1.20 — Hug dulce nomen

NotationDate10th c.; ?
NotesA lightly written Aquitanian notation, whose distinctive feature is the vertical axis of the initial pes (2a). Other double element forms are also constructed with a near vertical axis.
2a, 1b, 1b, 1b, 1c, 1c, 1c, 1b, 1c, 1c, 1c, 1c | 1b, 1c, 1c, 1', 1c, 1c, 1b, 1c, 1b, 1a, 1b, 1c | 3a''+2'b, 1b, 1c, "2b", 2b, 1c, 1b, 1b, 1b, 1b, 1c, 3c | 1c, 1b, 2a, 1c, 1b
MelodyThe heighting of the neumes suggests melodic patterning within the strophe. The second halves of lines one and two are similar in profile. The opening halves of lines one to three are possibly differing elaborations of the same melodic shape.
Historical transcripts
 Hugc Hug_Coussemaker
 Hugs Hug_Sesini
Musical editions
Coussemaker, Histoire de l’harmonie, tr. 6; Sesini, Poesia e musica, p. 177

The principles informing Coussemaker’s transcription are the same as those for A solis ortu. A desire to align accented syllables with points of
musical emphasis results in this instance in a reconstruction in 6/4, which is able to incorporate routine stresses on the first and fourth syllables, occasional stresses on the second syllable of the line, and a more regular trochaic pattern of emphasis after the caesura. Rests are occasionally used at both the caesura and end of lines. The treatment of signs indicating special modes of delivery is as before, thus quilisma and oriscus signs are ignored and liquescence is treated as a rising appoggiatura.
Sesini’s reconstruction follows isosyllabic principles alongside stylistic practices drawn from modern performances of plainchant as noted in discussion of his reconstruction of A solis ortu. Assessment of Sesini’s reading of the neumes is difficult due to the faintness of the surviving notation but one error may be noted: the melodic descent recorded for the final syllable of the first stophe confuses the punctuation signs that follow the final word (occubuisti) for neumes.