ABSTRACT
The novel nature of the Renaissance musical art work can only be grasped on the background of the general paradigm shift in the music view from a numerological to a poetological view of music. This change of paradigm takes place between the poles of a music bound by numerical law and a music closely connected to poetry. Music moved thus in the immediate vicinity of the circle of those sciences that the humanities account: grammar, rhetoric, poetry, history and moral philosophy. In the Renaissance it is then pointed out in music theory that in antiquity a unity of poetry and music existed. In line with poetics, music as a creative art became teachable. The concept of musica poetica , first used in 1537 by the music theorist Nicolaus Listenius , in its definition follows the concept of poetry.
