Cassiodorus: de Musica

1. Gaudentius quidam, de musica scribens, Pythagoram dicit huius rei invenisse primordia ex malleorum sonitu et cordarum extensione percussa. quem vir disertissimus Mutianus transtulit in Latinum, ut ingenium eius assumpti operis qualitas indicaret. Clemens vero Alexandrinus presbyter, in libro quem contra Paganos edidit, musicam ex Musis dicit sumpsisse principium, Musasque ipsas qua de causa inventae fuerint, diligenter exponit.

1. A certain Gaudentius, writing on music, says that Pythagoras discovered the beginnings of this subject from the sound of hammers and from the stretching of strings when struck. This work the most eloquent man Mutianus translated into Latin, so that the quality of the undertaking might indicate his own ingenium. But Clement, the Alexandrian presbyter, in the book which he published against the Pagans, says that music took its principium from the Muses, and he diligently sets forth for what cause the Muses themselves were invented.

nam Musae ipsae appellatae sunt apo tu maso, id est a quaerendo, quod per ipsas, sicut antiqui voluerunt, vis carminum et vocis modulatio quaereretur. invenimus etiam Censorinum, qui ad Quintum Cerellium scripsit de Natalis eius die, ubi de musica disciplina vel de alia parte mathesis non neglegenda disseruit; quoniam utiliter legitur, ut res ipsae penetralibus animae frequenti meditatione condantur.

for the Muses themselves are appellated from apo tu maso, that is, from seeking, because through them, as the ancients wished, the force of songs and the modulation of the voice would be sought out. We also find Censorinus, who wrote to Quintus Cerellius concerning the day of his birth, where he discoursed—not to be neglected—about the discipline of music or about another part of mathesis; since it is read usefully, so that the very things themselves may be stored in the innermost places of the soul by frequent meditation.

2. Musica ergo disciplina per omnes actus vitae nostrae hac ratione diffunditur; primum, si Creatoris mandata faciamus et puris mentibus statutis ab eo regulis serviamus. quicquid enim loquimur vel intrinsecus venarum pulsibus commovemur, per musicos rithmos armoniae virtutibus probatur esse sociatum. musica quippe est scientia bene modulandi; quod si nos bona conversatione tractemus, tali disciplinae probamur semper esse sociati.

2. Therefore the musical discipline is diffused through all the acts of our life in this way; first, if we do the commandments of the Creator and with pure minds serve the statutes established by him. For whatever we speak, or are inwardly moved by the pulses of our veins, is proved to be associated, through musical rhythms, with the virtues of harmony. For music is the science of modulating well; and if we conduct ourselves with good conversation (conduct), we are proved to be always associated with such a discipline.

quando vero iniquitates gerimus, musicam non habemus. caelum quoque et terra, vel omnia quae in eis dispensatione superna peraguntur, non sunt sine musica disciplina; nam Pythagoras hunc mundum per musicam conditum et gubernari posse testatur. 3. In ipsa quoque religione valde permixta est, ut sunt Decalogi decacordus, tinnitus cytharae, tympana, organi melodia, cymbalorum sonus.

but when indeed we commit iniquities, we do not have music. The heaven also and the earth, or rather all things which in them are carried out by supernal dispensation, are not without the music-discipline; for Pythagoras testifies that this world was founded through music and can be governed. 3. In religion itself too it is very much intermingled, as are the Decachord of the Decalogue, the ringing of the cithara, the tympana, the melody of the organ, the sound of cymbals.

ipsum quoque Psalterium ad instar instrumenti musici nominatum esse non dubium est, eo quod in ipso contineatur caelestium virtutum suavis nimis et grata modulatio.

It is not doubtful that the Psalter itself also has been named after the likeness of a musical instrument, because in it is contained an exceedingly sweet and pleasing modulation of celestial virtues.

4. Nunc de musicae partibus, sicut est a maioribus traditum, prosequamur. musica scientia est disciplina quae de numeris loquitur, qui ad aliquid sunt his qui inveniuntur in sonis, ut duplum, triplum, quadruplum, et his similia quae dicuntur ad aliquid. 5. Musicae partes sunt tres: armonica—rithmica—metrica.

4. Now, concerning the parts of music, as it has been handed down by the elders, let us proceed. Music is a science, a discipline that speaks about numbers, which are relative to something in those things that are found in sounds, such as the duple, triple, quadruple, and similar things of this sort which are called relative to something. 5. The parts of music are three: harmonic—rhythmic—metric.

armonica est scientia musica quae decernit in sonis acutum et gravem. rithmica est quae requirit incursionem verborum, utrum bene sonus an male cohaereat. metrica est quae mensuram diversorum metrorum probabili ratione cognoscit, ut verbi gratia heroicon, iambicon, heleiacon, et cetera.

the harmonic is the musical science which determines, in sounds, the acute and the grave; the rhythmic is that which investigates the incursion (accent) of words, whether the sound coheres well or ill; the metric is that which, by a probable rationale, knows the measure of diverse meters, for example the heroic, the iambic, the elegiac, and the rest.

6. Instrumentorum musicorum genera sunt tria: percussionalia—tensibilia—inflatilia. percussionalia sunt acitabula aenea et argentea, vel alia quae metallico rigore percussa reddunt cum suavitate tinnitum. tensibilia sunt cordarum fila sub arte religata, quae ammoto plectro percussa mulcient aurium delectabiliter sensum, in quibus sunt species cytharum diversarum.

6. The kinds of musical instruments are three: percussional—tensible—inflatile. percussional are bronze and silver cymbals, or others which, when struck with metallic rigidity, render a ringing with sweetness. tensible are threads of strings bound together by art, which, when struck with the plectrum set in motion, gently soothe the sense of the ears delectably, among which are the kinds of various cythars.

inflatilia sunt quae spiritu reflante completa in sonum vocis animantur, ut sunt tubae, calami, organa, pandoria et cetera huiuscemodi.

inflatile are those which, filled by the blowing breath, are animated into the sound of voice, as are tubas, reeds, organs, pandoria, and other things of this kind.

7. Restat nunc ut de symphoniis dicere debeamus. symphonia est temperamentum sonitus gravis ad acutum vel acuti ad gravem, modulamen efficiens sive in voce sive in flatu sive in percussione. symphoniae autem sunt sex: prima diatessaron, secunda diapente, tertia diapason, quarta diapason simul et diatessaron, quinta diapason simul et diapente, sexta disdiapason.

7. It remains now that we ought to speak about symphonies. A symphony is the tempering of a sound, from grave to acute or from acute to grave, producing a modulation whether in voice or in breath or in percussion. The symphonies moreover are six: the first, the diatessaron; the second, the diapente; the third, the diapason; the fourth, the diapason together with the diatessaron; the fifth, the diapason together with the diapente; the sixth, the disdiapason.

I. diatessaron symphonia est quae constat ex ratione epitrita et fit ex sonis quattuor, unde et nomen accepit. II. diapente symphonia est quae constat ex ratione emiolia et fit sonitibus quinque. III.

1. The diatessaron is a symphony which consists of the epitritic ratio and is made from four sounds, whence it also received its name. 2. The diapente is a symphony which consists of the hemiolic ratio and is made by five sounds. 3.

diapason symphonia est quae etiam diocto dicitur. constat ex ratione diplasia, hoc est, dupla; fit autem per sonitus octo, unde et nomen accepit sive diocto sive diapason, quia apud veteres cytharae ex octo cordis constabant; diapason ergo dicta est quasi ex omnibus sonis constans. IIII.

the diapason symphony is what is also called the diocto. it consists in the ratio diplasia, that is, duple; and it is formed through eight sounds, whence it has taken its name, whether “diocto” or “diapason,” because among the ancients the citharas consisted of eight strings; therefore it is called “diapason,” as if consisting of all the sounds. 4.

diapason simul et diatessaron symphonia est quae constat ex ratione quam habet xxiiii numerus ad octonarium numerum; fit autem per sonitus xi. V. diapason simul et diapente symphonia est quae constat ex ratione triplasia; fit autem per sonitus xii. VI. disdiapason, id est dupla diapason, symphonia est quae constat ex ratione tetraplasia; fit autem per sonos xv.

the diapason together with the diatessaron is a symphony which consists of the ratio that the number 24 has to the number eight; and it is produced through 11 sounds. 5. the diapason together with the diapente is a symphony which consists of the triple ratio; and it is produced through 12 sounds. 6. the disdiapason, that is, the double diapason, is a symphony which consists of the fourfold ratio; and it is produced through 15 sounds.

8. Tonus est totius constitutionis armonicae differentia et quantitas, quae in vocis accentu sive tenore consistit. toni vero sunt quindecim: hypodorius hypoiastius hypophrygius hypoaeolius hypolydius dorius iastius phrygius aeolius lydius hyperdorius hyperiastius hyperphrygius hyperaeolius hyperlydius. I. hypodorius tonus est omnium gravissime sonans, propter quod et inferior nuncupatur.

8. The tone is the difference and quantity of the whole harmonic constitution, which consists in the voice’s accent or tenor. The tones are fifteen: hypodorius hypoiastius hypophrygius hypoaeolius hypolydius dorius iastius phrygius aeolius lydius hyperdorius hyperiastius hyperphrygius hyperaeolius hyperlydius. 1. The hypodorian tone is the most gravely sounding of all, on account of which it is also called the lower.

II. hypoiastius autem hypodorium hemitonio praecedens. III. hypophrygius est hypoiastium hemitonio, hypodorium tono praecedens.

2. The Hypoiastian, however, precedes the Hypodorian by a semitone. 3. The Hypophrygian is preceding the Hypoiastian by a semitone, the Hypodorian by a tone.

IIII. hypoaeolius est hypophrygium hemitonio, hypoiastium tono, hypodorium tono semis praecedens. V. hypolydius est hypoaeolium hemitonio, hypophrygium tono, hypoiastium tono semis, hypodorium ditono praecedens.

4. the hypoaeolian precedes the hypophrygian by a semitone, the hypoiastian by a tone, the hypodorian by a tone and a half. 5. the hypolydian precedes the hypoaeolian by a semitone, the hypophrygian by a tone, the hypoiastian by a tone and a half, the hypodorian by a ditone.

VI. dorius est hypolydium hemitonio, hypoaeolium tono, hypophrygium tono semis, hypoiastium ditono, hypodorium duobus semis tonis, hoc est diatessaron symphonia, praecedens. VII. iastius est dorium hemitonio, hypolydium tono, hypoaeolium tono semis, hypophrygium ditono, hypoiastium duobus semis tonis, hoc est diatessaron symphonia, hypodorium tribus tonis praecedens.

6. dorian is preceding the hypolydian by a semitone, the hypo-aeolian by a tone, the hypophrygian by a tone and a half, the hypo-iastian by a ditone, the hypodorian by two and a half tones, that is, by the diatessaron symphony. 7. iastian is preceding the dorian by a semitone, the hypolydian by a tone, the hypo-aeolian by a tone and a half, the hypophrygian by a ditone, the hypo-iastian by two and a half tones, that is, by the diatessaron symphony, the hypodorian by three tones.

VIII. phrygius est iastium hemitonio, dorium tono, hypolydium tono semis, hypoaeolium ditono, hypophrygium duobus semis tonis, hoc est diatessaron symphonia, hypoiastium tribus tonis, hypodorium tribus semis tonis, hoc est diapente symphonia, praecedens. VIIII.

8. the Phrygian is the Iastian by a semitone, the Dorian by a tone, the Hypolydian by a tone and a half, the Hypoaeolian by a ditone, the Hypophrygian by two half-tones, that is, the diatessaron symphony, the Hypoiastian by three tones, the Hypodorian by three half-tones, that is, the diapente symphony, preceding. 9.

aeolius phrygium hemitonio, iastium tono, dorium tono semis, hypolydium duobus tonis, hypoaeolium duobus semis tonis, hoc est diatessaron symphonia, hypophrygium tribus tonis, hypoiastium tribus semis tonis, hoc est diapente symphonia, hypodorium quattuor tonis praecedens. X. lydius est aeolium hemitonio, phrygium tono, iastium tono semis, dorium duobus tonis, hypolydium duobus semis tonis, hoc est diatessaron symphonia, hypoaeolium tribus tonis, hypophrygium tribus semis tonis, hoc est diapente symphonia, hypoiastium quattuor tonis, hypodorium quattuor semis <tonis> praecedens. XI. hyperdorius est lydium hemitonio, aeolium tono, phrygium tono semis, iastium duobus tonis, dorium duobus semis tonis, hoc est diatessaron symphonia, hypolydium tribus tonis, hypoaeolium tribus semis tonis, hoc est diapente symphonia, hypophrygium quattuor tonis, hypoiastium quattuor semis, hypodorium quinque <tonis praecedens>. XII.

aeolian is the phrygian by a semitone, the iastian by a tone, the dorian by a tone and a half, the hypolydian by two tones, the hypoaeolian by two and a half tones, that is, the diatessaron consonance, the hypophrygian by three tones, the hypoiastian by three and a half tones, that is, the diapente consonance, the hypodorian by four tones preceding. 10. lydian is the aeolian by a semitone, the phrygian by a tone, the iastian by a tone and a half, the dorian by two tones, the hypolydian by two and a half tones, that is, the diatessaron consonance, the hypoaeolian by three tones, the hypophrygian by three and a half tones, that is, the diapente consonance, the hypoiastian by four tones, the hypodorian by four and a half <tones> preceding. 11. hyperdorian is the lydian by a semitone, the aeolian by a tone, the phrygian by a tone and a half, the iastian by two tones, the dorian by two and a half tones, that is, the diatessaron consonance, the hypolydian by three tones, the hypoaeolian by three and a half tones, that is, the diapente consonance, the hypophrygian by four tones, the hypoiastian by four and a half, the hypodorian by five <tones preceding>. 12.

hyperiastius est hyperdorium hemitonio, lydium tono, aeolium tono semis, phrygium duobus tonis, iastium duobus semis tonis, hoc est diatessaron symphonia, dorium tribus tonis, hypolydium tribus semis tonis, hoc est diapente symphonia, hypoaeolium quattuor tonis, hypophrygium quattuor semis, hypoiastium quinque tonis, hypodorium quinque semis <praecedens>. XIII. hyperphrygius est hyperiastium hemitonio, hyperdorium tono, lydium tono semis, aeolium duobus, phrygium duobus semis, hoc est diatessaron symphonia, iastium tribus tonis, dorium tribus semis, hoc est diapente symphonia, hypolydium quattuor tonis, hypoaeolium quattuor semis, hypophrygium quinque, <hypoiastium quinque> semis, hypodorium sex, hoc est diapason symphonia, praecedens. XIIII.

hyperiastian is before hyperdorian by a semitone, lydian by a tone, aeolian by a tone and a half, phrygian by two tones, iastian by two and a half tones, this is the diatessaron consonance, dorian by three tones, hypolydian by three and a half tones, this is the diapente consonance, hypoaeolian by four tones, hypophrygian by four and a half, hypoiastian by five tones, hypodorian by five and a half <preceding>. 13. hyperphrygian is before hyperiastian by a semitone, hyperdorian by a tone, lydian by a tone and a half, aeolian by two, phrygian by two and a half, this is the diatessaron consonance, iastian by three tones, dorian by three and a half, this is the diapente consonance, hypolydian by four tones, hypoaeolian by four and a half, hypophrygian by five, <hypoiastian five> and a half, hypodorian by six, this is the diapason consonance, preceding. 14.

hyperaeolius est hyperphrygium hemitonio, hyperiastium tono, hyperdorium tono semis, lydium duobus tonis, aeolium duobus semis, hoc est diatessaron symphonia, <phrygium tribus tonis, iastium tribus semis tonis, hoc est diapente symphonia>, dorium quattuor tonis, hypolydium quattuor semis, hypoaeolium quinque tonis, hypophrygium quinque semis, hypoiastium sex tonis, hoc est diapason symphonia, hypodorium sex semis tonis <praecedens>. XV. hyperlydius est novissimus et acutissimus omnium, hyperaeolium hemitonio, hyperphrygium tono, hyperiastium tono semis, hyperdorium duobus tonis, lydium duobus semis, hoc est diatessaron symphonia, aeolium tribus, phrygium tribus semis tonis, hoc est diapente symphonia, iastium quattuor tonis, dorium quattuor semis, hypolydium quinque, hypoaeolium quinque semis, hypophrygium sex tonis, hoc est diapason symphonia, hypoiastium sex semis tonis, hypodorium septem tonis <praecedens>. unde claret quoniam hyperlydius tonus omnium acutissimus septem tonis praecedit hypodorium omnium gravissimum. in quibus, ut Varro meminit, tantae utilitatis virtus ostensa est ut excitatos animos sedarent, ipsas quoque bestias, necnon et serpentes, volucres atque delfinas ad auditum suae modulationis attraherent.

the Hyperaeolian is a semitone above the Hyperphrygian, a tone above the Hyperiastian, a tone and a half above the Hyperdorian, two tones above the Lydian, two and a half tones above the Aeolian, this is the diatessaron symphony, <three tones above the Phrygian, three and a half tones above the Iastian, this is the diapente symphony>, four tones above the Dorian, four and a half above the Hypolydian, five tones above the Hypoaeolian, five and a half above the Hypophrygian, six tones above the Hypoiastian, this is the diapason symphony, six and a half tones above the Hypodorian <preceding>. 15. the Hyperlydian is the newest and most acute of all, a semitone above the Hyperaeolian, a tone above the Hyperphrygian, a tone and a half above the Hyperiastian, two tones above the Hyperdorian, two and a half above the Lydian, this is the diatessaron symphony, three above the Aeolian, three and a half tones above the Phrygian, this is the diapente symphony, four tones above the Iastian, four and a half above the Dorian, five above the Hypolydian, five and a half above the Hypoaeolian, six tones above the Hypophrygian, this is the diapason symphony, six and a half tones above the Hypoiastian, seven tones above the Hypodorian <preceding>. whence it is clear that the Hyperlydian tone, the most acute of all, precedes the Hypodorian, the most grave of all, by seven tones. in which, as Varro mentions, a virtue of such usefulness was shown that they soothed aroused minds, and even drew the beasts themselves, as well as serpents, birds, and dolphins to the hearing of their modulation.

9. Nam ut Orphei lyram, Syrenarum cantus tamquam fabulosa taceamus, quid de David dicimus, qui ab spiritibus immundis Saulem disciplina saluberrimae modulationis eripuit, novoque modo per auditum sanitatem contulit regi, quam medici non poterant herbarum potestatibus operari? Asclepiades quoque, medicus maiorum attestatione doctissimus, freneticum quendam per symphoniam pristinae sanitati reddidisse memoratur. multa sunt autem, quae in aegris hominibus per hanc disciplinam leguntur facta miracula.

9. For, even if we keep silent about Orpheus’s lyre and the Sirens’ songs as though fabulous, what do we say about David, who snatched Saul from unclean spirits by the discipline of a most health-giving modulation, and in a new way, through hearing, conferred health upon the king, which the physicians were not able to effect by the powers of herbs? Asclepiades too, a physician most learned by the attestation of our elders, is remembered to have restored a certain frenetic man to his former health through symphony. Moreover, many miracles are read to have been done in sick persons through this discipline.

caelum ipsum, sicut supra memoravimus, dicitur sub armoniae dulcedine revolvi; et ut breviter cuncta complectar, quicquid in supernis sive terrenis rebus convenienter secundum Auctoris sui dispositionem geritur, ab hac disciplina non refertur exceptum.

the heaven itself, as we have recalled above, is said to be revolved under the sweetness of harmony; and, to embrace all briefly, whatever in supernal or in terrestrial things is conducted fittingly according to the disposition of its Author is not reported as excepted from this discipline.

10. Gratissima ergo nimis utilisque cognitio, quae et sensum nostrum ad superna erigit et aures suavi modulatione permulcet. quam apud Graecos Alypius, Euclides, Ptolomeus et ceteri probabili institutione docuerunt; apud Latinos autem vir magnificus Albinus librum de hac re compendiosa brevitate conscripsit, quem in bibliotheca Romae nos habuisse atque studiose legisse retinemus. qui si forte gentili incursione sublatus est, habetis Gaudentium, quem si sollicita intentione relegatis, huius scientiae vobis atria patefaciet.

10. Most welcome therefore and exceedingly useful is the knowledge which both raises our sense toward things above and soothes our ears with sweet modulation. This the Greeks—Alypius, Euclides, Ptolemaeus, and the rest—taught with a credible institution; among the Latins, moreover, the magnificent man Albinus composed a book on this matter with compendious brevity, which we recall having had in the library at Rome and having read studiously. If by chance it has been carried off by a pagan incursion, you have Gaudentius, whom, if you re-read with solicitous attention, will open to you the atria of this science.

fertur etiam Latino sermone et Apuleium Madaurensem instituta huius operis effecisse. scripsit etiam et pater Augustinus de Musica sex libros, in quibus humanam vocem rithmicos sonos et armoniam modulabilem in longis syllabis atque brevibus naturaliter habere posse monstravit. Censorinus quoque de accentibus qui voci nostrae valde necessarii sunt, suptiliter disputavit, quos pertinere dicit ad musicam disciplinam; quem vobis inter ceteros transscriptum reliqui.

It is reported also in the Latin tongue that Apuleius of Madaura produced the institutes of this work. Father Augustine likewise wrote 6 books On Music, in which he demonstrated that the human voice can naturally possess rhythmic sounds and a modulable harmony in long and short syllables. Censorinus too argued subtly about accents, which are very necessary for our voice, and says that they pertain to the musical discipline; him I have left to you transcribed among the others.