First Book.

Music (as its definition says) is the science of well-measuring; therefore, he who does not possess the science of well-measuring—even if singing comes naturally to him, or he does it through imitation or habit—will not possess Music.
The definition of Music as the science of well-measuring does not apply to him, nor does that which is defined or determined as Music itself. Those who wish to see these three conditions The specific requirements for being a true musician according to Saint Augustine. explained more at length should look at the first book of On Music by Augustine original: "Augustino", referring to St. Augustine of Hippo (354–430 AD), specifically his treatise De Musica..

What difference there is between a singer, a cantor, and a musician.

Chapter V.

Regarding those who sing and play instruments, the name "musician" original: "musico" is very widespread and celebrated. To see who possesses it with a just title, let us learn the difference between the three aforementioned names. Boethius original: "Boecio", referring to Anicius Manlius Severinus Boethius (c. 480–524 AD), whose De institutione musica was the standard medieval textbook on music theory. in the first book, chapter thirty-four, says there are three types of men who practice music. Some play instruments, others compose verses, and the third group judges the work of the instruments and verses. Anyone who plays an instrument or sings while lacking a certain understanding of instruments and consonances Harmonious intervals or sounds that agree with one another. shall be called a "singer" original: "cantante" or a "player" original: "tañente". Andrea Likely referring to Andreas Ornithoparchus, a 16th-century music theorist. says: "We deny the name of musician to whoever considers himself a professor of Music if his mind lacks true understanding of it, even if he sings and plays well." The science of Music, says Augustine, can exist without the practice of it. And sometimes where there is less practice in playing and singing, there is more science and greater speculation In this context, "speculation" refers to theoretical contemplation or intellectual study rather than guesswork.. The nimbleness of the fingers in those who play, and the ease of pronouncing the notes original: "puntos", literally "points," referring to the dots used in musical notation. in those who sing, proceeds from practice and not from art. To such as these, the name of "singer" is appropriate, and they are well-compensated, for they did not progress any further. The second type of men who practice this art are the poets. These compose more by a natural light or by a natural instinct than by the speculation of the intellect. This type of men, says Boethius in the place already cited, should not enjoy the name of "musician." It is true that the most learned Augustine counts them among musicians, since he treats poetry as a part of Music. We can say that the poet is not an "artificial" musician A musician by technical skill and theory. according to Boethius, but is a "natural" musician according to Augustine.

The third type of men who deal with music are those who possess the science to judge between good and bad compositions; this is proper to the art of music because it consists of speculation and reason. That person, says Boethius, can be called a musician who has the faculty—according to speculation and reason—to answer all things pertaining to Music, and who, having a mind examined and purified, possesses the science of singing; not in the service of the physical work, but under the rule and command of speculation, and who lacks nothing for both speculating and acting. Plutarch original: "Plutarcho", the Greek philosopher and historian. says such a person can be called a musician, and not he who only sings. The reason for this is that the practice of the work does not beget science, while the speculation of Music produces knowledge, and this knowledge is Music. That person is called a "cantor" original: "cantor", often used for a professional church singer or leader of a choir who understands some theory but is subservient to the "musician.", as Andrea holds in the first book and chapter, who puts into practice the speculation of the musician. Therefore, everything the cantor does in composition and the pronunciation of song, if reason is disregarded, shall be called useless song. What the cantor composes and pronounces with the voice must first exist in the purity of the intellect. I mean to say that if one does not work in the composition of song according to what the musician determines, he shall not be called a cantor. The musician compared to the cantor, says Guido of Arezzo original: "Guido aretino" (c. 991–1033 AD), an influential medieval music theorist and inventor of modern musical notation., is like comparing a magistrate original: "corregidor", a local administrative and judicial official. to a town crier original: "pregonero". The magistrate dictates or speaks, and the crier, with a loud voice, proclaims what the magistrate told him. The Supreme Pontiff John XXII original: "Iuan vicesimo secundo", Pope from 1316 to 1334, known in music history for his decree against certain musical excesses., in the second chapter of his music [treatise], says: "There is nothing to which a cantor can be compared so perfectly and which fits so well as a drunkard, who knows how to return to his home because of the habit he has, but does not understand nor could he say through which street he returned." In this way, cantors know how to compose in all the modes and perform great feats and skills in them—and even, to greater admiration, they do it unexpectedly Performing "sobre el libro," or improvising polyphony over a written plainchant.—but they will not tell you the reason for it. Thus, they know how to arrive at the house of Music, but they do not know the way they came. According to this opinion, all those who compose polyphony original: "cante de organo", referring to measured, polyphonic music. can be called cantors. Jacques Lefèvre d'Étaples original: "Stapulense" (c. 1455–1536), a French theologian and humanist who wrote on music theory. speaks more strictly on this matter in the second prologue of his music. The difference, he says, that there is...