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Originally published by the Institute of Medieval Music; now distributed by AIM:

Jacobi Leodiensis, Speculum Musicae. Part II: A commentary and study. See also MS 13 (Part I) and MS 43 (Part III).

Contents:
  List of Abbreviations IX
  Introduction XI
  I. The Meaning of ‘Music’ in the Speculum Musicae  1
     a. The Etymology of the Word, Music  3
     b. The Theoretical Orientation of the Middle Ages toward the Definition  5
     c. Musical Consonance as the Heart of the Meaning and Definition of Music  8
     d. A Contemporary Critique of Medieval Musical Intellectualism  14
     e. The ‘End’ of the Aesthetics of Music?  15
  II. The Division of Libri II-V  18
  III. The Consonance-Dissonance Question  27
     a. Harmonic Modulation  29
     b. Concord and Discord  36
     c. Consonance and Dissonance  54
  IV. Major Consonances and their Composition  63
     a. The Unison  63
     b. The Diapason  67
     c. The Diapente  74
     d. The Diatessaron  77
  V. The Tonal Particles and their Place in the Consonantal System  83
     a. The Minor Semitone: The Diesis  94
     b. The Major Semitone: The Apotome  99
  VI. The Minor Consonances and their Implications  108
     a. The Semiditonus  1o9
     b. The Ditonus  112
     c. The Semitritonus  114
     d. The Tritone: The 'Diabolus in Musica'  116
     e. Other Consonances from the Semitonium minus cum Diapente through to the Tonus cum
  Diapente et Bis Diapason  118
  VII. Conclusion Ars Antiqua vs. Ars Nova  122
     a. The Theorist as Arch-Intellectual  124
     b. New Sonorities and Old Consonantal Hierarchies  131

  Postscript  139
     a. A proposed Passage out of Historicism  139
     b. Musical Aesthetics as an Attempt to delve into musical Subject 142
     c. The "Inner Meaning" of the musical Experience  144
     d. The question of musical "Form"  146
     e. Musical Time: A Critique of linear Temporality in Music  149
     f. The Reuniting of Music and Philosophy: The Example of the Greeks  153

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