 The medieval approach to music is biased toward the point of view of the theoretician. Music is typically grouped together with scientific disciplines. The sensory pleasure of the listener is rarely remarked upon, and at times considered with suspicion. The individuality and creativity of the composer is also neglected, and the role of performing musicians almost entirely ignored or dismissed (Schuller 1988, and Young forthcoming (chapter 2) are extensive introductions to medieval musical aesthetics).