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6.

Solesmes editions were intended for use in church, not


scholarship, and therefore have additional signs not in their
source manuscripts.

a. Dots after notes double their value.


b. Horizontal dashes (present in some medieval sources)
indicate a slight lengthening (e.g., the first note of -es
of fines).
c. Vertical lines mark divisions of a melody.
d. Asterisks show where the chorus takes over from the
soloist.
e. ij and iij indicate repetitions of the preceding phrase,
twice and three times respectively (see HWM Example
3.5).

VII. MUSIC THEORY AND PRACTICE

A. Two writers transmitted the legacy of Greek music theory: Martianus


Capella and Boethius.
B. Martianus Capella's treatise The Marriage of Mercury and
Philology (early fifth century)
1. Describes the seven liberal arts

a. The trivium of the verbal arts: grammar, dialectic,


rhetoric
b. The quadrivium of the mathematical disciplines:
geometry, arithmetic, astronomy, and harmonics (music)

2. The section on music is a modified translation of Aristides


Quintalianus'sOn Music.

C. Boethius (ca. 480-ca. 524) was the most revered authority on music in
the Middle Ages.

1. Born into a wealthy Roman family


2. Consul and minister to Theodric, ruler of Italy
3. He wrote De institutione musica (The Fundamentals of Music)
when he was a young man.
4. His main sources are a long treatise by Nichomachus and
Ptolemy'sHarmonics.
5. Concepts in De institutione musica

a. The three types of music

musica mundana (the music of the universe):


numerical relations governing the movement of
stars, planets, seasons, and the elements
musica humana (human music): unification of
body, soul, and their parts
musica instrumentalis (instrumental music):
audible music produced by voices or instruments

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