The Pomerium begins here, and with it Marchettus's intervention in the notational quarrel of his century. Where the Lucidarium argues about intervals, the Pomerium argues about time — how note-values are to be divided and written — and it does so as a defence of Italian practice against the French Ars nova. This is the point at which the volume stops being a transmission of antiquity and becomes a record of a live dispute between two contemporary schools. It also marks the limit of what Boethius can govern: nothing in the De institutione musica concerns duration at all, so a theorist writing about rhythm in 1320 has no ancient authority to appeal to and must argue from practice. The two treatises bound together here therefore show the same author working on both sides of that limit.
Medieval treatises on music — Marchettus of Padua (Lucidarium, Pomerium), Johannes de Muris (Musica speculativa), Adam of Fulda, Elias Salomonis — Gerbert, Scriptores vol. 3 (St Blasien, 1784), re-read from the Bayerische Staatsbibliothek scan
The original is shown on its own: no English is held for this issue yet.
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