Notazione | Datazione | sec. X 2° quarto - X 3° quarto |
Tipo | German | |
Note | This notation, now barely legible in places, is copied without indication of liturgical assignment after a versus for Pentecost in a Troper from the Benedictine monastery of St Alban at Mainz. The overall axis of the script is more upright than those of St Gall and several forms are modified: the virgae (1a) almost all end with a thickening at their head, the square version of the pes (2a) is most common and the upright clivis (2b) with its horizontal ending is similar to that found in French scripts. | |
Trascrizione | Trascrizioni diplomatiche | Homo-London19768-1 Homo-London19768-2 |
Trascrizione alfanumerica | 1b, 1a, 2a, "2b", 1a, 1a, 1b, 1a, "3b", 1a, 1a, 1b, 1a, 1a, 1a, 1b, 2a, 1b | "2b", 1a, 2a, 1b, [ ], 1b, 1a, 1a, 1b, 1a, 1a, 1b, 1', 1b | 1a, 1b, 1a, 2a, 1a, 1b, 1a, "2b", 1a, 1b, 1a, 2b, 1a, 1b, 1a, 1a || 1b, [ ], 2a, 1a, 1a, "3c", 3''D, 1b, 1a, 1a, 2b, 1a, 1b, 2a, 1b | "2b", 1a, 1a, 1b, 1a, 1a, 1b, 1b, 1a, 1b, 1a, 1a, 1', 1b | 1b, 1a, 2a, 1a, 1b, 1a, 2b, 1a, 1b, 1a, 2b, "2b", 1a, 1b, 1a, 1a || 1b, 1a, 2a, 1a, 1a, 2a, 3''D, 1a, "4c", 2b, 1a, 1a, 2a, 1a | 1a, 1a, 1a, 1a, 1b, 1a, 2b, 1a, 1b, 1a, 1a, 1a, 1b, 1a, 1b | 1a, 1b, 1a, 2a, 1a, "3c", 2b, 1b, 1b, 2b, "2b", 1a, 1b, 1a, 1a || 1b, 1a, 2a, 1a, 1a, "3c", 3''D, 1a, 1a, "2b", "2b", 1b, 2a, 1b | 1a, 1a, 1a, 1a, 1a, 1b, 1a, 2b, 1b, 1b, 1a, 1a, 1a, 1b, 1', 1b | 1a, 1b, 1a, 2a, 1a, 1b, 1a, 2b, 1a, 1a, "2b", "2b", 2V, 1b, 1a, 1a || 1b, 1a, 2a, 1a, 1a, 1a, 3''D, 1b, 1a, 2b, 1a, 1b 1', 1b | 1a, 1a, 1a, 1a, 1b, 1a, 2c, 1b, 1b, 1a, 1b, 1a, 1b, 1', 1b | 1a, 1a, 1b, 1a, 2a, 1a, 1b, 1a, 2b, 1b, 1b, "2b", 1a, 2V, 1b, 1a, 1a || "1b", 2a, 1a, "3c", 3''D, 1a, 1b, 1a, 1a, 1a, 1b, 1a, 1a, 2a, 1a | "2b", 1b, 1a, 2b, 1a, 1b, 1a, 1b, 1a, 1b, 1', 1b | 1b, 1a, 2a, 1a, 1b, 1a, 2b, 1a, 1b, 2b, 2b, 2V, 1b, 1b | |
Tavole di confronto | XHomoquidam-1 XHomoquidam-2 XHomoquidam-3 XHomoquidam-4 | |
Melodia | The four transcribed melodies (aligned in the book entry) appear almost identical in content and parsing. The only substantial difference between the versions occurs in the first line of the fifth strophe. In Ful Aa 62, Abraham is shifted to the melodic figures associated with syllables 6 to 8. In Bu 7, the word order found elsewhere is reversed (Patrem vocat Abraham becomes Abraham patrem vocat) with melodic outline for syllables 5 to 7 following the profile given in Ful Aa 62 for syllables 6 to 8. The melodic articulation of verse structure can be examined in detail through the close correspondence between the neumes of Lo 19768 and the melody of Ful Aa 62 (see the parallel transcription). What is revealed are ways in which lines with an irregular number of syllables are adapted to a melodic shape that remains the same from the second strophe onwards. In strophes two to six, an association is retained between melodic gestures on odd-numbered syllables and accented syllables of the text. The unaccented upbeats in the third lines of strophes three, four and five are accommodated before the pitch associated with the first syllable. In the second line of each strophe, recitation on a monotone is extended to accommodate a varying number of syllables before the penultimate accent preceding the caesura at which point a cadence pattern is begun. In the first lines of each strophe, pitches are added or omitted to retain the overall alignment between melodic gesture and accent. In the fifth strophe, the pitch associated with the eighth syllable is omitted for this reason. In the sixth strophe, the pitch associated with the fourth syllable is likewise omitted, whereas extra pitches are added and a conjunct melodic figure broken up to retain an alignment at the end of the line. Two exceptions to the general principle may be noted. The alignment breaks down in the second half of the first line of the third strophe (nemo miseretur), possibly due to a reluctance to break up the melodic cadence to accommodate the paroxytone accent. No adjustment appears to have been made in the fifth strophe at flammis. The melody of the first strophe differs at various points from that of strophes two to six. Most notable are the differences in the first line which seem to be due to the decision to extend the melodic articulation of the opening line to eighteen syllables. Extension of the first half of the line to ten syllables is matched melodically by an extension up to a high 'd'. The next two half-lines (in deliciis purpura and et bisso induebatur) share an opening not found in later strophes, thereby forming a melodic association that complements their grammatical continuity, whilst retaining the distinct cadences associated with their position in the strophe. The remainder of the strophe follows the melodic shape and principles of adaptation observed in strophes two to six. | |
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