Aurelii Augustini de Musica Libri VI : a pythagorean interpretation
Date
1982
Authors
Collis, Frederick John
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Abstract
This thesis attempts to interpret Augustine's of Hippo De Musica Libri
VI in a fashion consistent with what I assume are typically pythagorean
modes of thinking. Its fundamental principle is that the space-time
universe and the atemporal universe of being are both constructed and
understood on the model of the principles and arrangements of numbers.
This position is embedded in a Platonic philosophical tradition
communicated via Plotinus and Varro which more specifically provides
Augustine with the imagery out of which he constructs his study.
The text is divided into six books which are considered consecutively
before finally considering the whole in relation to its most obvious
historical counterparts Martianus' De nuptiis and Boethius' De institutione
musica. The opening chapter attempts in very general terms to specify a
tradition of 'number imagery' which I notice running through ancient Greek
and Roman thought. Some of its more specific locations are described
briefly, especially the work of the 'Neo-pythagoreans' and Plotinus' Ennead
VI6. Augustine's relationship to this tradition is briefly sketched.
The second chapter discusses book one in detail. It deals first with
the definition of musica as scientia bene modulandi. It is clear that
Augustine thinks of musica as first an intellectual discipline directly
apprehended by the intellect and founded on a study of number relations.
Then the detailed numeric theory is presented as an introduction both to
the philosophical imagery of book six and as an introduction to the
following books on prosody. These books two to five contain a unique rhythmic theory which,
Augustine argues, issues in a logical way from the theory of number
relations and must be clearly distinguished from the grammarian's interest
in prosody" The principle of understanding is pat io which is used in the
treatise to mean both ratio and reason. This double meaning is exploited,
especially in these books, to make the rational character of his system
clear. At the same time he maintains that sense itself is formed after
these intellectual qualities and so the perfection of rhythmic movement can
be recognized without ever being understood.
Chapter four discusses book six of the treatise in considerable
detail. It is a psychological study of sensation and its relation to patio.
Ratio appears as the centrepiece of a theory of sensation based on kinds of
numePi which are all immaterial contents of the active soul. Their relation
to 'natural' and rational judgement is explored. The puzzle of sensible
experience is explained in terms of an image, the carmen universitatis,
which is central to my interpretation of the treatise. The image helps
merge several categories of discourse as it locates the rational soul in
social, aesthetic and ontological terms.
A short exploration of the influence of the De Musica in the middle
ages is included in the final chapter. A fairly comprehensive bibliography
is attached.
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