Translation or Compilation? Contributions to the Analysis of Sources of Boethius' De institutione musica

Abstract

Boethius' De institutione qnusicastands pre-eminent among the writings of ancient Latin scientific literature, because, on the one hand, it had a very great influence1 on the musical thought of the Middle Ages, and, on the other hand, it is perhaps the most widely debated treatise of the ancient musical theory. Valuing the work itself and its sources, scholars hold sharply opposite views. F. A. Gevaert, for e2rample, in accordance with the general preconception of recentiorergodeterior of the last century, takes it for an utterly unindependent, secondary work of art, which relying on either one or more sources, is anyway contradictory and in some places unintelligible and confused.2 H. Potiron is the3 first to state Boethius' work is not to be examined with an approach imbued by the musical thinking of the Middle Ages, but it is to be judged as belonging obviously to antiquity, and in this way all its details become clear and understandable. Potiron, however, conspicuously due to the debate with Gevaert, assignes too much independency to Boethius. Otherwise, in his monography on the De instit?4tzone rnusica, the question of sources is rather neglected. C. Bower4 proves magnificently that the I)e institutione rnusica is totally understandable, never