At the beginning of the 11th century in the Northern Italy an anonymous monk has written a ‘Dialogue on Music’ (incipit: Quid est musica?) which exerted a notable influence on Guido of Arezzo. Earlier it has been attributed to Odo of Cluny, at present it is usually referred to the first ‘Pseudo-Odo’. The author of ‘Dialogue’ is labeled here Michael Frater (as opposed to the second ‘Pseudo-Odo’, author of the untitled text with the incipit Musicae artis disciplina). Michael expounds division of monochord, letter octave notation (with octave-identical pitch classes and Gamma, maybe for the first time), ‘consonantiae’ (6 emmelic intervals plus octave). The most important part of the ‘Dialogue’ is the modal doctrine of plainchant. Current publication includes the new edition of the (Latin) original, based on 11 manuscripts of the 11th and 12th centuries, and the Russian translation, with Apparatus criticus, extensive comments and numerable music examples.
1. [Petrus Frater.] n.d. 2019. “Ars musicae.” Edited, translated into Russian, and commented by Sergey N. Lebedev. Nauchnyy vestnik Moskovskoy konservatorii / Journal of Moscow Conservatory 10, no. 2 (June): 24–73. (In Russian).
2. Lebedev, Sergey N. 2019. “The Two Unknowns and the Great Guido.” Nauchnyy vestnik Moskovskoy konservatorii / Journal of Moscow Conservatory 10, no. 2 (June): 9–23. (in Russian). https://doi.org/10.26176/mosconsv.2019.37.2.001.
3. Pospelova, Rimma L. 2006. “Ladovoe uchenie v traktate ‘Dialog o muzyke’ [Modal Doctrine in the Treatise ‘Dialogus de musica’].” In Ot Gvido do Keydzha. Polifonicheskie chteniya [From Guido to Cage. The Polyphony Conference], 16–45. Moscow: TS-Prima. (In Russian).
4. Pospelova, Rimma L. 2006. “Psevdo-Odo. Dialog o muzyke (glavy 8–18) [Pseudo-Odo. ‘Dialogus de musica.’ Chapters 8–18].” Translated from the Latin and annotated by Rimma L. Pospelova. In Ot Gvido do Keydzha. Polifonicheskie chteniya [From Guido to Cage. The Polyphony Conference], 339–57. Moscow: TS-Prima. (In Russian).
5. Atkinson, Charles. 2000. “Das Tonsystem des Chorals im Spiegel mittelalterlicher Musiktraktate.” In Geschichte der Musiktheorie, vol. 4, edited by Thomas Ertelt and Frieder Zaminer, 103–33. Darmstadt: Wissenschaftliche Buchgesellschaft.
6. Bernhard, Michael. 1990. “Das musikalische Fachschrifttum im lateinischen Mittelalter.” In Geschichte der Musiktheorie, vol. 3, edited by Frieder Zaminer, 37–103. Darmstadt: Wissenschaftliche Buchgesellschaft.
7. Hesbert, Renè-Jean, ed. 1968. Invitatotia et antiphonae. Vol. 3 of Corpus antiphonalium officii. Roma: Casa editrice Herder.
8. De Nardo, Lucia Ludovica. 2007. Il “Dialogus de musica”. Udine: Forum.
9. Huglo, Michel. 1969. “L’auteur du ‘Dialogue sur la Musique’ attribué a Odon.” Revue de Musicologie 55, no. 2: 119–71. https://doi.org/10.2307/927822.
10. Huglo, Michel. 1971. “Der Prolog des Odo zugeschriebenen ‘Dialogus de Musica’.” Archiv für Musikwissenschaft 28, no. 2: 134–46. https://doi.org/10.2307/930150.
11. Huglo, Michel. 2000. “Grundlagen und Ansätze der mittelalterlichen Musiktheorie. Geschichte der Musiktheorie.” In Geschichte der Musiktheorie, vol. 4, edited by Thomas Ertelt and Frieder Zaminer, 17–102. Darmstadt: Wissenschaftliche Buchgesellschaft.
12. Liber usualis. 1961. Tournai; New York: Desclée.
13. Meyer, Christian. 2000. “Die Tonartenlehre im Mittelalter.” In Geschichte der Musiktheorie, vol. 4, edited by Thomas Ertelt and Frieder Zaminer, 135–215. Darmstadt: Wissenschaftliche Buchgesellschaft.
14. Pesce, Dolores. 1999. Guido d’Arezzo’s Regule Rithmice, Prologus in Antiphonarium and Epistola ad Michahelem <...>. Ottawa: The Institute of Mediaeval Music.
15. Gerbert, Martin, ed. 1784. Scriptores ecclesiastici de musica sacra potissimum, vol. I. St. Blasien: Typis San Blasianis.
16. Pseudo-Odo of Cluny. n.d. 1998. “Dialogue on Music.” In Source Readings in Music History, revised edition, edited by Oliver Strunk and Leo Treitler, 198–210. New York: W. W. Norton.