DOI Artikel:
Kobielus, Stanisław: Instrumentarium Boga jako Najwyższego Muzyka (starożytność i średniowiecze)
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20618#0028
smicznych, lecz włączał go w kosmiczną harmonię, której
autorem, jak pisał Augustyn, był sam Bóg121. Zdaniem
autorów średniowiecznych zależność człowieka od zja-
wisk kosmicznych była tak silna, że na przykład według
Hildegardy z Bingen fazy Księżyca powodowały żyw-
szy lub wolniejszy obieg krwi w mózgu człowieka, tem-
121 Św. Augustyn, O muzyce..., s. 40.
122 „quia luna naturali virtute sua corpus homini temperat. Nam
cum luna in incremento est, cerebrum et sanguis hominis in ipso aug-
mentatur; cum vero luna in detrimento est, cerebrum et sanguis in
perując w ten sposób jego ciało122. Na płaszczyźnie zaś
filozoficznej muzyka, podobnie jak znajomość symboli-
ki liczb, rozumiana była jako niezwykle skuteczne na-
rzędzie poznania Objawienia, o czym Augustyn pisał:
„Nieznajomość zagadnień muzycznych w niemałym stop-
niu utrudnia i zaciemnia poznanie”123.
homine minuuntur” -Hildegarda z Bingen, Liber divinorum
operum, PL, t. 197, s. 778-779.
123 Św. Augustyn, De doctrina Christiana, s. 77, 79- Zob. też
P. G ii 1 k e, Mónche, Burger, Minnesanger. Musik in der Gesellscbaft
des europaischen Mittelalters, Leipzig [brw], s. 108.
Instrumentarium of God as the Highest Musician
(AnTIQUITY AND THE MlDDLE AGES)
On the basis of the patristic heritage of the Church a belief was
born in the Middle Ages that all kinds of musie originate from the
common source, from God himself, termed the Highest Musician.
Those divisions were founded on a number, a reason for this interde-
pendence. After Boecius, in the Middle Ages the subdivision of musie
into mundana, humana and instrumentalis became generally accep-
ted. It not only brought into prominence the dependence of human
organism, understood as a musical instrument, on cosmic forces, but
also included it in the cosmic harmony.
Musie, likewise the knowledge of the symbolism of numbers, was
considered to be an exceedingly efficient tool in the cognizance of
Divine Revelation. Also particular musical instruments, above all the
string ones such as harp, zither or the biblical decachord, found
a symbolic interpretation, relating their particular parts not only to man,
but also to Chrisfs human and divine naturę.
Thus, to the instrumentarium of God as the Highest Musician be-
longed both the macrocosm, with its traditional subdivisions, and the
microcosm, understood as man, not only in the corporeal, but also
spiritual sense. The divine instrumentarium reached its culmination in
the person of Christ, stretched on the tree of the cross.
Those theoretical disputes, not seldom carried out on the mystical
piane, borę fruit in the medieval musie as sophisticated melodies of
Gregorian chant as well as fine arts realizations. It is enough to mention
here the personifications of musical tones from the Benedictine abbey
at Cluny.
autorem, jak pisał Augustyn, był sam Bóg121. Zdaniem
autorów średniowiecznych zależność człowieka od zja-
wisk kosmicznych była tak silna, że na przykład według
Hildegardy z Bingen fazy Księżyca powodowały żyw-
szy lub wolniejszy obieg krwi w mózgu człowieka, tem-
121 Św. Augustyn, O muzyce..., s. 40.
122 „quia luna naturali virtute sua corpus homini temperat. Nam
cum luna in incremento est, cerebrum et sanguis hominis in ipso aug-
mentatur; cum vero luna in detrimento est, cerebrum et sanguis in
perując w ten sposób jego ciało122. Na płaszczyźnie zaś
filozoficznej muzyka, podobnie jak znajomość symboli-
ki liczb, rozumiana była jako niezwykle skuteczne na-
rzędzie poznania Objawienia, o czym Augustyn pisał:
„Nieznajomość zagadnień muzycznych w niemałym stop-
niu utrudnia i zaciemnia poznanie”123.
homine minuuntur” -Hildegarda z Bingen, Liber divinorum
operum, PL, t. 197, s. 778-779.
123 Św. Augustyn, De doctrina Christiana, s. 77, 79- Zob. też
P. G ii 1 k e, Mónche, Burger, Minnesanger. Musik in der Gesellscbaft
des europaischen Mittelalters, Leipzig [brw], s. 108.
Instrumentarium of God as the Highest Musician
(AnTIQUITY AND THE MlDDLE AGES)
On the basis of the patristic heritage of the Church a belief was
born in the Middle Ages that all kinds of musie originate from the
common source, from God himself, termed the Highest Musician.
Those divisions were founded on a number, a reason for this interde-
pendence. After Boecius, in the Middle Ages the subdivision of musie
into mundana, humana and instrumentalis became generally accep-
ted. It not only brought into prominence the dependence of human
organism, understood as a musical instrument, on cosmic forces, but
also included it in the cosmic harmony.
Musie, likewise the knowledge of the symbolism of numbers, was
considered to be an exceedingly efficient tool in the cognizance of
Divine Revelation. Also particular musical instruments, above all the
string ones such as harp, zither or the biblical decachord, found
a symbolic interpretation, relating their particular parts not only to man,
but also to Chrisfs human and divine naturę.
Thus, to the instrumentarium of God as the Highest Musician be-
longed both the macrocosm, with its traditional subdivisions, and the
microcosm, understood as man, not only in the corporeal, but also
spiritual sense. The divine instrumentarium reached its culmination in
the person of Christ, stretched on the tree of the cross.
Those theoretical disputes, not seldom carried out on the mystical
piane, borę fruit in the medieval musie as sophisticated melodies of
Gregorian chant as well as fine arts realizations. It is enough to mention
here the personifications of musical tones from the Benedictine abbey
at Cluny.