出版社：Università di Pavia, Dipartimento di Scienze musicologiche e paleografico-filologiche
摘要：In Carolingian era musical scale was theorized after the authority of Boethius, first non-understood (Regino) then correctly utilized (Hucbald). Liturgical song and organ and chordophones’ scales were referred to ancient perfect system. The alphabetic series A-P means a c-c’’ succession. The treatises Alia musica, De dimensione monocordi, Musica and Scolica Enchiriadis , after occasionally misunderstanding ancient theory, organize contemporary modes and incipient polyphony into the “dasian” scale, with possible accidents. Monochord’s measures are rediscovered and extended to organ pipes, maintaining Hucbald’s series A-P = c-c’’. Successively this series either coincides with A-a’ (Tonary of Montpellier, Berno) or, in monochord, organ etc., is broken into A-G|A-G, set as F-F-F= A-a-a’ (Gerbert, Notker). The series Γ|A-G|a-g comprising both b and b flat is developed in Italy ( De musica, Dialogus de musica, Guido) and influences modal theory. Mutationes raise; transpositions and accidents variously evolve from Hieronymus de Moravia to Ramos de Pareja. Vocal extension “Fa acuto-Fa grave”, quoted in Iacopone’s lauda O novo canto, can be interpreted as c’’-c.
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