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Behind the mirror: Revealing the contexts of Jacobus's Speculum musicae.

机译：镜子后面：揭示雅各布斯的窥器音乐的脉络。

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This study addresses the general question of how medieval music theory participated in the discourse of the related disciplines of philosophy, natural science and theology. I focus on a specific instance of scientific inquiry: the fourteenth-century music treatise Speculum musicae, written by an author known to us as Jacobus. A detailed analysis of Speculum musicae reveals an aesthetic system whose elements are assigned meaning and value through the anagogical relationships that the author posits (either explicitly or implicitly) with systems articulated in philosophical and theological treatises at the turn of the fourteenth century. My central concerns are uncovering the impetus behind the production of this treatise, determining where Jacobus's philosophies fit within particular schools of medieval thought, as revealed through his vocabulary choices, supporting sources, and methods of reasoning, and then extrapolating from these philosophies which rationale (ratio) most informs his positions on particular issues, such as his classification of music, or his defense of the ancient art of singing against the modern art. I hope to present a fresh perspective on one of the most important yet one of the most mysterious ages in the history of music. The turn of the fourteenth century was a fascinating time for music: we find musical systems in a pronounced state of flux with various theoretical solutions proposed in response to the problems of notating this increasingly complex music. Analyzing the background of these theoretical formulations, and assessing the various judgments of "good" practice, and the kinds of arguments used to bolster these judgments, will uncover reasons for the overturning of musical systems and go some way toward explaining the nature of musical change.
机译：这项研究解决了中世纪音乐理论如何参与哲学，自然科学和神学相关学科话语的一般问题。我将重点放在科学探究的一个特定实例上：十四世纪的音乐专着Speculum musicae，由我们称为Jacobus的作者撰写。对音乐窥器的详细分析揭示了一个美学系统，该美学系统通过作者与（在十四世纪之初）在哲学和神学论文中阐述的系统的（明确或暗含的）关系之间的关系被赋予了意义和价值。我的主要关注点在于发掘本论文的背后推动力，确定雅各布斯的哲学在中世纪特定思想流派中的适用范围，这通过他的词汇选择，支持来源和推理方法得以揭示，然后从这些理论中进行推断（比率）最能说明他在特定问题上的立场，例如他的音乐分类或他对古代歌唱艺术与现代艺术的辩护。我希望对音乐史上最重要但又最神秘的时代之一提出新的看法。十四世纪的转折是音乐的迷人时期：我们发现音乐系统处于明显的变化状态，针对指出这种日益复杂的音乐的问题提出了各种理论解决方案。分析这些理论表述的背景，评估“良好”作法的各种判断，以及用于支持这些判断的各种论点，将揭示音乐系统颠覆的原因，并在某种程度上解释音乐变化的本质。

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