Unstable embodiments of musical theory and practice in theSpeculum musicae

Abstract

ABSTRACT Taking the Boethian understanding of the relation between themusicusandcantoras his point of departure, Jacobus – the author of theSpeculum musicae– develops this relation in light of new ecclesiastical realities and the Aristotelian understanding of the relation between theory and practice. Without entirely abandoning an allegiance to the priority of theory over practice and the corresponding embodiments of these categories in themusicusandcantor, Jacobus redefines these terms to create a new threefold taxonomy: the Boethianmusicuswho understands but does not perform or compose, thepracticus musicuswho both understands and practises within an ecclesiastical context (and is the equivalent of theperitus cantor), and thecantorwho sings without understanding. These developments within theSpeculum musicaefollow attempts by earlier authors to negotiate the relation between the heritage of antiquity and thecantustradition of musical practice within liturgical contexts. Jacobus's solution also differs from solutions offered by contemporary and later authors.

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