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names, and partially only indicated by syllables of text of the original plainchant. This notation documents the transition from practise without notation to the written notation of music for keyboard instruments, and it significantly supplements the material found in treatises from the milieu of the ars organisandi, which are available to us from fifteenth-century manuscripts. Key words: Organ tablature, ars organisandi, medieval treatises on music, fragments, Kyrie magne deus, Salve, sancta parens, National Museum Library, tactus, organ paraphrases of

sine corpore sentit”. 16 In III Sent. d. 15, q. 2, a. 3, qc. 2, co., “quae est formale in dolore, sic consistit in solo tactu”. 17 In III Sent. d. 15, q. 2, a. 3, qc. 2, co., “quantum ad perceptionem … in tristitia [est] secundum apprehensivam interiorem”. European Journal for the Study of Thomas Aquinas 38 (2020) 6 involves no other faculty of the soul than the sense of touch, it nevertheless affects the soul in other ways. Aquinas points out that pain is the sense of an injury, and this injury affects Christ’s soul in two ways. The soul is the form