulchritudo delectans interna artis secreta uirtutem etiam misticam uerborum attingit’; Mitologiae, p. 78.
    • Mitologiae , pp. 78
  • 89
    • 85022676334 scopus 로고
    • Aristides Quintiliani de musica libri tres, ed. R. P. Winnington-Ingram (Leipzig, 1963). The relation of music to the universe is the subject of lll.ix-xxvii; on this section, see trans. T.J. Mathiesen (New Haven and London
    • Aristides Quintiliani de musica libri tres, ed. R. P. Winnington-Ingram (Leipzig, 1963). The relation of music to the universe is the subject of lll.ix-xxvii; on this section, see On Musk In Three Books, trans. T.J. Mathiesen (New Haven and London, 1983), pp. 42–57.
    • (1983) On Musk In Three Books , pp. 42-57
  • 91
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    • ed J. Willis (Leipzig In this work, Harmonia is the culmination of the liberal arts, and as a figure of the harmony of the universe Harmonia prepares the path to heaven
    • Martianus Capella, De nuptiis philologiae et mercurii, ed J. Willis (Leipzig, 1983). In this work, Harmonia is the culmination of the liberal arts, and as a figure of the harmony of the universe Harmonia prepares the path to heaven
    • (1983) De nuptiis philologiae et mercurii
    • Capella, M.1
  • 94
    • 85022731917 scopus 로고    scopus 로고
    • ‘ipsa ars communionem hominum uitat. Quae quidem serpentis ictu moritur quasi astutiae interceptu, secretis uelut inferis transmigratur’
    • ‘ipsa ars communionem hominum uitat. Quae quidem serpentis ictu moritur quasi astutiae interceptu, secretis uelut inferis transmigratur’; Mitologiae, p. 78.
    • Mitologiae , pp. 78
  • 95
    • 85022688402 scopus 로고    scopus 로고
    • ‘Sed post hanc artem exquirendam atque cleuandam uox canora descendit et quia apotelesmatica fonascica omnia praebet et modulis tantum ui secreta latentibus uoluptatum reddit effectus; dicere enim possumus quos Dorius tonus aut Frigius Saturno coicns feras mulceat, si loui, aues oblectet. At uero si rei expositio quaeritur cur hoc fiat, uestigandae rationis captus inmoritiir’ I am grateful to Leofranc Holford-Strevens for help with the phrase apotelesmatica fonascica
    • ‘Sed post hanc artem exquirendam atque cleuandam uox canora descendit et quia apotelesmatica fonascica omnia praebet et modulis tantum ui secreta latentibus uoluptatum reddit effectus; dicere enim possumus quos Dorius tonus aut Frigius Saturno coicns feras mulceat, si loui, aues oblectet. At uero si rei expositio quaeritur cur hoc fiat, uestigandae rationis captus inmoritiir’; Mitologiae, pp. 78–9. I am grateful to Leofranc Holford-Strevens for help with the phrase apotelesmatica fonascica.
    • Mitologiae , pp. 78-79
  • 96
    • 85022688402 scopus 로고    scopus 로고
    • ‘Ideo ergo et ne eam respiciat prohibetur et dum uidet amittit; nam perfectissimus Pithagoras dum modulos numeris coaptaret simphoniarumque pondera lerminibus arithmeticis per mela ct rithmos uel modulos sequeretur, effectus ucro rationem reddere non potuit’
    • ‘Ideo ergo et ne eam respiciat prohibetur et dum uidet amittit; nam perfectissimus Pithagoras dum modulos numeris coaptaret simphoniarumque pondera lerminibus arithmeticis per mela ct rithmos uel modulos sequeretur, effectus ucro rationem reddere non potuit’; Mitologiae, p. 79.
    • Mitologiae , pp. 79
  • 97
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    • De institutione musica I.xxxiv, in Anicii Manlii Torquati Severini Boetii De institutione arithmetica libri duo
    • ed. G. Friedlein (Leipzig ‘Is vero est musicus, qui ratione perpensa canendi scientiam non servitio operis sed imperio speculationis adsumpsit … isque est musicus, cui adest facultas secundum specula-tionem rationemve propositam ac musicae convenientem de modis ac rythmis deque generibus cantilenarum ac de permixtionibus…’ trans
    • ‘Is vero est musicus, qui ratione perpensa canendi scientiam non servitio operis sed imperio speculationis adsumpsit … isque est musicus, cui adest facultas secundum specula-tionem rationemve propositam ac musicae convenientem de modis ac rythmis deque generibus cantilenarum ac de permixtionibus…’ Boethius, De institutione musica I.xxxiv, in Anicii Manlii Torquati Severini Boetii De institutione arithmetica libri duo, de institutione musica libri quinque, ed. G. Friedlein (Leipzig, 1867), pp. 223–4, trans.
    • (1867) de institutione musica libri quinque , pp. 223-224
    • Boethius1
  • 100
    • 85022618500 scopus 로고    scopus 로고
    • I thank Calvin Bower for this reference
    • Glossa maior, III, p. 3. I thank Calvin Bower for this reference
    • Glossa maior , vol.3 , pp. 3
  • 102
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    • On the date of Dc nuptiis (probably the 470s to 480s, and certainly between 430 and 512) and its historical context, see Berkeley and Los Angeles
    • On the date of Dc nuptiis (probably the 470s to 480s, and certainly between 430 and 512) and its historical context, see D. Shanzer, A Philosophical and Literary Commentary on Martianus Capella's De nuptiis Philologiae et Mercurii Book 1 (Berkeley and Los Angeles, 1986), pp. 1–28.
    • (1986) A Philosophical and Literary Commentary on Martianus Capella's De nuptiis Philologiae et Mercurii Book , vol.1 , pp. 1-28
    • Shanzer, D.1
  • 105
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    • Philologia et son mariage avec Mercure jusqu’à la fin du XIIe siècle
    • G. Nuchelmans, ‘Philologia et son mariage avec Mercure jusqu’à la fin du XIIe siècle’, Latomus, 16 (1957), pp. 84–107.
    • (1957) Latomus , vol.16 , pp. 84-107
    • Nuchelmans, G.1
  • 106
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    • Martianus Capellae De nuptiis Philologiae et Mercurii Liber IX
    • On Book 9 of De nuptiis, see most recently D. Shanzer's review of I thank Danuta Shanzer for giving me an offprint of this review
    • On Book 9 of De nuptiis, see most recently D. Shanzer's review of Cristante, Martianus Capellae De nuptiis Philologiae et Mercurii Liber IX, in Gnomon, 68 (1996), pp. 13–28. I thank Danuta Shanzer for giving me an offprint of this review.
    • (1996) in Gnomon , vol.68 , pp. 13-28
    • Cristante1
  • 107
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    • Eriugena was the foremost proponent of Greek philosophy and theology on the Continent in the mid-ninth century. On Eriugena's teaching career, see Oxford
    • Eriugena was the foremost proponent of Greek philosophy and theology on the Continent in the mid-ninth century. On Eriugena's teaching career, see J. J. O'Meara, Eriugena (Oxford, 1988), pp. 16–31.
    • (1988) Eriugena , pp. 16-31
    • O'Meara, J.J.1
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    • Remigian Commentaries on the “Consolation of Philosophy” and Their Sources
    • Remigius of Auxerre, who studied with a pupil of Eriugena, taught in Rheims and Paris at the end of the ninth century. On Remigius, see
    • Remigius of Auxerre, who studied with a pupil of Eriugena, taught in Rheims and Paris at the end of the ninth century. On Remigius, see D. Bolton, ‘Remigian Commentaries on the “Consolation of Philosophy” and Their Sources’, Traditio, 33 (1977), pp. 381–394
    • (1977) Traditio , vol.33 , pp. 381-394
    • Bolton, D.1
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    • L'oeuvre de Remi d'Auxerre: État de la question
    • 830–908, ed. D. logna-Prat, C. Jeudy, and G. Lobrichon (Paris
    • C. Jeudy, ‘L'oeuvre de Remi d'Auxerre: État de la question’, in I'école carolingienne d'Auxerre de Murethach à Remi, 830–908, ed. D. logna-Prat, C. Jeudy, and G. Lobrichon (Paris, 1991), pp. 373–397
    • (1991) in I'école carolingienne d'Auxerre de Murethach à Remi , pp. 373-397
    • Jeudy, C.1
  • 111
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    • Clasis des oeuvres de Remi d'Auxerre
    • Remigius' commentary, which relied significantly on Eriugena's glosses, was a major compendium of ninth-century learning
    • eadem, ‘Clasis des oeuvres de Remi d'Auxerre’, in L'école carolingienne, pp. 457–500. Remigius' commentary, which relied significantly on Eriugena's glosses, was a major compendium of ninth-century learning.
    • in L'école carolingienne , pp. 457-500
    • eadem1
  • 112
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    • Eriugena's Immediate Influence
    • ed. W. Beierwaltes (Heidelberg See esp. 22–5. For a list of manuscripts containing Remigius' commentary on De nuptiis, and extracts from its glosses
    • See J. J. O'Meara, ‘Eriugena's Immediate Influence’, in Eriugena Redivivus: Zur Wirkungsgeschichte seines Denkeru im Mittelalter und im Übergang zur Neuzeit, ed. W. Beierwaltes (Heidelberg, 1987), pp. 13–25, esp. 22–5. For a list of manuscripts containing Remigius' commentary on De nuptiis, and extracts from its glosses
    • (1987) in Eriugena Redivivus: Zur Wirkungsgeschichte seines Denkeru im Mittelalter und im Übergang zur Neuzeit , pp. 13-25
    • O'Meara, J.J.1
  • 114
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    • ‘Euridice interpretatur profunda inventio. Ipsa ars musica in suis profundissimis rationibus Euridice dicitur, cuius maritus Orpheus dicitur, id est ΩPIOΣ ΦΩNH id est pulchra vox. Qui maritus si aliqua neglegentia artis virtutcm perdiderit velut in quen-dam infernum profundae disciplinae descendit, de qua iterum artis regulas iuxta quas musicae voces disponuntur reducit. Sed dum voces corporeas et transitorias profundae artis inventioni comparat, fugit iterum in profunditatem disciplinae ipsa inventio quo-niam in vocibus apparere non potest, ac per hoc tristis remanet Orpheus, vocem musicam absque ratione retinens’ ed. C. Lutz (Leiden
    • ‘Euridice interpretatur profunda inventio. Ipsa ars musica in suis profundissimis rationibus Euridice dicitur, cuius maritus Orpheus dicitur, id est ΩPIOΣ ΦΩNH id est pulchra vox. Qui maritus si aliqua neglegentia artis virtutcm perdiderit velut in quen-dam infernum profundae disciplinae descendit, de qua iterum artis regulas iuxta quas musicae voces disponuntur reducit. Sed dum voces corporeas et transitorias profundae artis inventioni comparat, fugit iterum in profunditatem disciplinae ipsa inventio quo-niam in vocibus apparere non potest, ac per hoc tristis remanet Orpheus, vocem musicam absque ratione retinens’; Remigii Autissiodorensis Commentum in Martianum Capellam Libri III-IX, ed. C. Lutz (Leiden, 1965), p. 310.
    • (1965) Remigii Autissiodorensis Commentum in Martianum Capellam Libri , vol.3-9 , pp. 310
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    • points out the similarity of the Orpheus gloss to the Vatican mythographers and to Fulgentius
    • Wittig, ‘King Alfred's Boethius’ (p. 192), points out the similarity of the Orpheus gloss to the Vatican mythographers and to Fulgentius.
    • King Alfred's Boethius , pp. 192
    • Wittig1
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    • The accounts of the myth in the Vatican Mythographers are found in Mythographi Vaticani
    • et II ed. P. Kulcsár Turnhout 33–4
    • The accounts of the myth in the Vatican Mythographers are found in Mythographi Vaticani I et II, ed. P. Kulcsár, Corpus Christianorum Continuatio Mediaeualis 91C (Turnhout, 1987), pp. 33–4, 141).
    • (1987) Corpus Christianorum Continuatio Mediaeualis 91C , vol.1 , pp. 141
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    • On Eriugena's glosses on Martianus Capella, see Montréal and Paris
    • On Eriugena's glosses on Martianus Capella, see E. Jeauneau, Quatre thèmes érigéniens (Montréal and Paris, 1978)
    • (1978) Quatre thèmes érigéniens
    • Jeauneau, E.1
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    • Glosse Eriugeniane a Marziano Capella in un codice Leidense
    • Paris
    • C. Leonardi, ‘Glosse Eriugeniane a Marziano Capella in un codice Leidense’, in Jean Scot Engine et l'histoire de la philosophie (Paris, 1977), pp. 171–182
    • (1977) in Jean Scot Engine et l'histoire de la philosophie , pp. 171-182
    • Leonardi, C.1
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    • The Place of the Martianus “Glossae” in the Development of Eriugena's Thought
    • Dublin
    • H. Liebeschütz, ‘The Place of the Martianus “Glossae” in the Development of Eriugena's Thought’, in The Mind of Eriugena (Dublin, 1973), pp. 49–58
    • (1973) in The Mind of Eriugena , pp. 49-58
    • Liebeschütz, H.1
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    • Zur Geschichte der Erklärung des Martianus Capella bei Eriugena
    • idem, ‘Zur Geschichte der Erklärung des Martianus Capella bei Eriugena’, Philologus, 104 (1960), pp. 127–137
    • (1960) Philologus , vol.104 , pp. 127-137
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    • Jean Scot et Martin de Laon en face du De nuptiis de Martianus Capella
    • J. Préaux, ‘Jean Scot et Martin de Laon en face du De nuptiis de Martianus Capella’, in Jean Scot Erigene et l'histoire, pp. 161–170
    • in Jean Scot Erigene et l'histoire , pp. 161-170
    • Préaux, J.1
  • 124
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    • Zur Frage der Authentizitat unserer Texte von Johannes Scottus' Annotationes in Marcianum
    • G. Schrimpf, ‘Zur Frage der Authentizitat unserer Texte von Johannes Scottus' Annotationes in Marcianum’, in The Mind of Eriugena, pp. 125–139.
    • in The Mind of Eriugena , pp. 125-139
    • Schrimpf, G.1
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    • Jean Scot Erigène premier lecteur du “De institutione musica” de Boèce?
    • ed. W. Beierwaltes (Heidelberg
    • M. Duchez, ‘Jean Scot Erigène premier lecteur du “De institutione musica” de Boèce?’ in Eriugena: Studien zti seinen Quellen, ed. W. Beierwaltes (Heidelberg, 1980), pp. 165–187
    • (1980) in Eriugena: Studien zti seinen Quellen , pp. 165-187
    • Duchez, M.1
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    • Le savoir theorico-musical carolingien dans les commentaires de Martianus Capella. La tradition erigenienne
    • Spoleto
    • eadem, ‘Le savoir theorico-musical carolingien dans les commentaires de Martianus Capella. La tradition erigenienne’, in Giovanni Scoto nel suo tempo. L'organizzazione del sapere in età carolingia (Spoleto, 1989), pp. 553–592.
    • (1989) in Giovanni Scoto nel suo tempo. L'organizzazione del sapere in età carolingia , pp. 553-592
    • eadem1
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    • in Lutz
    • Glosses on IX.932–4 (ed. Willis, pp. 358–9), ed several chants are cited with musical notation to illustrate ratios
    • Glosses on IX.932–4 (ed. Willis, pp. 358–9), ed. in Lutz, Remigii Autissiodorensis, III, pp. 332–3; several chants are cited with musical notation to illustrate ratios.
    • Remigii Autissiodorensis , vol.3 , pp. 332-333
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    • Eriugena, Boethius and the Neoplatonism of Musica and Scolica Enchiriadis
    • ed. N. K. Baker and B. R. Hanning (Stuyvesant, N.Y. argues against linking Eriugena to the Enchiriadis treatises and maintains that the Platonism and Neoplatonism in the treatises is indebted to earlier Latin writings, especially Boethius
    • R. Erickson, ‘Eriugena, Boethius and the Neoplatonism of Musica and Scolica Enchiriadis’, in Musical Humanism and its Legacy: Essajs in Honor of Claude V. Falisca, ed. N. K. Baker and B. R. Hanning (Stuyvesant, N.Y., 1992), pp. 53–78, argues against linking Eriugena to the Enchiriadis treatises and maintains that the Platonism and Neoplatonism in the treatises is indebted to earlier Latin writings, especially Boethius.
    • (1992) in Musical Humanism and its Legacy: Essajs in Honor of Claude V. Falisca , pp. 53-78
    • Erickson, R.1
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    • notes that the idea of knowledge of music as inaccessible in Hucbald's Musica is comparable to the Orpheus legend in Musica Enchiriadis and Eriugena's gloss on Martianus Capella, and concludes that this thematic connection implies common sources
    • Chartier (L'oeuvre musicale, p. 79) notes that the idea of knowledge of music as inaccessible in Hucbald's Musica is comparable to the Orpheus legend in Musica Enchiriadis and Eriugena's gloss on Martianus Capella, and concludes that this thematic connection implies common sources.
    • L'oeuvre musicale , pp. 79
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    • On the dating of the treatises, see New Haven
    • On the dating of the treatises, see Erickson, trans., Musica Enchiriadis and Scolica Enchiriadis (New Haven, 1995), pp. xxi-xxii
    • (1995) Musica Enchiriadis and Scolica Enchiriadis , pp. xxi-xxii
    • Erickson1
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    • “Musica” and “Scolica Enchiriadis”: The Literary, Theoretical, and Musical Sources
    • New York University 511–16
    • N. Phillips, ‘“Musica” and “Scolica Enchiriadis”: The Literary, Theoretical, and Musical Sources’, Ph.D. diss. (New York University, 1984), pp. 9–15, 511–16.
    • (1984) Ph.D. diss , pp. 9-15
    • Phillips, N.1
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    • Erickson, Musica, pp. xxvi-xxvii
    • Musica , pp. xxvi-xxvii
    • Erickson1
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    • 384–97
    • Phillips, ‘“Musica”’, pp. 54–56, 384–97.
    • “Musica” , pp. 54-56
    • Phillips1
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    • The Beginnings of the Sequence
    • esp. 70–3, dated Musica Enchiriadis to before Eriugena's commentary on Martianus Capella, on the basis of similarity in the two texts' versions of the Orpheus myth; however, as Phillips has observed, this conclusion is questionable, particularly because Chapter 19 seems attributable to the author oi Scolica Enchiriadis
    • P. Dronke, ‘The Beginnings of the Sequence’, Beiträge zur Geschichte der deutschen Sprache und Literatur, 87 (1963), pp. 43–73, esp. 70–3, dated Musica Enchiriadis to before Eriugena's commentary on Martianus Capella, on the basis of similarity in the two texts' versions of the Orpheus myth; however, as Phillips has observed, this conclusion is questionable, particularly because Chapter 19 seems attributable to the author oi Scolica Enchiriadis.
    • (1963) Beiträge zur Geschichte der deutschen Sprache und Literatur , vol.87 , pp. 43-73
    • Dronke, P.1
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    • Boethius and the Enchiriadis Theory: The Metaphysics of Consonance and the Concept of Organum
    • suggests that Chapter 19 functions as a rhetorical device and points out the rhetorical terms used in the chapter. On organum in the Enchiriadis treatises, see most recently Brandeis University
    • suggests that Chapter 19 functions as a rhetorical device and points out the rhetorical terms used in the chapter. On organum in the Enchiriadis treatises, see most recently D. Cohen, ‘Boethius and the Enchiriadis Theory: The Metaphysics of Consonance and the Concept of Organum’, Ph.D. diss. (Brandeis University, 1993)
    • (1993) Ph.D. diss
    • Cohen, D.1
  • 139
    • 61449220551 scopus 로고
    • Metaphysics, Ideology, Discipline: Consonance, Dissonance, and the Foundations of Western Polyphony
    • idem, ‘Metaphysics, Ideology, Discipline: Consonance, Dissonance, and the Foundations of Western Polyphony’, Theoria, 7 (1993), pp. 1–85.
    • (1993) Theoria , vol.7 , pp. 1-85
  • 140
    • 64149113692 scopus 로고
    • ‘Fictum est ab antiquis Aristeum Euridicem nympham Orphei coniugem adamasse. Quemque dum ilia se sequentem fugeret, a serpente extincta sit. Orpheum, cuius nomen oreo phone, id est optima vox sonat, in cantore perito seu dulcisono cantu intellegimus. Cuius Euridicem, id est profundam diiudicationem, si quis vir bonus, quod Aristeus interpretatur, amando sequitur, ne penitus teneri possit, quasi per serpentem divina inter-cipitur prudentia. Sed dum rursus per Orpheum, id est per optimum cantilenae sonum, a secretis suis acsi ab inferis evocatur, imaginarie perducitur usque in auras huius vitae dumque videri videtur, amittitur, scilicet quia inter cetera, quae adhuc ex parte et in enigmate cernimus, haec etiam disciplina baud ad plenum habet rationem in hac vita penetrabilem’ ed. H. Schmid (Munich
    • ‘Fictum est ab antiquis Aristeum Euridicem nympham Orphei coniugem adamasse. Quemque dum ilia se sequentem fugeret, a serpente extincta sit. Orpheum, cuius nomen oreo phone, id est optima vox sonat, in cantore perito seu dulcisono cantu intellegimus. Cuius Euridicem, id est profundam diiudicationem, si quis vir bonus, quod Aristeus interpretatur, amando sequitur, ne penitus teneri possit, quasi per serpentem divina inter-cipitur prudentia. Sed dum rursus per Orpheum, id est per optimum cantilenae sonum, a secretis suis acsi ab inferis evocatur, imaginarie perducitur usque in auras huius vitae dumque videri videtur, amittitur, scilicet quia inter cetera, quae adhuc ex parte et in enigmate cernimus, haec etiam disciplina baud ad plenum habet rationem in hac vita penetrabilem’; Musica el Scolica Enchiriadis, ed. H. Schmid (Munich, 1981), p. 57.
    • (1981) Musica el Scolica Enchiriadis , pp. 57
  • 141
    • 85022617443 scopus 로고    scopus 로고
    • ‘Siquidem diiudicare possumus, sitne rata factura meli, dinoscere quaiitates sonorum atque modorum et reliqua huius artis; item possumus musicorum sonorum spatia vel vocum simphonias ad numerorum rationem adducere, consonantiae atque discrepantiae quasdam rationes reddere. Quomodo vero tantam cum animis nostris musica commu-tationem et societatem habeat, etsi scimus quadam nos similitudine cum ilia compactos, edicere ad liquidum non valemus’
    • ‘Siquidem diiudicare possumus, sitne rata factura meli, dinoscere quaiitates sonorum atque modorum et reliqua huius artis; item possumus musicorum sonorum spatia vel vocum simphonias ad numerorum rationem adducere, consonantiae atque discrepantiae quasdam rationes reddere. Quomodo vero tantam cum animis nostris musica commu-tationem et societatem habeat, etsi scimus quadam nos similitudine cum ilia compactos, edicere ad liquidum non valemus’; Schmid, Musica, p. 57.
    • Musica , pp. 57
    • Schmid1
  • 142
  • 143
    • 85022617443 scopus 로고    scopus 로고
    • ‘In talibus cum iudicatio nostra esse possit, plura sunt tamen, quae nos sub causis occul-tioribus iateant’
    • ‘In talibus cum iudicatio nostra esse possit, plura sunt tamen, quae nos sub causis occul-tioribus iateant’; Schmid, Musica, p. 58.
    • Musica , pp. 58
    • Schmid1
  • 144
    • 85022644469 scopus 로고    scopus 로고
    • Dicuntur ferae atque aves niodis quibusdam delectari magis quam aliis, sed quare et quomodo haec aliave sint, non facile investigatur
    • ‘Dicuntur ferae atque aves niodis quibusdam delectari magis quam aliis, sed quare et quomodo haec aliave sint, non facile investigatur’; Schmid, Afwiica, p. 58.
    • Afwiica , pp. 58
    • Schmid1
  • 145
    • 84954232246 scopus 로고    scopus 로고
    • Cf Fulgentius, ‘for we can say that the Dorian or Phrygian mode combined with Saturn soothes beasts; if it coincides with Jupiter it dehghts birds’ (‘dicere enim possumus quos Dorius tonus aut Frigius Saturno coiens feras mulceat, si loui, aues ohXccicl’)
    • Cf Fulgentius, ‘for we can say that the Dorian or Phrygian mode combined with Saturn soothes beasts; if it coincides with Jupiter it dehghts birds’ (‘dicere enim possumus quos Dorius tonus aut Frigius Saturno coiens feras mulceat, si loui, aues ohXccicl’); Mitologiae, p. 79.
    • Mitologiae , pp. 79
  • 146
  • 148
    • 79958338096 scopus 로고
    • Regino Prumensis and the Tones
    • On Regino's treatise, see c. 900-C.1600, ed. G. M. Hair and R. Smith (Basel
    • On Regino's treatise, see P.A.L. Boncella, ‘Regino Prumensis and the Tones’, in Songs of the Dove and the Nightingale: Sacred and Secular Music c. 900-C.1600, ed. G. M. Hair and R. Smith (Basel, 1995), pp. 74–89
    • (1995) in Songs of the Dove and the Nightingale: Sacred and Secular Music , pp. 74-89
    • Boncella, P.A.L.1
  • 150
    • 84868810114 scopus 로고
    • L'estetica musicale di Reginone di Pruem e l'attualità dell'estetica medievale
    • E. Oberti, ‘L'estetica musicale di Reginone di Pruem e l'attualità dell'estetica medievale’, Rivista di Filosojia Neo-scolastica, 52 (1960), pp. 336–354.
    • (1960) Rivista di Filosojia Neo-scolastica , vol.52 , pp. 336-354
    • Oberti, E.1
  • 153
    • 79956753970 scopus 로고
    • Natural and Artificial Music: The Origins and Development of an Aesthetic Concept
    • argues that Chapter 18 is one of the additions to the original letter made when the treatise was copied in monastic scriptoria, because it is not in all the manuscripts. Bower finds it particularly significant that the chapter is missing from an early manuscript (Brussels, Bibliothèque Royale 2751) that he considers to be ‘probably an apograph of Regino's original work’ and ‘the extant text closest to Regino's original letter and tonary’
    • C. Bower, ‘Natural and Artificial Music: The Origins and Development of an Aesthetic Concept’, Musica Disciplina, 25 (1971), p. 20, argues that Chapter 18 is one of the additions to the original letter made when the treatise was copied in monastic scriptoria, because it is not in all the manuscripts. Bower finds it particularly significant that the chapter is missing from an early manuscript (Brussels, Bibliothèque Royale 2751) that he considers to be ‘probably an apograph of Regino's original work’ and ‘the extant text closest to Regino's original letter and tonary’.
    • (1971) Musica Disciplina , vol.25 , pp. 20
    • Bower, C.1
  • 154
    • 79954388261 scopus 로고
    • Munich disagrees, arguing for the authenticity of the version containing Chapter 18 (which is found in the early tenth-century manuscript Leipzig, Stadtbibliothek, Rep. I 93); the Brussels manuscript may be abbreviated rather than representing the earliest, shortest version of the treatise
    • M. Bernhard, Studien zur Epistola de armonica institutione des Regino von Priim (Munich, 1979), pp. 26–31, disagrees, arguing for the authenticity of the version containing Chapter 18 (which is found in the early tenth-century manuscript Leipzig, Stadtbibliothek, Rep. I 93); the Brussels manuscript may be abbreviated rather than representing the earliest, shortest version of the treatise.
    • (1979) Studien zur Epistola de armonica institutione des Regino von Priim , pp. 26-31
    • Bernhard, M.1
  • 155
    • 79958465903 scopus 로고
    • The Monastic Origins of Western Music Theory
    • Tihany, Hungary, 19–24 September ed. L. Dobszay (Budapest, 1990 agrees with Bernhard, noting that there was little demand for music theory in the monastic environment
    • J. Dyer, ‘The Monastic Origins of Western Music Theory’, in International Musicological Society Study Group Cantus Planus: Papers Read at the Third Meeting, Tihany, Hungary, 19–24 September 1988, ed. L. Dobszay (Budapest, 1990), p. 222, agrees with Bernhard, noting that there was little demand for music theory in the monastic environment.
    • (1988) in International Musicological Society Study Group Cantus Planus: Papers Read at the Third Meeting , pp. 222
    • Dyer, J.1
  • 156
    • 79958470575 scopus 로고    scopus 로고
    • helpfully suggests considering the various states of Regino's text as different works rather than as different versions of the same work
    • Gushee, ‘Questions of Genre’, pp. 402–3, helpfully suggests considering the various states of Regino's text as different works rather than as different versions of the same work.
    • Questions of Genre , pp. 402-403
    • Gushee1
  • 157
    • 85022706980 scopus 로고    scopus 로고
    • Epistola
    • Epistola 1.1–6, Clavis Gerberti, p. 39.
    • Clavis Gerberti , vol.1 , Issue.1-6 , pp. 39
  • 158
    • 85022693814 scopus 로고    scopus 로고
    • Epistola
    • ‘Scire autem oportet peritum cantorem’
    • ‘Scire autem oportet peritum cantorem’ (Epistola II.1, Clavis Gerberti, p. 40)
    • Clavis Gerberti , vol.2 , Issue.1 , pp. 40
  • 159
    • 85022619123 scopus 로고    scopus 로고
    • Epistola
    • ‘Illud autem sumopere prudens cantor observare debet’ ‘Cantor’ can be translated either as ‘singer’ or with the more specific meaning of ‘cantor’
    • ‘Illud autem sumopere prudens cantor observare debet’ (Epistola n.33, Clavis Gerberti, p. 42). ‘Cantor’ can be translated either as ‘singer’ or with the more specific meaning of ‘cantor’.
    • Clavis Gerberti , Issue.33 , pp. 42
  • 160
    • 85022629245 scopus 로고    scopus 로고
    • Epistola
    • ‘Sed multi audiunt tonum et fortassis ignorant, quid sit tonus, aut quare dicatur tonus’
    • ‘Sed multi audiunt tonum et fortassis ignorant, quid sit tonus, aut quare dicatur tonus’; Epistola IV. 1, Clavis Gerberti, p. 43.
    • Clavis Gerberti , vol.4 , Issue.1 , pp. 43
  • 161
    • 85022704100 scopus 로고    scopus 로고
    • Epistola
    • ‘a minus perito musico quaeri potest, quae distantia sit inter musicam naturalem et artificialem’ (‘a less skilled musicus may ask what the difference is between natural and artifical music’)
    • ‘a minus perito musico quaeri potest, quae distantia sit inter musicam naturalem et artificialem’ (‘a less skilled musicus may ask what the difference is between natural and artifical music’); Epistola V.2, Clavis Gerberti, p. 45.
    • Clavis Gerberti , vol.2 , pp. 45
  • 162
    • 85022700955 scopus 로고    scopus 로고
    • Epistola
    • ‘Idcirco definiunt musici sonum ita’ (‘For that reason musici define sound thus’)
    • ‘Idcirco definiunt musici sonum ita’ (‘For that reason musici define sound thus’); Epistola v. 17, Clavis Gerberti, p. 46.
    • Clavis Gerberti , vol.17 , pp. 46
  • 163
    • 85022700955 scopus 로고    scopus 로고
    • Epistola
    • ‘Ex hac igitur coniectura dicunt astrologi vel musici’ (‘From this inference, then, astrologers and musici say’)
    • ‘Ex hac igitur coniectura dicunt astrologi vel musici’ (‘From this inference, then, astrologers and musici say’); Epistola V. 19, Clavis Gerberti, p. 46.
    • Clavis Gerberti , vol.19 , pp. 46
  • 164
    • 85022719790 scopus 로고    scopus 로고
    • ‘quern tonum musici vocaverunt’ (‘which musici call a tone’) Clavis Gerberti
    • ‘quern tonum musici vocaverunt’ (‘which musici call a tone’); Epistola IX. 16, Clavis Gerberti, p. 54.
    • Epistola , vol.9 , Issue.16 , pp. 54
  • 165
    • 85022613879 scopus 로고    scopus 로고
    • ‘Proinde scire convenit, nullum posse perfecte fieri musicum’(‘Therefore it should be known, that no one can fully become a musicus’) IO Clavis Gerberti
    • ‘Proinde scire convenit, nullum posse perfecte fieri musicum’(‘Therefore it should be known, that no one can fully become a musicus’); Epistola X.IO, Clavis Gerberti, p. 56.
    • Epistola , vol.10 , pp. 56
  • 166
    • 85022687569 scopus 로고    scopus 로고
    • Epistola
    • V.61–4, on human responses to melodies (cantilenis), concerns singing as a universal activity, as opposed to ecclesiastical singing (the primary meaning of cantus in the Epistola). The final sentence of this section, however, could be taken to refer to ecclesti-cal singing as well: ‘And yet there are not a few who cannot sing with others sweetly and in a skilled manner; nevertheless, by themselves they can sing something sweet in a disagreeable fashion’ (‘Etsi sunt nonnuUi, qui docte ac suaviter aliis canere non pos-sunt, sibi tamen aliquid insuaviter suave canunt’)
    • V.61–4, on human responses to melodies (cantilenis), concerns singing as a universal activity, as opposed to ecclesiastical singing (the primary meaning of cantus in the Epistola). The final sentence of this section, however, could be taken to refer to ecclesti-cal singing as well: ‘And yet there are not a few who cannot sing with others sweetly and in a skilled manner; nevertheless, by themselves they can sing something sweet in a disagreeable fashion’ (‘Etsi sunt nonnuUi, qui docte ac suaviter aliis canere non pos-sunt, sibi tamen aliquid insuaviter suave canunt’); Epistola v.64, Clavis Gerberti, p. 48.
    • Clavis Gerberti , vol.64 , pp. 48
  • 167
    • 85022624501 scopus 로고    scopus 로고
    • Epistola
    • Epistola xiv.1, Clavis Gerberti, pp. 58–59.
    • Clavis Gerberti , vol.14 , Issue.1 , pp. 58-59
  • 168
    • 85022722469 scopus 로고    scopus 로고
    • Epistola
    • Epistola XVIII.28–31, Clavis Gerberti, pp. 72–73.
    • Clavis Gerberti , vol.18 , Issue.28-31 , pp. 72-73
  • 169
    • 85022686340 scopus 로고    scopus 로고
    • Clavis Gerberti
    • Epistola XVIII. 1–6, Clavis Gerberti, pp. 70–71.
    • Epistola , vol.18 , Issue.1-6 , pp. 70-71
  • 170
    • 79958346558 scopus 로고
    • ‘numerose id faciunt ac suaviter, quamvis interrogati de ipsis numeris, vel de intervallis acutarum graviumque vocum, respondere non possint?’ ed. G. Marzi (Florence
    • ‘numerose id faciunt ac suaviter, quamvis interrogati de ipsis numeris, vel de intervallis acutarum graviumque vocum, respondere non possint?’; Aurelii Augustini De musica, ed. G. Marzi (Florence, 1969), p. 98.
    • (1969) Aurelii Augustini De musica , pp. 98
  • 171
    • 85022663198 scopus 로고    scopus 로고
    • Epistola
    • Epistola XVIII.10–13, Clavis Gerberti, p. 71.
    • Clavis Gerberti , vol.18 , Issue.10-13 , pp. 71
  • 172
    • 85022663198 scopus 로고    scopus 로고
    • Epistola
    • Epistola XVIII.14–24, Clavis Gerberti, pp. 71–72.
    • Clavis Gerberti , vol.18 , Issue.14-24 , pp. 71-72
  • 173
    • 85022696723 scopus 로고    scopus 로고
    • The passage in brackets is from Boethius
    • The passage in brackets is from Boethius, De institutione musica, I.xxxiv, pp. 223–224.
    • De institutione musica , vol.1 , Issue.36 , pp. 223-224
  • 174
    • 85022722469 scopus 로고    scopus 로고
    • Epistola
    • ‘Neque enim ille, qui lectionem legit, sed qui lectionem exponit, magister appellatur. Et licet pueri psalmorum verba memoriter decantent, ab eorum tamen scientia alieni existunt, quia eorum sensus misticos penetrare nesciunt’
    • ‘Neque enim ille, qui lectionem legit, sed qui lectionem exponit, magister appellatur. Et licet pueri psalmorum verba memoriter decantent, ab eorum tamen scientia alieni existunt, quia eorum sensus misticos penetrare nesciunt’; Epistola, XVIII.25–6, Clavis Gerberti, p. 72.
    • Clavis Gerberti , vol.18 , Issue.25-6 , pp. 72
  • 175
    • 61049367255 scopus 로고
    • Monastic Psalmody of the Middle Ages
    • On the importance of the Psalms in monastic life, see particularly
    • On the importance of the Psalms in monastic life, see particularly J. Dyer, ‘Monastic Psalmody of the Middle Ages’, Revue Benedictine, 99 (1989), 41–74.
    • (1989) Revue Benedictine , vol.99 , pp. 41-74
    • Dyer, J.1
  • 176
    • 84868715863 scopus 로고
    • ‘I modi ecclesiastici nei trattati musicali dell'eta car-olingià
    • I disagree with who argues that Regino's use of the Orpheus myth implies that theory and practice are irreconcilable
    • I disagree with E. Ferrari Barassi, ‘I modi ecclesiastici nei trattati musicali dell'eta car-olingià, Studi Musicali, 4 (1975), pp. 30–31, who argues that Regino's use of the Orpheus myth implies that theory and practice are irreconcilable.
    • (1975) Studi Musicali , vol.4 , pp. 30-31
    • Ferrari Barassi, E.1
  • 177
    • 85022673384 scopus 로고    scopus 로고
    • points out that the ‘negative view of the accessibility of knowledge’ in Chapter 19 of Musica Enchiriadis contrasts with the ‘pervasively positive approach found in Musica and Scolica’
    • Phillips, ‘“Musica”’, p. 388, points out that the ‘negative view of the accessibility of knowledge’ in Chapter 19 of Musica Enchiriadis contrasts with the ‘pervasively positive approach found in Musica and Scolica’.
    • “Musica” , pp. 388
    • Phillips1
  • 178
    • 85022670056 scopus 로고    scopus 로고
    • Epistola
    • ‘Proinde scire convenit, nullum posse perfecte fieri musicum, nisi antea fuerit arithmeticis regulis pleniter institutus’
    • ‘Proinde scire convenit, nullum posse perfecte fieri musicum, nisi antea fuerit arithmeticis regulis pleniter institutus’; Epistola, X. 10, Clavis Gerberti, p. 56.
    • Clavis Gerberti , vol.10 , Issue.10 , pp. 56
  • 179
    • 79958309709 scopus 로고
    • Three Acrostic Poems by Abbo ofFleury
    • For bibliography on Aimo's Vita Abbonis, see
    • For bibliography on Aimo's Vita Abbonis, see S. Gwara, ‘Three Acrostic Poems by Abbo ofFleury’, Journal of Medieval Latin, 2 (1992), pp. 203–204
    • (1992) Journal of Medieval Latin , vol.2 , pp. 203-204
    • Gwara, S.1
  • 180
    • 84868785739 scopus 로고    scopus 로고
    • on Aimo, see with bibHography on pp. 526–7
    • on Aimo, see Brunhölzl, Histoire de la litterature latine, II, pp. 155–163, with bibHography on pp. 526–7.
    • Histoire de la litterature latine , vol.2 , pp. 155-163
    • Brunhölzl1
  • 181
    • 85022605611 scopus 로고    scopus 로고
    • On Abbo, see with bibliography on pp. 524–6
    • On Abbo, see Brunhölzl, Histoire de la litterature latine, 11, pp. 148–155, with bibliography on pp. 524–6.
    • Histoire de la litterature latine , vol.11 , pp. 148-155
    • Brunhölzl1
  • 182
    • 85022697368 scopus 로고    scopus 로고
    • Aimoinus of Fleury
    • Chap. Ill, PL 139.390B
    • Aimoinus of Fleury, ‘Vita sancti Abbonis’, Chap. Ill, PL 139.390B.
    • Vita sancti Abbonis
  • 183
    • 85022675916 scopus 로고    scopus 로고
    • Vita sancti Abbonis
    • ‘Inde Aurelianis regressus, musicae artis dulcedinem, quamvis occulte, propter invidos, a quodam clerico non paucis redemit nummis’ 139.390C
    • ‘Inde Aurelianis regressus, musicae artis dulcedinem, quamvis occulte, propter invidos, a quodam clerico non paucis redemit nummis’; ‘Vita sancti Abbonis’, PL 139.390C.
    • PL
  • 184
    • 7444224588 scopus 로고
    • On Abbo's studies of the liberal arts outside Fleury, see Hilversum
    • On Abbo's studies of the liberal arts outside Fleury, see M. Mostert, The Political Theology of Abbo of Fleury (Hilversum, 1987), p. 31
    • (1987) The Political Theology of Abbo of Fleury , pp. 31
    • Mostert, M.1
  • 185
    • 79958405545 scopus 로고
    • Kennisoverdracht in het klooster: Over de plaats van lezen en schrijven in de vroegmiddeleeuwse monastieke opvoeding
    • ed. R.E.V. Stuipt and C. Vellekoop (Hilversum
    • idem, ‘Kennisoverdracht in het klooster: Over de plaats van lezen en schrijven in de vroegmiddeleeuwse monastieke opvoeding’, in Scholing in de middeleeuwen, ed. R.E.V. Stuipt and C. Vellekoop (Hilversum, 1995), pp. 114–115.
    • (1995) in Scholing in de middeleeuwen , pp. 114-115
  • 186
    • 79958321612 scopus 로고    scopus 로고
    • On the notion of an ‘intellectual elite of the cloister’, see
    • On the notion of an ‘intellectual elite of the cloister’, see Mostert, ‘Kennisoverdracht’, pp. 119–120.
    • Kennisoverdracht , pp. 119-120
    • Mostert1
  • 188
    • 85022617443 scopus 로고    scopus 로고
    • ‘Igitur quae in hac arte Deo donante sapimus, utamur eis tantum in laudibus Dei, et ea, quae laboriosa veterum indagatione nobis inventa sunt, assumamus in iubilando, cel-ebrando, canendo, quae in prioribus generationibus non sunt agnita filiis hominum, sed nunc revelata sunt Sanctis eius. Pandit multa musicae rationis miracula praestantissimus auctor Boetius magisterio numerorum enucleatim cuncta comprobans’
    • ‘Igitur quae in hac arte Deo donante sapimus, utamur eis tantum in laudibus Dei, et ea, quae laboriosa veterum indagatione nobis inventa sunt, assumamus in iubilando, cel-ebrando, canendo, quae in prioribus generationibus non sunt agnita filiis hominum, sed nunc revelata sunt Sanctis eius. Pandit multa musicae rationis miracula praestantissimus auctor Boetius magisterio numerorum enucleatim cuncta comprobans’; Schmid, Musica, p. 59
    • Musica , pp. 59
    • Schmid1
  • 190
    • 79958410470 scopus 로고    scopus 로고
    • also interprets this passage as historical narrative advocating the study of texts newly in circulation, which were not available to earlier authors
    • Bower, ‘Reception, Reaction, and Redaction’, also interprets this passage as historical narrative advocating the study of texts newly in circulation, which were not available to earlier authors.
    • Reception, Reaction, and Redaction
    • Bower1
  • 191
    • 85022599442 scopus 로고    scopus 로고
    • Epistola
    • ‘Si quis vero tantae profunditatis ac perplexe subtilitatis curiosus investigator existit, legat sepe dicti Boetii tertium librum de armonica institutione, et ibi fortassis non solum eius curiositati satisfiet, verum etiam suum experiri poterit ingenium. Si enim ad haec capienda idoneus inventus fuerit, noverit nihil sibi difficile in septem liberalibus disci-plinis’
    • ‘Si quis vero tantae profunditatis ac perplexe subtilitatis curiosus investigator existit, legat sepe dicti Boetii tertium librum de armonica institutione, et ibi fortassis non solum eius curiositati satisfiet, verum etiam suum experiri poterit ingenium. Si enim ad haec capienda idoneus inventus fuerit, noverit nihil sibi difficile in septem liberalibus disci-plinis’; Epistola, XVl.43–4, Clavis Gerberti, p. 69.
    • Clavis Gerberti , vol.XVl , Issue.43-4 , pp. 69
  • 194
    • 84919642179 scopus 로고    scopus 로고
    • Orpheus und die Entstehung einer Musiktheorie im 9. Jahrhundert
    • A new interpretation of these texts was available to me only after this article had already gone to press
    • A new interpretation of these texts was available to me only after this article had already gone to press: Andreas Ostheimer, ‘Orpheus und die Entstehung einer Musiktheorie im 9. Jahrhundert’, Mittellateinisches Jahrbuch, 33 (1998), pp. 19–35.
    • (1998) Mittellateinisches Jahrbuch , vol.33 , pp. 19-35
    • Ostheimer, A.1


* 이 정보는 Elsevier사의 SCOPUS DB에서 KISTI가 분석하여 추출한 것입니다.