On the Institution of Music (De institutione musica)

On the Three Kinds of Music. Chapter Two

In the beginning, therefore, regarding the distinctions of Music, it seems necessary to speak for a moment on how many kinds of Music we know have been identified by its students. There are, in fact, three: the first is the music of the world original: "mundana"; refers to the "music of the spheres" or cosmic harmony; the second is human music; the third is that which is established in certain instruments, such as the lyre original: "cithara", or pipes original: "tibijs", and others which serve the purpose of song. And first, that which is of the world is to be observed especially in those things which are seen in the heaven itself, or in the structure of the elements, or the variety of the seasons. For how can it be that such a swift machine of heaven is moved in a silent and quiet course? And even if that sound does not reach our ears—which must happen for many reasons—it is nonetheless impossible that such a very swift motion of such great bodies should stir no sounds at all, especially since the courses of the stars are joined together by such a fitting adaptation original: "coaptatione" that nothing so well-structured, nothing so blended together, can be imagined. For some are carried higher, others lower, and yet all are revolved with an equal impulse, so that through their diverse inequalities a fixed order of their courses is maintained. Whence a fixed order of modulation cannot be absent from this celestial rotation. Now truly, unless a certain harmony original: "armonia" joined the four varieties of the elements and their contrary powers, how could it be that they should come together into one body and machine? But all this diversity produces such a variety of seasons and fruits that it nevertheless makes up the single body of the year. Whence, if you were to withdraw in your mind and thought any of these things which provide such variety to the world, they would all perish and, so to speak, preserve nothing harmonious original: "consonum". And just as in the low strings there is a limit to the voice, so that the depth does not descend too far, and in the high strings that limit of sharpness is guarded so that the strings do not break from the thinness of too much tension, but the whole is consistent and fitting with itself; so also in the Music of the world we perceive that nothing is so excessive that it destroys another by its own excess. Rather, whatever it is, it either brings forth its own fruits or helps others to bring them forth. For what winter constricts, spring loosens, summer parches, and autumn ripens. The seasons in turn either bring forth their own fruits or supply the means for others to bring them forth. Concerning these things, we must dispute more diligently later.

Truly, anyone who descends into himself understands Human Music. For what is it that mixes that incorporeal vitality of reason with the body, unless it is a certain fitting adaptation and a tempering, as if making one consonance of low and high voices? What else is it that joins the parts of the soul together, or the soul with the mind? Which, as it pleases Aristotle, is joined from the rational and the irrational. Truly, what is it that mixes the elements of the body, or holds the parts together in a fixed adaptation? But concerning this also, I shall speak later.

The third is the Music which is said to reside in certain instruments. This is administered either by tension, as in strings; or by breath, as in pipes or those which are moved by water; or by a certain percussion, as in those which are struck upon certain hollow brass vessels, and from there diverse sounds are produced. Concerning this instrumental Music, it seems necessary to dispute first in this work. But this is enough of a preface; now we must discuss the elements of Music themselves.

On Voices and the Elements of Music

Consonance, which governs every
modulation of Music, is the...