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musica quae in quibusdam constituta est instrumentis (sounds made by singers and instrumentalists) Boethius believed that musica mundana could only be discovered through the intellect, but that the order found within it was the same as that found in audible music, and that both reflect the beauty of God. [7]
In De musica I.2, Boethius describes 'musica instrumentis' as music produced by something under tension (e.g., strings), by wind (e.g., aulos), by water, or by percussion (e.g., cymbals). Boethius himself does not use the term 'instrumentalis', which was used by Adalbold II of Utrecht (975–1026) in his Epistola cum tractatu.
Boethius encouraged readers not to pursue worldly goods such as money and power, but to seek internalized virtues. Evil had a purpose, to provide a lesson to help change for good; while suffering from evil was seen as virtuous. Because God ruled the universe through Love, prayer to God and the application of Love would lead to true happiness. [9]
Boethius had a unique perspective on Fortune and blended the concepts from Paganism and Christianity. The Pagans viewed Fortune as an "independent ruling power", whereas Christians viewed Fortune as a "power completely subservient to another God". [7]
The Old English Consolation texts are known from three medieval manuscripts/fragments and an early modern copy: [2]. Oxford, Bodleian Library, MS Bodley 180 (known as MS B). Produced at the end of the eleventh century or the beginning of the twelfth), translating the whole of the Consolation (prose and verse) into pro
The Roman philosopher Boethius, who translated a large portion of the Greek classics into Latin. In Rome, Boethius propagated works of Greek classical learning. Boethius intended to pass on the great Greco-Roman culture to future generations by writing manuals on music and astronomy, geometry, and arithmetic. [16]
Classical theism is characterized by a set of core attributes that define God as absolute, perfect, and transcendent. These attributes include divine simplicity, aseity, immutability, eternality, omnipotence, omniscience, and omnibenevolence, each of which has been developed and refined through centuries of philosophical and theological discourse.
In Musurgia Universalis he likens the creation of the world to the building of a great organ with six registers corresponding to the six days of creation on which God plays, creating harmony. [ 7 ] : 271 The illustration shows the elaborately-decorated organ with small circular panels illustrating each of the days of creation.