For two centuries after he wrote it, Boethius ’ s treatise on music was unavailable, seemingly
lost in the “ dark ages. ” Beginning in the ninth century, manuscript copies began appearing
in ever-increasing numbers; Boethius became the principal source of music theory (and
of arithmetic) long before Latin translations made Aristotle ’ s writings directly accessible.
In this intermediate period during which Aristotelian science remained relatively unknown,
ancient musical theory continued to be taught.^1 In that sense, musical science maintained
a continuity that other branches of natural philosophy generally had lost, in the absence
of available ancient sources. After the renaissance of the twelfth century, during which
Aristotle was translated by Richard of Moerbecke, the dialogue between astronomy,
physics, and music could recommence more fully.
In that conversation, Nicole Oresme played an extraordinary role as the leading natural
philosopher of the fourteenth century, remarkable both for the breadth and depth of his
writings as well as for his penetrating questions and insights. Emerging from humble
origins in Normandy, Oresme eventually became the Grand Master of the College of
Navarre he attended, designed for students too poor to attend the University of Paris. His
scholarly writings attracted the attention of the future King Charles V of France, for whom
Oresme prepared translations and commentaries on several of Aristotle ’ s major works,
along with his own writings. The king eventually elevated Oresme to the bishopric of
Lisieux, where he spent the final five years of his life. Study of his works gives us the
opportunity to consider the transmission and reception of ancient natural philosophy as he
reformulated its leading issues. Oresme was a probing and daring thinker who shows us
the dimensions of the issues at stake before the advent of the “ new philosophy ” about two
centuries later.
Oresme ’ s writings and commentaries brought new life to the ancient texts. As would
have been expected of an educated person of his time, he was versed in music as part of
the quadrivium and wrote a book (now lost) on the division of the monochord.^2 Though
he demonstrated fundamental contradictions in the received teachings about cosmic
harmony, he gave that concept new dimensions. He investigated whether celestial motions
were commensurable with each other or not, which bears on larger issues of celestial
barré
(Barré)
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