Christopher Livingston

Music History
9/13/15

Summary of Musica enchiriadis:

The article begins by discussing how most early Latin music, that was written during the

Carolingian Renaissance, have been somewhat of a mystery to most musicologist except for the

inclusion of De Musica. It goes on to state that a great understanding about both the Musica

enchiriadis and Scolica enchiriadis can be found in books written by Schmid and Phillips.

The article then dives into the Musica enchiriadis describing its contents about the

theories and musical practices around the time including monophonic chants, modes, vocal

exercises, and terminology. The Musica enchiriadis also discusses, like De Musica, the reactions

and actions that come from certain notes when played with another. It brings back several

relatable terms discussing that harmonies and the way some notes act mathematically could

resemble certain things in life and also change certain things in life. The Scolica enchiriadis on

the other hand seems to take things into a very mathematical and structured form. It defines rules

and how singers should learn to be center on pitch because a semitone could ruin perfect music.

It also outlines the basics of chant singing including when to double notes and or move at certain

times, but examples are lacking. The third part of the Scolica enchiriadis is longer than the first

two combined and talks about more the foundation of scales. The ending outcome brings us

closer to our normal C major scale we use today and arrangement of semitones and whole tones.

The next section of the article discusses the origins of the two books. They were widely

read during the time and still little is known about the whereabouts of the creator of the works.

Some say that they were a combination of many different sources and others say they were
 Christopher Livingston
Music History
9/13/15

written by the same person. The biggest thing against this is the location and way of learning

around where the two books were found. People all did not learn the same way and certain areas

would teach music different ways. It was not until a lot longer when a defined musical theory

was rounded and widely accepted.

The article restates itself beginning the next chapter talking about the daisian scale and its

notation. Before there were actual staffs that housed music and kept everything on an even line

for everyone the way of the daisian scale was closest to reforming us to that way. Instead of

having a movable starting pitch it kept things simple and to one note, it also added two new notes

to the common tetrachords used at the time. There were eight modes and each mode having two

forms of their own. From all this singers would start singing more songs with two parts and thus

the creation of polyphony and harmonies began its small start into the world of music.