Abstract
"Boethius’s theory of musica mundana connects music to astronomy in the way both harmonize diverse elements. Chapter One begins by examining Pythagoras who recognized mathematical similarities between planetary motion and musical tuning; an explanation of Cicero follows, who added government as a third parallel. Boethius is reprised as a bridge between these ideas and later theories synthesizing cosmic and divine influence. Chapters Two and Three interrogate Handel and Keith Jarrett respectively as case studies to test for the possibility of influence in their work. Despite claims of stellar or religious connections for Handel, he fails the test when it comes to any kind of transcendent influence. Jarrett champions his own “tapping” of sources which, whether true or not, contributes to the systematic wholeness of his musicianship. The Conclusion invites a musica mundana “effect” based on coincidences between macrocosms and microcosms yet requiring no communication between them."
