Abstract
The present paper aims at investigating the idea of musica humana , the explanation of which is announced by Boethius at the beginning of his De institutione musica , even if he never harks back on it in the remaining part of that treatise. Starting from a study of the preliminary remarks of such a concept in previous treatises and going on with an enquiry on the potential texts which Boethius and his coeval readers had in mind, the middle position of musica humana within the tripartition of music (borrowed from the divisiones philosophiae ) acquires new meanings and launches new research perspectives.
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