Понятието musicus в контекста на идеята за личност (върху примера на Summa musice от ХIII век)
The Concept of Musicus in the Context of the Idea of Person (On the Example of Summa Musice from 13th Century)

Summary/Abstract: In the broadest sense of the word, musicus is the medieval forerunner of the present-day musicologist. On its part, as a term, it is the Latinized inheritor of the Greek μουσικός. Who are those who deserve to bear this name, is a question, which passes throughout music history from Antiquity to the end of the Middle Ages, going along with another question, namely, what is music. The answers given to these questions make it possible to outline the constant core of the concept of musicus as well as the changeable contents it takes in itself throughout the centuries. Christopher Page, the translator, editor, and author of Introduction of the bilingual (Latin/English) edition of the Summa musice (first published 1991) urged us to read this treatise attentively in order to stop calling it “anonymous” or attributing wrong authorship to it. The fact that many of us read it in such a way is due to the great scope of this remarkable edition for which I am personally grateful to him. Summa musice is an eloquent testimony to the prevalent answer to the question of who is a musicus during a considerable period of Middle Ages. At the same time the treatise provides us with an opportunity to see the musicus on the horizon of the idea of person – an idea fundamental for Christian Middle Ages, which has its origin and its pattern in the Holy Trinity. The idea of person (ὑπόστασις) spreads its rays over all human deeds, actions of life, and professional undertakings. It guides people in their musical practice and broadens the boundaries of musical practice itself, filling them with the meaning not only of labor of the hands, but also of labor of the soul (πράξις).

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