Ars musice

Outline of the Ars musice

These headings are not the work of Grocheio, but serve to indicate the structure of the Ars musice by noting its various sections and subsections. Prologue on the art of music 0.1 Request for the work 0.2 Intention of the work 0.3 The way of proceeding 0.4 Concerning principles 0.5 Petition to the audience 0.6 Conclusion to the prologue Beginning of the treatise 1.1 The fabled discoverers of music 1.2 boethius’s opinion on the discovery of music 1.3 boethius’s description of Pythagoras’s discovery of music 1.4 Pythagoras’s discovery of the material of music 1.5 Conclusion to the discovery of music 2.1 Introduction to the principles of music 2.2 definition of consonance and concord 2.3 Introduction to consonances 2.4 on consonances being infinite 2.5 Limiting the number of consonances to three 2.6 on proportion 2.7 Proportion as a cause of consonance 2.8 The species of proportion 2.9 only man recognizes consonances 2.10 Consonance as a natural phenomenon 3.1 Introduction to the three perfections in sounds 3.2 The perfect threefold harmony in sound 3.3 The most perfect consonance in metaphor 3.4 The human soul and the threefold perfection in sound 33 outline of the Ars musice 3.5 Conclusion to consonances in general and introduction to their particulars 4.1 The diapason 4.2 The diapente 4.3 The diatessaron 4.4 Their properties are set aside until later 4.5 Conclusion to consonances and introduction to concords 4.6 The claim that concords are infinite 4.7 other views on the number of concords 4.8 Limiting the number of concords to 7 4.9 The significance of the number 7 4.10 What each of the concords is 4.11 The unison 4.12 The tone 4.13 The semitone 4.14 The ditone 4.15 The semiditone or diatessaron 4.16 The diapente 4.17 The diapason 4.18 Simple and compound concords 4.19 Conclusion to consonances and concords and introduction to what music is and what are its parts 5.1 How certain people describe music 5.2 How we intend to examine music 5.3 The definition of music 5.4 Conclusion to what music is 5.5 The division of music into mundana, humana, and instrumentalis 5.6 The fallacy of mundana 5.7 doubts about humana 5.8 The division of instrumentalis into diatonic, chromatic, and enharmonic 5.9 Why we do not understand this division 5.10 The division of music into plain and measured 5.11 Conclusion to how other people divide music 6.1 Why it is not easy to divide music 6.2 The branches of music that the people in Paris use 34 outline of the Ars musice outline of the Ars musice 35 7.1 Introduction to what is common to the branches of music 7.2 That music may be preserved in writing 7.3 description of heighted notation 7.4 The limitations of heighted notation 7.5 Notation using 15 lines 7.6 The limitations of notation using 15 lines 7.7 How every cantus may be described using letters and solmisation syllables 7.8 Musica falsa 7.9 Conclusion to how music may be preserved in writing 7.10 other means of representing music 7.11 Conclusion to what is common to the branches of music and introduction to each branch of music 8.1 description of the types of knowledge 9.1 Introduction to, and division of, the first branch of music: music of the people 9.2 Types of music made in the human voice: cantus and cantilena 9.3 Cantus gestualis 9.4 Cantus coronatus 9.5 Cantus versualis 9.6 Cantilena rotunda or rotundellus 9.7 Cantilena stantipes 9.8 Cantilena ductia 9.9 Cantilena entata or cantus insertus and conclusion to cantus and Cantilena 10.1 Introduction to the parts of cantus and cantilene 10.2 The verse in cantus gestualis 10.3 The verse in cantus coronatus 10.4 The verse in cantus versicularis 10.5 The response of cantilene 10.6 The supplements of cantilena rotundellus, ductia, and stantipes 10.7 Conclusion to the parts of cantus and cantilena and introduction to the way of composing cantus and cantilena 11.1 The way of composing cantus and...