Notazione | Datazione | sec. XI - XII |
Ritmica e strofica | The melody for Anni Domini notantur clearly articulates the verse structure. Word accent is observed at the end of verse units: the accented penultimate syllable before the caesura is consistently set to a high-low tone pattern (syllables 7 and 8), while the accented ante-penultimate syllable at line endings (syllable 13) is marked either by arrival on the final followed by a turn (lines 1 and 3) or by a descending pattern (higher-lower-lower). There is no consistent attempt to mark word accent through the line, but division of the opening eight syllables into two units of four syllables is marked in the second line by a pivot around f (f-d-C-f) and in the third line by a repeating stepwise pattern (C-d-d-C, f-g-g-f). The strophe is articulated melodically through graded cadences and tonal contrast. The first three half-lines cadence on the final (d) and are rooted in a d-f-a tonal space. The next two half-lines feature open cadences on the sub-final (c) and third above the final (f) respectively; the same tones of C and f provide an alternative tonal axis for these lines, before the return to the opening tonal space of a-f-d and a cadence on the final at the end of the strophe. | |
Note | Musical notation for Anni Domini notantur survives in only one manuscript: Città del Vaticano, Biblioteca Apostolica Vaticana, Vat. Reg. lat. 1723, fol. 84r. The opening two strophes of the poem were notated using two different systems, alphabetic notation and neumatic notation; the melody may be reliably reconstructed from the former. The use of alphabetic notation suggests an initial attempt to convey the precise pitches of a melody that may have been either unfamiliar or not commonly associated with this text. The use of neumes for the second strophe is more efficient as a notational method and adds a certain amount of further information concerning liquescence, i.e. the neumes indicate how certain consonants are to be vocalized in singing the melody. The combination of alphabetic notation and neumes is familiar from the eleventh-century Dijon tonary, Montpellier, Faculté de Médecine H. 159, in which neumes were placed above letters to provide a full set of information for chant melodies. The dual use of alphabetic notation and neumes for Anni Domini notantur may have served a range of didactic purposes, including teaching a particular combination of text and melody and demonstrating the workings of neumatic notation.
The a-p system of letter notation used for the first strophe is associated with the early eleventh-century reforming activities of William of Volpiano in Normandy. Although William may have learned the a-p system in Italy, it is most commonly found in Norman manuscripts of the eleventh and twelfth centuries - for further details, see Alma Colk Browne, 'The a-p system of Letter Notation', Musica Disciplina 35 (1981), pp. 5-54. The neumes added to the second strophe display features associated with the so-called French style of neumatic notation. The near upright strokes used for higher single notes (the signs over the opening three syllables), two descending notes (partire and eius), and two ascending notes (sit and numerus) are typical of this style of notation. Several means of indicating pitch height are used, including a downward slant for the sign for lower single notes (e.g. indictionibus) and a higher placement of signs within the writing space for relatively high tones (anni Christi). An 'r'-shaped sign resembling the Messine uncinus is used to mark the lower note at the semitone step or mi (per quindenum). This last sign is found elsewhere in English and northern French (mainly Norman) neumatic scripts of the eleventh and twelfth centuries: see Solange Corbin, Die Neumen, Köln, 1977, p. 107. The notator also took care to indicate liquescence through an additional drag or curl at the end of certain forms such as at indictionibus and numerum. The melodies recorded in the letters (strophe 1) and the neumes (strophe 2) are not identical. Leaving aside details of liquescence, two types of melodic changes can be traced in the neumatic notation. First, the melody is adapted for the word regulis at the opening of the second line of the second strophe to accommodate the reduction from four to three syllables. The pitches indicated by the neumes (high-low-high) are ambiguous at this point: alternative solutions could be f-d-f or f-C-f, depending on which pitch is omitted from the model provided by the first strophe. The solution preferred above leads to a cadence on the final (d) at regulis, which accords with the appearance of a punctuation sign at this point, displaced in the manuscript from its usual position at the end of the previous verse. The other point of departure occurs in the closing half line, where the melodic outline is maintained but its decoration through several tones on individual syllables differs between the strophes. No clear rationale can be traced for this alteration, which may simply illustrate flexibility at points of melodic elaboration. | |
Trascrizione | Trascrizioni diplomatiche | Anni_Domini Anni_Domini2 |
Melodia | Example 1. Anni domini notantur, strophes 1 and 2, Città del Vaticano, Biblioteca Apostolica Vaticana, Vat. Reg. lat. 1723, fol. 84r
Example 2. Melodies with similarities to Anni Domini notantur: 1. Città del Vaticano, Biblioteca Apostolica Vaticana, Vat. Reg. lat. 1723, fol. 84r; 2. Nevers hymnal, Stäblein (ed.), 1401 (p. 82); 3. Klosterneuburg hymnal, Stäblein (ed.), 1402 (p. 227); 4. Paris, Bibliothèque nationale de France, latin 1118, fol. 246r; 5. Firenze, Biblioteca Nazionale, Conventi Soppressi F. III. 365, fol. 4v. | |
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