Ego tanquam centrum circuli significato12/29/2022 ![]() ![]() ĥ.3 Anima mundi et harmonia: the late-ancient receptionĥ.4 Anima mundi et harmonia: the twelfth century. ‘Psychosomatic’ harmonies: the union of body and soulĥ.1 The Boethian framework of musica mundana. Psychological harmonies: per similitudinem. 131Ĥ.2 The ethical utility of music in the twelfth century. Ĥ.1 Quantumque per uocem utilitatis capitur ex musica. ģ.6 Vox, sonus, et auditus apud physicos. ģ.5 Vox, sonus, et auditus apud grammaticos. ģ.4 Twelfth-century views on perception and hearing. ģ.1 References to contemporaneous practice and theoryģ.2 Boethius on sense perception and hearing. Ģ.5 Bernard of Chartes and the Glosae Colonienses super MacrobiumĢ.6 William of Conches. ĭefining the domain: musica and the diuisiones scientiaeĢ.1 Boethius. ġ.5 Timaean Arithmetic in Boethius’ De institutione musicaġ.6 Calcidius. ![]() ġ.3 Pythagorean and Aristoxenian harmonic theory. Prolegomena: Platonic musicology in late-ancient thoughtġ.1 A Platonic triptych. Vxori meae hoc opus libens laetusque do atque dedico. Nec mi esset libertas multos post conatus, Per quem mundo notus est glossator Conchensis. Qui (mireris) medicus tandem est suggestus? Underpins the concordant machinations of the machina mundi in all its manifestations. Finally, chapterįive (musica mundana) outlines the cosmological framework, the anima mundi in particular, that Chapter four (musica humana) targets the anthropological, psychological, and ethical implications of musical relations in and between body and soul. Occasional and perhaps surprising employ of practical, technical music theory in cosmological contexts, and focuses on the epistemological foundations of hearing and the ontological status granted to Chapter three (musica instrumentalis) highlights the Present an anagogic ascent per aspera ad astra. These chapters, heuristically organized around the Boethian tripartition of music, Thesis (chapters three through five) assembles and analyzes the direct evidence for twelfth-century The background of twelfth-century thought, and it sketches the proper domain of musical thoughtīy tracing the expansion of music’s role in quadrivial and natural-philosophical contexts from lateancient encyclopedism though various twelfth-century divisiones scientiae. The first part of the thesis (chapters one and two) disentangles the knotty question of sourcesįor and connections between the late-ancient texts (by Calcidius, Macrobius, and Boethius) that form This musical speculation and to situate it within the larger tradition of ‘speculative music theory.’ ‘Twelfth-Century Renaissance’ secondly and musicologically, to document the sources and scope of The self-styled physici, who probed the physical world and its metaphysical foundations during the Philosophically, to analyze and re-assert the importance of musical speculation in the writings of The twin goals of this study are thus philosophical and musicological: firstly and Twelfth-century thinkers to conceptualize the fabric of the universe, but it also provided a hermeneutic tool for interpreting the ancient and late-ancient texts that offered detailed theories of the world’sĬonstruction. It argues that music theory not only allowed Philosophical harmonic speculation that stems largely from an a priori commitment to a harmonicĬosmology with its deepest roots in Plato’s Timaeus. It traces the development, expansion, and demise of a (natural-) This study engages a network of music, myth, and metaphysics within late-ancient and twelfthcentury music theory and cosmology. Music, Myth, and Metaphysics: Harmony in Twelfth-Century Cosmology and NaturalĪndrew James Hicks Doctor of Philosophy, 2012Ĭentre for Medieval Studies University of Toronto Music, Myth, and Metaphysics: Harmony in Twelfth-CenturyĪ thesis submitted in conformity with the requirements ![]()
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