![]() ![]() There is also an edition with Italian translation by Adriano Pennacini, trans. Russell, Donald A., Institutio Oratoria: The Orator's Education, 5 vols. Quintilian dealt with memory in book 11.2 of Institutio oratoria, giving due attention to ‘artificial’ memory (11.2.17–26), though his preference is for the ‘natural’ approach, for which he provided guidelines (11.2.27–50) ed. Calboli published an Italian translation, Retorica ad Erennio, with the same publisher in 1969. Herennium ( Bologna, 1969), 150 Google Scholar. Naturalis est ea, quae nostris animis insita est et simul cum cogitatione nata artificiosa est ea, quam confirmat inductio quaedam et ratio praeceptionis’ Calboli, Gualtiero, Rhetorica ad C. ![]() Since the sole surviving copy of the treatise is the original, all these details must reflect the author's intention.ħ6 ‘ Sunt igitur duae memoriae: una naturalis, altera artificiosa. Of especial interest is the image of an enthroned bishop that serves as the focal point for a novel exposition of the tonal system of chant as (1) a set of logical relations modelled after the Tree of Porphyry and (2) a variant of the tree of consanguinity. ![]() These images relate directly to matters covered in the treatise and serve to make its main points more easily committed to memory. The Scientia is the only medieval theory treatise whose eight illustrations (called ‘ figurae’) include human figures. A lengthy instruction on the performance of parallel four-voice organum is also included. It includes an incomplete tonary with representative chant genres together with a commentary on the seculorum (differentiae) appropriate to various chant incipits. The Scientia artis musice, a music theory treatise completed in the year 1274 by Hélie Salomon, a cleric from the village of St-Astier (Périgord/Dordogne), covers all the usual topics treated in such sources: letter names, hexachord syllables, the claves (letter + syllable(s)), the musical hand, mutation, staff notation, clef placement and chant genres. ![]()
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